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Festen: The First and Best Dogme 95 Film
Festen (The Celebration) is a 1998 Danish film directed by Thomas Vinterberg and written by Vinterberg and Mogens Rukov. It is the first film to follow the rules of Dogme 95, a purist film movement initiated by Vinterberg and Lars von Trier. Dogme 95 films are characterized by using natural lighting, handheld cameras, real locations, no music, no props, no genre conventions, and no post-production effects. The aim is to create a more realistic and authentic cinema that focuses on the story and the actors.
Festen tells the story of a family reunion at a country hotel to celebrate the 60th birthday of the patriarch, Helge. During the dinner, his eldest son Christian makes a shocking speech that reveals a dark secret from his childhood involving his father and his twin sister Linda, who recently committed suicide. The film explores the reactions of the family members and guests as they try to cope with the truth and its consequences.
Festen is widely regarded as one of the best and most influential films of the 1990s. It won several awards, including the Jury Prize at the Cannes Film Festival, the FIPRESCI Prize, and the European Film Award for Best Film. It was also nominated for a Golden Globe for Best Foreign Language Film. It received critical acclaim for its powerful performances, especially by Ulrich Thomsen as Christian and Henning Moritzen as Helge, its gripping plot, its dark humor, and its innovative style. It has been praised as a masterpiece of modern cinema that challenges the conventions of mainstream filmmaking and exposes the hypocrisy and corruption of bourgeois society.
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Dogme 95 was not only a reaction against Hollywood cinema, but also against the European art cinema that had become too stylized and self-indulgent. The Dogme 95 manifesto was inspired by the realism of filmmakers like Jean-Luc Godard, John Cassavetes, Roberto Rossellini, and Carl Theodor Dreyer. The movement also shared some similarities with the French New Wave, which also challenged the conventions of mainstream cinema and experimented with new techniques and forms. However, Dogme 95 was more radical and dogmatic in its approach, rejecting any artistic intervention or manipulation of reality.
The first film to be officially certified as a Dogme 95 film was Vinterberg's Festen, which premiered at the Cannes Film Festival in 1998 and won the Jury Prize. The film was a critical and commercial success, and sparked a wave of interest and debate about the movement. The second film was von Trier's Idioterne (The Idiots), which also premiered at Cannes and caused controversy for its explicit depiction of sexuality and disability. The film follows a group of young people who pretend to be mentally challenged as a way of rebelling against society. The film was praised for its daring and provocative exploration of human nature, but also criticized for its ethical implications and potential exploitation of its subjects.
Other notable films that followed the Dogme 95 rules include Kragh-Jacobsen's Mifune (1999), Levring's The King Is Alive (2000), Lone Scherfig's Italiensk for begyndere (Italian for Beginners, 2000), Susanne Bier's Elsker dig for evigt (Open Hearts, 2002), and Harmony Korine's Julien Donkey-Boy (1999), which was the first American Dogme 95 film. Some of these films were more flexible and creative in their interpretation of the rules, while others were more strict and faithful. In total, there were 35 films that were officially recognized as Dogme 95 films by the original board. aa16f39245