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Festen (Celebration of Family, Denmark, 1998, 106 min).

ACHIEVEMENT

: Thomas Vinterberg, Morgens Rukov, based on an idea by Thomas Vinterberg.

PHOTOGRAPHY: Anthony Dod Mantle D.

SOUND:

Morten Holm.

ASSEMBLY:

Oskardottir Valdis.

PRODUCTION:
Nimbus Film APS.

PERFORMERS:

Ulrich Thomsen (Christian Klingenfeldt), Henning Moritzen (Helge Klingenfeldt, father), Thomas Bo Larsen (Michael), Paprika Steen (Helene), Birthe Neumann (mother)

Deliver Us from father

DOGMA 95 is the new name of the Decalogue which subscribes to Thomas Vinterberg : "You do not poseras your camera, you will not use the music off, thou shalt not own image ... "As always with dogmas, the important thing is not to believe (no Roman Catholic seriously believes in papal infallibility), but force themselves to believe it, and engaging feet bound hand and to truths appearance. In this, the signatories of the charter still have a strong idea: the movie has to comply - with all the transgressions of use - to principles that are unlikely outside. These are not films that impose their form but the form that is imposed on the films.

Festen of Vinterberg very similar to Idiots, Lars von Trier of

, another Dogme film, except that Vinterberg is more virtuosic and its asserted more disturbing audacity. Result:

Festen is a film much more successful than idiots. Success, moreover, is perhaps not the word since the whole film Vinterberg

plays the game with a (fake) carelessness Aesthetics: cut and mounted in defiance of common sense, no matter how framed, not informed at all, but played admirably, proving if proof were needed that this negligence was not referred to the ugliness, but a new beauty. Beauty Democratic since renounces everything is about the technical mastery and advocates formal sloppy and amateurish. Dogmatic devil

Vinterberg

pretends to believe in the democratic art, he knows he must also know they do not know how. For the rest,

Festen

resembles a Nordic film as he had already turn away a lot and that the ideal model would

Fanny and Alexander ,

of Ingmar Bergman.
A family above all suspicion, big bourgeois and Protestant, met to celebrate the patriarch. But everything goes wrong because one of the son decides to unpack the family secret: the father raped his children. It will take all the film for the guests decide to believe the son violated. Which shows that the question of dogma has practical applications. The truth is never a matter of belief, and the guests are not ready to challenge so easily patriarch who was the faith of their lives. It will take the son, symbolically named Christian , a healthy dose of tenacity and a complicated strategy to produce a new truth, aided by a caring staff, cooks and maids together - domesticity (it's a matter of class) who always another belief that the masters.


This use of the mansion kitchen as a place to comment about the action and hidden motor of the machine refers of course Mongolian cuisines

Hospital and its ghosts of

Stephane Bouquet

"Les Cahiers du cinema," June 1998

Dogma Hollywood

Marvel DO WE

to learn that Thomas Vinterberg

, born in Copenhagen in 1969, has grown into a community hippie with no common point with the bourgeois coterie crippled by taboos that demolishes in Festen ? Just backlash, the young Thomas became the first class and the youngest graduate of the Ecole nationale du cinema, one where Lars von Trier

himself had studied a decade ago.

If the family as a cell, a set of values, did not structure his imagination, yet it is a utopia family exposed in his first feature film. In Heroes, Thomas Bo Larsen and Ulrich Thomsen two marginal crazy, learn that one of them is the father of a 12 year old girl. Therefore, they are constantly saving the clutches of a violent stepfather for boarding their road trip to

Sweden. The bittersweet tale

is unconvincing, but the siblings

Festen

is found. concocted at a corner table with three other filmmakers, Dogma brings to every young Vinterberg stress productively. On March 20, 1995 at

Paris at the Odeon Theatre

, Lars von Trier Thomas Vinterberg and launch a package of red leaflets in the assembly celebrating the centenary of cinema. "is anti-bourgeois cinema itself became bourgeois , we read this manifesto anti-author recommends not signing films.

The other commandments of the "vow of chastity": natural scenery and lighting, live sound, camera-work, unity of place and time, additional music, rigging and prohibited firearms ... In addition, the Dogma filmmakers agree to refrain from personal taste and no longer claim artist! At the risk of an unexpected reconciliation, we must remember that Jean Renoir was in its infancy a similar reaction to the movement of the 1920s cinema pompously declaring themselves "artistic " " My classmates and I we hated that word artistic "," he recalls in an interview with Jacques Rivette

in

1966.

Caprice spoiled child? Remains Protestant education? Discourse on Method? Anyway, in terms of advertising, Dogma works, applications for labeling movies abound, even today, from around the world.

Festen, with its little family film turning sour, arises in such enticing the "purification" style effects. Yet, carried away by an unexpected success, Thomas Vinterberg

,

invited to Cannes in 1998 , deviated from the dogma by yielding to the sirens 'bourgeois' celebrity. He even forgot not to sign Festen ... Dogma will was for him a temporary sesame. Festen, by far his most successful film, it opens the doors of Hollywood for more compromise and a mawkish sentimentality also in Heroes with It's All About Love

(

2002). Even adapt in 2003, a scenario Lars von Trier , Dear Wendy, a parable about the use of firearms by American teenagers who did not, far from it The brilliance of the Elephant of Gus van Sant. Overthrow the bad father was not enough to enfant terrible Dogma become spoiled child. Charlotte Garson "Les Cahiers du Cinema"

Preview: Festen (1998) Thomas Vinterberg (Duration: 1 min 34 sec) http://7-art.blogspot.com