FILM
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n summary, Festen’s plot revolves around a patriarch’s 60th birthday party. Extended family and close friends are reunited in what intends to be a celebration of life but instead for oldest son Christian (Ulrich Thomsen), the gloves come off and a scandalous secret is laid bare. For those who are not familiar with the Dogme filmmaking movement, it was established by Danish filmmakers Lars Von Trier and Vinterberg in 1995, with key technical features being the strict adherence to handheld camera, authentic performances and the use of natural lighting. Over 20 years after the film’s release, this unique aesthetic still unquestionably creates a radical, authentic viewing experience. For me, Dogme’s aesthetic make-up and Festen’s dark humour are paralleled within contemporary British and American television. Whether this be The Office, The Thick of It or more recently
Succession, the blend between fluid handheld camera movement and dark subject material has proven to be a popular combination. Whilst it is true that these examples do not adhere to all the fundamentals of Dogme, its influence nonetheless is visible. Praise must be given to the cast, specifically the siblings played by Thomsen, Paprika Steen as Helene and especially Thomas Bo Larsen as their chaotic younger brother Michael. For a style of filmmaking that relies heavily on authentic performances, these actors encapsulate the messy, sibling rivalry dynamic. Larsen uncompromisingly, provides consistent laughs throughout the film, being the central point where serious subject matter is played off for humour. One scene comes to mind around halfway through, where Christian is kicked out of the party by a trio of men including 9
