The Celebration (1998) User Reviews

Provocative dialogue ensures rapt attention

[raymond-15 · 8/10 · 20 March 2003]

Vinterberg's "Festen" which follows the strict guidelines of Dogma 95 could perhaps be hampered in its artistic approach, but not so here. Indeed with the hand-held camera the reality of the scene is intensified to such an extent one feels an integral part of the drama.

It's a family celebration of father Helge's 60th birthday. It's strange though that all the guests seem to arrive at the same time, speeding up the driveway in great excitement. There is lots of noise. hugs and kisses and the camera intruding in a mischievous way.

This family has some terrible dark secrets known to some, not to all. They are divulged by the eldest son Christian (Ulrich Thomson) in his dinner speech toasting his father. This is a wonderful scene, tense, sharp, riveting. The guests are shaken to the core. Is he telling the truth or is he having a wicked game with the assembled company? It's great stuff - really compelling drama.

The history of the family can be pieced together from information revealed in a series of toasts, but Christian's contribution renders the party speechless. It's a fairly noisy film with lots of people talking together, having arguments (Christian's brother Michael {Thomas Bo} has an uncontrollable temper) or screaming in frustration. These out bursts contrast so well with the scenes of stunned silence. They are quite electrifying moments - no words are necessary.

Films like this one make movie-watching well worthwhile. No wonder it won a Jury Prize.

#MeToo during the patriarch's birthday

[FrenchEddieFelson · 8/10 · 1 June 2019]

This surprise success based on an uncomfortable subject has become an essential reference adapted for theater in many countries. The film immediately gives the impression of having been filmed with a dysfunctional iPhone of the 70s suffering from a perfectible autofocus. This is certainly the expression of Dogme 95, a manifesto of a strong desire of the directors Thomas Vinterberg and Lars von Trier to move away from a cinematographic world they consider too licked, too clean, too artificial, returning to a sobriety more expressive, more original, more formal, with an excessive despoilment of any aesthetic ambition. This impression will last until the last minute. After this rather negative observation, the film is excellent: between the dialogues, the acting and the unfolding of the story, it keeps you out of breath and you will wait for the epilogue with an unbearable impatience. A must see!

Entertaining

[gbill-74877 · 8/10 · 19 January 2022]

Gee, if you think your family has skeletons in its closet or its gatherings are awkward, check out these guys. A wealthy Danish man is celebrated by friends and family at his manor for his 60th birthday, an event clouded by the recent suicide of one of his daughters. What starts off as light satire of the affluent, heightened by the home-movie-like realism that director Thomas Vinterberg got out of using handheld cameras, soon segues to much darker areas. It's a mesmerizing mix of comedy and pathos, and engaging throughout.

I won't spoil it, but there is lots of incredibly bad behavior, some overt and stemming from how entitled these people are, and some complicit, protecting their insular world. Nothing shows just how much they are willing to sweep things under the rug than when some of the truths about the past come out, and one of the sons is aggressively taken out into the woods. Nothing shows just how bigoted the group is than when one of the other sons starts singing a racist song to antagonize a black guest (the man his sister is dating) and everyone happily joins in. The father saying the line "that's all you were good for" was like a knife to the heart, and the subtlety of the son's reaction (Ulrich Thomsen) is heartbreaking. The unique style of the film and moments like this make it memorable, and it's worth seeking out.

Wow

[michael-kerrigan-526-124974 · 10/10 · 18 December 2020]

What a film. Apparently the first of the dogme series of films (hand held camera, natural lighting, no backing track etc.). Forget that. This is brilliant in its own right as a 'family' drama. I was hooked from 20 minutes in. A fascinating insight into how human beings will brush abhorrent past crimes under the metaphorical carpet if it means continuation of their privileged lives. Human drama at its best. 10 out of ten

A knockout!

[teichinri · 10/10 · 12 May 2006]

So many critics seem to have missed the point of "The Celebration," which is almost unbelievable because it actually does have a point, and I feel like I got it between the eyes with a sledgehammer. This is a movie about, among other things, the power of social conventions, how we depend on them to deal with unpleasantness, and just how stubborn and difficult they can be to circumvent, even when your life depends on it.

What knocks me out is how much I'm convinced by the whole thing. Every sad detail makes perfect sense. There is so much wisdom here that it never overreaches, no matter how deep in the storytellers get.

In particular, the medium of digital video is used in an outstanding way that adds authenticity to the experience. Think about it- most of the hand-held video work we've seen is of our own family events. When we watch the only scene in which Christian weeps, with Gbatokai leaning over and giving moral support, it could almost pass for a candid moment in a homemade documentary.

I've seen a lot of good family dramas, but rarely have I had such an urge to hug the main character and unleash profanity at several of the others.

This family would need a lot of help just to be dysfunctional.

[Dr. Don-2 · 10/10 · 26 May 1999]

First of all, the home video camera style, casting and editing perfectly suited the subject matter and script. Wealthy and overbearing patriarch is feted on the occasion of his 60th birthday -- extended family and hangers-on gather with some of the best and worst aspects of our culture on display. It's also a rather sad occasion, as one of daddy's daughters killed herself not long ago, but several guests mention how "nice" the funeral was, and which room is mine? Eldest son rises to give a toast to the old man -- and out comes some unpleasantness that people would either prefer to pretend they didn't hear, or stuff forcefully back down his throat. Then the fun really starts.

Thanks to the cast for acting with restraint -- and being believable.

Some very black humour (including pathetic scenes of the decadent bourgeoisie at play), none of it gratuitous, some of it damning, some just outrageously funny. But this is not a light film in any sense. Guess what really happens when the victimised family member tells the truth? Ouch! What about when mommy gets to choose between husband and child? Double ouch!! And finally, when victim asks dad why he did it -- well, prepare for the blow to the old solar plexus...

Trust me, I know. This is how it really happens. It's good to see a well-crafted film (that gives its human themes paramount importance) on this subject. I'm tired of watching films which try to make me feel sorry for rich kids whose parents just don't understand how hard it is to be a rich kid with pimples.

As the families (one in ten?) with histories like this one can attest, being "dysfunctional" would have been a very happy place to be, compared to the reality as shown in this fine film.

A highly creative piece of film-making

[TBJCSKCNRRQTreviews · 10/10 · 10 July 2005]

I have seen this film more than I've bothered to keep track of. That's not to say that I've seen it an unusual amount of times(it's probably not more than three), just that I've never bothered to keep track. Anyway, my point is, every time, it's like seeing it for the first time. I keep discovering things that I must have noticed before, but don't remember seeing earlier. Tonight, I finally realized why; I'm blocking them out. I'm blocking out almost every single second of this film, and here's why; it reminds me of everything I hate about Denmark and being Danish. Everything strangers automatically associate me with, because I'm Danish. Not only does it remind me of it, the film flaunts it, without ever even considering holding back. The way we drink, how superficial we are, how dependent the typical grown male is of women, how racist and ignorant we are... everything. The film effectively airs our dirty laundry to the audience. On this latest viewing, I actually couldn't stand sitting through(a self-contradiction, I know) more than the first half hour... after which I casually followed the rest whilst sitting at my computer, from where I can see the TV screen... when I bother to stretch, so the computer monitor isn't blocking the view. Needless to say, I didn't catch an awful lot of it this way... but what I got was more than enough to disgust me. I can't think of any other movie I have this kind of relationship with... and I know why. I also know why this film has such an impact on me. It's because it's real. True. This is the kind of stuff you don't find in fiction... but in the newspaper, in your own family, in your own people, wherever you're from... the ugly side of us all. The shadow side. What we keep hidden from the outside world, but what we ultimately succumb to if we don't indulge it every once in a while. I chose to center my review for this film around this, because I think it's what really stands out about it. Also, I think we all, by now, know how great the acting, writing and direction is. And, being a Dogme film, it's very creatively filmed, too. So there you have it. A very creative film that puts so much focus on the shadow side of us all, of Danes in particular that is so effective that it actually makes me sick, me, a person who's been watching violent movies since I was twelve and was hardly ever affected by it. I recommend this to anyone who believe they can take it. Definitely not for the faint of heart or very sensitive people. Most people will probably have as strong a negative reaction to this as I did(unless they're far more grounded and at peace with who they are than I am), but don't let that deter you from seeing it. Chances are, you'll love it. If nothing else, you can't claim that it was fake or untrue. 10/10

If you haven't seen this... go right now!

[headfulofghosts126 · 10/10 · 22 August 2002]

A film so involving that a score, proper editing, and lighting are hardly missed. You are experiencing this world first hand... and what a screwed up, wonderful journey it is. I can't even begin to go into the story because it would be a crime. You have to see this for yourself. Don't be disuaded by the subtitles or strange look of the movie. Let it run for fifteen minutes and you'll be hooked. This is a powerful, powerful little movie. Guranteed to stay with you days after you've seen it. Do yourself a huge favor and rent this movie asap. If you're fed up with the cookie cutter Hollywood garbage this will be most refreshing.

There's Something Rotten in the State of Denmark...

[Benedict_Cumberbatch · 26 July 2006]

"Festen" aka "The Celebration" was the impressive directorial debut of the young Danish filmmaker Thomas Vinterberg ("It's All About Love", "Dear Wendy"), and the first film made according to the rules of the daring Dogme 95 movement. It shows that you don't need big budgets to make a great film. However, Dogme wouldn't work if its films weren't as daring as its ideals of film-making - and "Festen" proved that those guys really have much to say.

"Festen" is an extremely cruel film, and it's somewhat uneasy to watch in some moments. The celebration of the title refers to the 60th birthday of Helge Klingenfeldt-Hansen (Henning Moritzen), who entertains his big family in his castle. But Helge's son, Christian (Ulrich Thomsen, excellent), whose twin sister recently committed suicide, has an important revelation that will surprise - and displease - many people; in the meantime, other secrets are revealed and nobody will get away clean. "Festen" deserved all praise/awards it got in international festivals (it won the Jury Prize at Cannes 98) and is a great introduction to Danish cinema. My vote is 10/10.

A barbecue for Danish family values

[Philby-3 · 7/10 · 11 December 1999]

Having read about the film makers' "Dogme 95" charter I was expecting something pretty bizarre here but "Festen" (festival, celebration) co-written and directed by Thomas Vinterberg turned out to be the fairly orthodox tale of a traumatic family reunion. The only oddball feature, which added nothing to the dramatic impact, was the deliberately coarse film quality, achieved, it seems, by using a digital video camera. Perhaps "no artistic egos were destroyed in the making of this film" but the impression I got was that somebody competent was in charge, albeit somebody with a taste for odd camera angles.

The story centres around Christian, who travels back to the family country hotel (in Denmark) from his successful Paris restaurant to celebrate his father's 60th birthday. We soon discover the family are a pretty gross lot. There's a nymphomaniac sister, a violent, overbearing younger brother, and a twin sister who has committed suicide. Father is a burly dirty-minded bully with a short fuse "protected" by his elegant but cowed wife. Naturally a family like this has enough dirty linen to fill the hotel laundry which they proceed to reveal in the course of the evening in front of twenty or thirty guests, who, just in case they were thinking of leaving, have had their car keys hidden from them. Complicit in all of this are the long-suffering hotel staff, who can't see it happening to a more deserving bunch of people.

It's a bit difficult to say much about the acting - not understanding Danish is a bit of a barrier- let alone Danish mores. Christian (Ulrich Thomsen) is played as the still centre - we find out about him from what others say- yet he holds our attention throughout. Thomas Bo Larsen as Michael the obnoxious younger brother puts in a full-blooded manic performance and Paprika Steen as their sister Helena gave her role plenty of depth. The father (Henning Moritzen) was a bit two-dimensional - not enough charm to offset his basic nastiness. Among the minor players, I particularly liked Lars Brygman as Lars, the reception clerk, who never loses his (somewhat stunned) composure even as he is lying fully clothed in a bathtub at the behest of Helena looking for ghosts in the ceiling. I also liked Helmuth (Klaus Bondam), the Danish idea of the comic German toastmaster, who after some particularly shocking revelations at the dinner table manages to suggest dessert, coffee and dancing in the lounge - and the stunned guests meekly comply.

There were hints of Bunuel in this movie ("there's nothing charming about the bourgeiose") and perhaps "Last Year in Marienbad." The spirit of Ingmar Bergman was not far away either. The hotel itself, near Stockholm, according to the rather wavery credits, had a pretentious overstuffed, claustrophobic atmosphere that seemed quite appropriate.

Well. I don't know if Dogme 95 has anything new to say about film-making, but this was a watchable story. I think, however, anyone coming from a family like that would avoid reunions at all costs, even if seeking revenge.

Fall into it.

[rallero · 10/10 · 8 February 2003]

I'll say 2 things about this movie.

1. This is a danish movie. A danish philosopher known to numerous people, Søren Kierkegaard, talked about emotional contra intellectual. This is a movie you should experience with your feelings, not your brain, turned on. If you do this, you'll smile and cry.

2. The acting is fantastic. It's so realistic, but still "wild" enough to keep you to the screen.

Can't help it, need to give it 10/10. It's not at great MOVIE, but it's a truely great EXPERIENCE. And as far as I'm considered, we're watching movies because we like to experience?

I've never fell into a movie like i fell into this one.

The message is key

[thePopcornExplorer · 7/10 · 1 February 2021]

A different and interesting movie with some important message delivery.

After witnessing what Thomas Vinterberg has done in the Hunt (2012), a masterpiece of Danish cinema, I had to check out other works that he had made, which took me back all the way to 1998 and to Festen, a recent directorial debut for the young Thomas. Although it discusses the same topic as the Hunt, it has a very unique a different approach to it.

In Festen we witness a rich family dinner in Denmark, and we see the spiral towards some dark discoveries as the hours go by. What seems to be in the beginning another typical eccentric rich family gathering, becomes an uncomfortable reunion where some very serious matters are brought to the table.

The message the movie conveys is daunting and yet I find it highly relevant, we as a society, specially in big gatherings and reunions, have a standard set of rules of politeness that we follow and one would be considered rude or an actual outcast if he /she wouldn't abide by those rules, in Festen this is taken to the extreme (or maybe not), and it criticizes how those standards we follow, cause sometimes for us to awkwardly ignore major issues that can be unfolding right in front of our eyes, and we choose the superficial approach.

Now it would be legitimate to ask why I haven't given a much higher score then? Well for starters, I've read some previews reviews, including some from Danish people, who claim that this exposes a real issue with special importance in their society given how superficial they are, I cannot of course speak for this as I 'm not Danish so although the message is critical, it doesn't touch me probably as it does to Denmark nationals if this represents the truth.

Adding to that, and although I do believe that Thomas is an amazing director and this was an innovative approach, I am not a fan of the camera work and the perspective that we look into the film, a lot of people argue that it brings some realism, almost resembling an amateur camera filming the events, but for me it didn't quite work and it brought some odd feeling while watching it, for me it had the reverse effect, it didn't seem real, I still believe it's a great film regardless and definitely worth watching, if the same message was conveyed in a different manner this would be a 10/10.

The Promised Profound Experience Didn't Happen to Me

[Alizaria · 4/10 · 21 November 1999]

I saw this movie at a university screening room after an elaborate intro by the movie's producer, who explained all about Dogma 95, which I was quite interested in and excited about. But the film seemed to be pretty much of an exercise in following their little rules, which results in a movie that left me longing for the artistry of real cinematography. The producer described the Dogmatists was wanting to strip away the pretensions of big expensive films, and that is something I appreciate. But I want to see the actors faces. Take a film like Crumb, really low budget, but you see everything. Celebration didn't seem to really care about its characters or story which I found incredibly trite and unbelievable. I was told I'd be profoundly moved and that people all over the world were really moved by this film, but I just did not believe in the story at all. It was quite a crude effort at writing a family story with a big secret, which reminded me a bit of Sam Shepard plays from the 70s. Big weird family with a horrible secret to be discovered. Or to go way back, Eugene O'Neill. But those family stories are so far better written than Celebration--it is just nothing as a story. And the wearing effect of the visual quality as the movie gets literally darker and grainier as it goes along reminded me of experiences I've had in bad theaters where I've had to complain about the lighting. I like the idea of stripping away pretense and making movie making possible without enlisting the approval of big companies, but I assume in the future it can be made to look better and that the writing will really count and the acting will be good. There was one fine actor in the movie, the father, who was in Bergman's Cries and Whispers, and I started thinking about Bergman, who had very beautiful cinematography: it's not something to be scorned.

10 out of 10

[Near_Dark · 10/10 · 5 March 2003]

I think Festen is a fantastic movie. Personally I do not care at all about Dogma rules. Since I had similar childhood experiences, I only care about the story, and to me this is definitely the best movie dealing with the subject of incest I have seen yet. I was suffering with Christian when he finally opened up to his family. It was very moving to see him struggling desperately to make them listen to him despite their violent resistance. And it was a very good feeling to see him succeed in the end. All in all I saw a very touching movie with lots of overwhelming emotions for me.

This movie is special because it shows that the suffering does not end when the children grow up and leave home. And it shows why it is so hard for victims to talk about their experiences by expressing one of their biggest (and unfortunately very realistic) fears: That noone will believe them, and that even their family will refuse to listen to them because they don´t want their illusion of a happy family to be destroyed.

God bless the Dogme 95!

[Artêmis · 10/10 · 7 May 2000]

I always wanted to watch "Festen" since I knew about the Dogme 95. As any Danish movie, it was released in a unique cultural theater. And, as most of the European movies, in less than 3 weeks, it wasn't...

OK, you'll tell the truth: I don't know why but I didn't watch it on a theater, and I could have done it. I waited for its release in video but all the times I went to the videostore I forgot to rent it. But one year after the release on theaters, it was rolling in Eurochannel (a cable-TV channel. It's all about Europe). I couldn't miss that chance so, on a Friday night, at 22:00, I finally watched it. And what an AMAZING film!!!

At first, the plot seems interesting and simple but after 20 minutes you finally realize how strong and provocative Festen really is. It's about one celebration made by the patriarch of the family Kingenfelt in the hotel where he lives. He's commemorating his 60 years. Christian, the older son, makes a speech where secrets are revealed.

The rules of the Dogme 95 as the use of natural light, camera in the hands, etc, help to create a claustrophobic and confidential clime, like nobody knows that someone is filming them. The scenes look incredibly real. Paprika Steen (Helene) and Ulrich Thomsen (Christian) were more than extraordinary. Paprika is a great actress and I can't stand waiting to watch "Idiotern", the second Dogme, in which she's acting again.

"Festen" is not just a worth watching film. It's a worth watching, re-watching, watching again, renting many times and recording to watch it a hundred times. Being the first Dogme, it's a mark in the cinema's history.

Grade - A+

How not to "break the silence" - or should you?

[FilmLabRat · 9/10 · 1 February 2003]

Talk about dysfunctional families!! This movie is a real shocker ... expect the unexpected, all the way through. Very creative, profound and heart-wrenching breaking of the family silence about dark secrets. You cannot watch this movie and not be changed, outraged and shaken.

Here's to the man who killed my sister... to a murderer.

[lastliberal · 8/10 · 14 May 2010]

Picking up nominations for a César, BAFTA, and Golden Globe among their many wins and nominations, this film about a family reunion and the revealed secrets is sometimes funny, but always tragic.

There are a lot of secrets in the house, but when Christian (Ulrich Thomsen) reveals his and his twin sister's sexual abuse to the family, it was a sure shocker. However, he even tops that later.

Michael (Thomas Bo Larsen) is a racist jerk, who gets into screaming matches with his wife, only to have rough sex afterwards.

The last sibling, Helene (Paprika Steen) gets Michael going when she brings her black boyfriend. But, it is Helene that finds the suicide note that reveals Christian is telling the truth.

Thomas Vinterberg writes and directs a magnificent film.

the party that wasn't

[lee_eisenberg · 9/10 · 27 July 2023]

If I tell you that Thomas Vinterberg's BAFTA-nominated "Festen" ("The Celebration" in English) is about a family gathering where ugly secrets come out, then you might think "I've seen that sort of movie before." Well you haven't seen this kind. This is the origin of the Dogme 95 movement. Shot on a handheld camera, it makes you feel as if you're there, spying on the rich clan as their lives get revealed as a facade.

The family reminded me a bit of the Vanger family in Stieg Larsson's Millennium trilogy (I've only seen the movie adaptations starring Noomi Rapace). Whatever the case, the movie manages to be shocking, funny and disturbing all at once. An example of the best that Danish cinema can be. It's not the sort of movie that's meant to be enjoyed; its purpose is to give you things to think about. Definitely check it out.

Disturbing yet funny

[lighthousekeeeper · 10/10 · 8 May 2023]

The Celebration (Festen) is a Danish film directed by Thomas Vinterberg that is a masterclass in storytelling and acting. The film follows a family gathering to celebrate the 60th birthday of the patriarch, Helge, at a lavish hotel in the countryside. However, as the evening progresses, secrets are revealed, and long-held grudges surface, ultimately leading to a shocking and emotionally charged climax.

The Celebration is a brilliant exploration of family dysfunction, with all of its complexities and contradictions. The film deals with themes such as abuse, trauma, guilt, and the corrosive effects of denial and repression. The performances of the entire cast are nothing short of extraordinary, particularly Ulrich Thomsen as Christian, Helge's eldest son, who is harboring a deep and painful secret.

The film is shot with a raw and intimate style, using handheld cameras and natural lighting to create a sense of immediacy and authenticity. The pacing is relentless, with each scene building on the tension of the previous one, until the explosive finale.

While The Celebration is an emotionally challenging film, it is also a deeply rewarding one. Vinterberg and his team have crafted a masterpiece that is both a commentary on the state of the modern family and a testament to the power of forgiveness and redemption.

In conclusion, The Celebration is a must-see for anyone who appreciates powerful and thought-provoking cinema. The film is a tour de force of storytelling and acting, and a testament to the power of the human spirit. It is a film that will stay with you long after the credits have rolled, and a true masterpiece of contemporary cinema.

"You fought a good fight, my boy."

[classicsoncall · 7/10 · 24 March 2018]

This is not the most disturbing film I've ever seen but it ranks right up there, both for the subject matter and the filming style of the cinematographer. I think the point of the jarring jumps and distorted filming angles lends credence to the emotional story of a dysfunctional family coming to terms with events in the past that threaten to bring it down disgracefully. What surprised me was how none of the extended family seemed to be upset by the purported abuse revealed by Christian (Ulrich Thomsen) at his father's sixtieth birthday celebration. You would think some of them would be repulsed, if not by the revelations, then by the sheer insanity of the immediate family in dealing with each other. I mean really, how do you recover from Christian's opening remarks to the gathered guests - "Here's to the man who killed my sister..., a murderer." Talk about being a party pooper.

A couple of curiosities in the story. First, Christian's request to his father to select the green or the yellow note. Since it seemed Christian was resolved to deliver the shocking news in any event, my own reaction is that he would have given the same speech either way. Then there was the mysterious posture of the head kitchen chef Kim (Bjarne Henriksen). I felt he was in league with Christian to some extent, but nothing he personally did in the story really bore that out, unless you want to consider his involvement in hiding everyone's keys so they couldn't beat a hasty retreat. To a certain degree, I also thought the waitress staff knew about the Klingenfeldt dirty laundry, and wouldn't be too upset if the truth came out.

Aside from the father Helge (Henning Moritzen), the most despicable character here was Christian's brother Michael (Thomas Bo Larsen), who seemed to treat anyone in his orbit with equal disdain and contempt. His forced relations with wife Mette (Helle Dolleris) bordered on violent rape, and in that regard, I had to consider that even if he had been away at college during his father's abusive period with Christian and sister Linda, the suicide victim, his aggression appeared to mask his own abusive past by a father who didn't give much of a damn. It's no wonder that sister Helene (Paprika Steen) gave voice to all of those fears and resentments by stating at one point - "They've always been ghosts in this house."

Shocking and fascinating

[jordondave-28085 · 7/10 · 11 May 2023]

(1998) The Celebration/ Festen (In Swedish with English subtitles) ADULT DRAMA

"The Celebration" was released one year before "The Blair Witch Project", I had say this because I didn't want people to think that "The Blair Witch..." was the first to have used the use of hand held camera techniques pointing out that their were others that came before but they were made in other countries. The central idea is the gathering of relatives and friends for a father's sixtieth birthday of a moderate successful hotel resort located far away from the city- sort of like the hotel inn of "The Shining". We had just learned that much of the characters had just come from a funeral of a sister who was living at the resort for we don't quite know in terms of it's circumstances until as the movie progresses. All I can say is that while watching this is like the hand held camera equivalent of Ingmar Bergman's "Cries And Whispers" since the revelations are shocking and demands some mature understanding. It kept me somewhat fascinated until the very end.

postmodern style marches on!

[jimi99 · 1/10 · 2 August 2002]

I'm no fan of the Dogme "manifesto," that excuse for laziness and attitude-copping in filmmaking; I thought that "Breaking the Waves" was a horrible mess that wasted one of the greatest performances of recent years. It did, however have a strong theme and a semblance of plot, if repellant and implausible. "Festen" is little but an exercise in hyper-style hung upon the tritest of themes, family dysfunction, and no real story. The characters are virtually interchangeable in their callousness and victimhood, the sex and violence are neither titillating nor shocking, and the fact that the whole thing takes place in a remote villa or hotel effectively removes it even further from any kind of emotional engagement with the audience (taking place on the planet Dogme, not Earth.) There are some nuances in the details that are promising but ultimately add up to nothing but stylistic flourishes, which find ultimate expression in the closing credits-- dispassionately viewed/filmed through water (groovy effect!), music-box mechanical melody masquerading as meaning of some sort...

All the best-in-class craft of film-making in one movie

[rgalang-47150 · 10/10 · 1 August 2022]

The story, the acting, the cinematography... it all blew my mind when I first saw this as a college student. You know that feeling when you've been invited by your boyfriend or girlfriend to a wedding and you knew nobody? It's especially uncomfortable if the family is from an upper class and there's a certain air of privilege in these people's lives? You're a guest and an observer. You feel a level of admiration, jealousy for how good these people have it. The film takes you on that journey from the point-of-view that I describe (at least it felt that way for me). I was an unknown guest observing the family dynamics. That insecurity and jealousy, turn to shock and embarassment as the story unfolds. The film truly invites you inside this "celebration".