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Film: Festen
Release date: 13th October 2008
Certificate: 15
Running time: 100 mins
Director: Thomas Vinterberg
Starring: Ulrich Thomsen, Henning Moritzen, Thomas Bo Larsen, Paprika Steen, Birthe Neumann
Genre: Crime/Drama
Studio: Metrodome
Format: DVD
Country: Denmark/Sweden
There is a recognised syndrome human beings have called 'car crash syndrome'. If you pass the scene of an accident, or witness one happening, even though you shouldn't, you can't help but look. Some films are car crashes without meaning to be, whilst others are carefully directed so that you can never look away from the screen. Festen, Thomas Vinterberg’s award-winning Dogme ’95 film, is of the latter.
Have you ever been to a family party? Relatives you only see once a year asking about your career, your marriage, your health. This is a tedious task on any occasion, but what if the party you were going to was a traditional upper-class Danish birthday party?
Christian, Michael and Helene are all grown-up children of wealthy upper-class Helge, who has summoned them and the rest of their large family to his home to celebrate his sixtieth birthday.
Rather than the quiet pat on the back and sing-song he had hoped for, Helge gets a nasty surprise from Christian, as the film deals with the fallout from a massive family secret being unearthed.
Festen was critical to the Dogme '95 movement in cinema. A group of directors tired with glossy Hollywood productions decided to strip back film, thus creating "true cinema.” The belief was that without special effects your script would be bare, and therefore better. It is hard to argue with the movement once you have watched Festen, which has one of the most original plots to any film. Following strict rules (and a declaration Vinterberg signed to ensure he stuck to them), Festen lacks a soundtrack, studio lighting, props that were not already on set, and any camera tricks. Instead, it relies on a gripping story and meticulous script to carry the film - full of suspenseful silences and believable human interaction.
From a technical point of view, Festen does a good job of using whatever comes to hand in order to get the intended shot. Because of his declaration that he would not use any special effects, Vinterberg had to come up with other ways of conveying what he wanted to the audience. The film sometimes deals with a ghost that may or may not be haunting the house (shots filmed through rippled glass, and only lit by candle light), whilst the credit sequence, accompanied by a music-box, gives an wonderful, otherworldly feel. Trying to figure out how the director pulled off some of his more elaborate effects is one of the joys of a film that implores repeat viewing.
The film has an eerie calmness throughout. The setting of rolling hills and forests of the Danish countryside, and the suppression of any real emotion that comes with an upper-class upbringing, make scenes almost serene - particularly one that follows a bird flying above the house, a perfectly quiet shot without any music, allowing for a tranquil moment despite the chaos roaming below.
Festen is classed as a drama, but it would be fair to say there is a lot of black comedy on offer, too. Often laughing at the human reactions of the guests at the party is the only way to cope with the very real ongoing trauma that the protagonists are going through. A lot of the comedy comes from the party guests - their trivial conversation and griping about the weather is welcome relief from the tension of the dinner table.
The acting for this film is impeccable - the mannerisms and believability of the characters are faultless. Whether it's Christian's stiff, tense stance throughout the film, or Helene's powerful breakdowns, you become fully immersed in their feelings and fears. Worth paying real attention to is Michael, who switches from likable buffoon to maniac at the flick of a switch. He also provides many laughs throughout the film, acting as additional comic relief.
The one fault with Festen that has come to light is the bad translation in the subtitles. They have never had a reworking since the film's release in 1995, and some of the dialogue is incorrect – you have to look past the occasional weird comments that make no sense.
Unconventionally filmed, Festen has deservedly won multiple awards for its innovative and the director’s courage, whilst unlike other Dogme films, it is never hard going or self-indulgent. RC
Film: Festen
Release date: 13th October 2008
Certificate: 15
Running time: 100 mins
Director: Thomas Vinterberg
Starring: Ulrich Thomsen, Henning Moritzen, Thomas Bo Larsen, Paprika Steen, Birthe Neumann
Genre: Crime/Drama
Studio: Metrodome
Format: DVD
Country: Denmark/Sweden
Festen was the first film released following the Dogme 95 ‘vow of chastity’ – a list of rules for directors to follow when making films. The rules included technical restrictions (cameras to be low quality and handheld, no sound or music to be added in post-production) banning of excessive action, and not allowing the director a credit. The whole Dogme movement aimed to reduce cinema back to its simplest and most beautiful origins.
The film opens with the Klingenfeldt-Hansen family making their way to the family run hotel for the festivities. We are introduced to each family member on their arrival – Helge (Henning Moritzen) is the father, whose 60th the family has gathered to celebrate. His children consist of Christian (Ulrich Thomsen), the quiet and distant eldest son; the volatile and manic Michael (Thomas Bo Larsen), the youngest; and Helene (Paprika Steen), the fiery and confident eldest daughter.
Also mentioned in conversation is the recently deceased youngest daughter, Linda, who committed suicide seemingly without motive, and for whom the family are still mourning. Helene visits her late sister’s room and finds a note. Michael has a violent and sexually charged argument with his wife over misplaced shoes, and Christian is re-acquainted with his childhood sweetheart, Pia (Trine Dyrholm).
The evening celebrations begin normally enough – catching up with the relatives, then a lovely sit-down meal, too much wine and clichéd speeches. Then everything changes when Christian stands to make his speech. He makes a horrifying claim about his father that sends the party into uproar. He is then promptly ejected from the party. We spend the rest of the film searching for the truth – are Christian’s claims true? And why did Linda commit suicide?
Festen shows you dark family drama at its very best. Thanks to Vinterberg’s down-to earth screenplay (which is so natural, it appears improvised at times), we instantly warm to the characters, and can quite easily relate to them and what they are going through.
The film is a truly immersive experience (largely due to the low-grade quality of the film, in compliance with the Dogme 95 rules) – it looks like a home video, and through watching it you really feel like a member of the family (like you’re taking part in the festivities).
Be warned - Festen is by no means a comfortable viewing experience. Emotions run high throughout, and the dark family secrets revealed are truly shocking. Each revelation feels like a punch to the stomach, and just when you think it could never get worse, it does.
High quality acting is on show, both from the veterans (Henning Moritzen has been acting since the ‘50s) and the novices (it was one of Paprika Steen’s first major film roles), and they all bring a little extra something to their characters. Of particular note are the actors who play the siblings – Ulrich Thomsen manages to bring across the tragedy and deep-rooted emotional scarring of Christian; Thomas Bo Larsen gives Michael just the right level of unpredictability and menace, while at the same time showing his unquestionable loyalty to his family; and Paprika Stern is captivating as the strong, independent woman amongst a family of flawed men.
The Dogme 95 rules that Festen follows (at least most of the time) will most definitely divide audiences. Your view of the whole film may entirely hinge on whether you see the vow of chastity as being restrictive or liberating, as overtly pretentious or refreshingly simplistic. Some of the Dogme rules could seem a little silly to some – the cast, in theory at least, have to provide their own costumes (though the Festen crew did allow a cast member who did not own a tuxedo to borrow one), but others achieve interesting effects within the film. For instance, a scene with Michael and his wife in their hotel room required a swooping, high angled shot, and since the Dogme rules prohibited the use of cranes or steadicams, the cameraman attached his camera to the end of a mic boom (which, amusingly, can be briefly seen in a mirror in the room). The film also required cast members themselves to film some scenes (such as the dining room scene, which otherwise would have been too awkward to film in such a confined space).
Whether you’re a lover or a hater of Dogme, Festen will take you on an emotional rollercoaster that engages you to the very end. In an age of big-budget, high concept filmmaking, it makes a nice change to watch a film so stripped down, yet so immensely satisfying. SSP
