Festen

Il fallait que mon 2 500e film noté sur FilmBooster ne soit pas ordinaire et Festen répond parfaitement à ce critère. L’adaptation scénique au Club dramatique de Prague est probablement la meilleure pièce qu’il m’ait été donné de voir, donc le fait de regarder la version filmique signifiait se replonger dans un véritable drame familial. À la différence de Carnage, par exemple, où d’après moi, le film n’apportait rien par rapport à la pièce (même si, dans ce cas-là, le film est ultérieur à la pièce), Festen offre à tout le moins un montage et des prises de vue à la main qui impressionnent et qui ne peuvent évidemment pas faire partie de l’expérience théâtrale. En revanche, la pièce se démarque par la force des discours de Christian prononcés par Matěj Dadák et par la prestation de Juraj Kukura. L’un dans l’autre, l’expérience était comparable et, dans les deux cas, inoubliable. (15/04/2012)

An incredibly deep-seated film filth that, unlike his debut, Vinterberg managed 100% thanks to his puritanically inconvenient form. It only intensifies individual emotional undertones, which the ordinary film language would lose through stylizing. The movement of the camera and the edit in some passages reach an inhuman intensity (Michael and his wife's argument, the ingenious "getting warmer, getting warmer" passage) – not to mention the tried-and-tested acting trio of Steen-Bo Larsen-Thomsen. Vinterberg takes full advantage of what the greatest heroes have suggested: a devastating talent to pull the viewer into the filthy mud and roll him out there with the thoroughness of a hippopotamus. The family celebration is also a celebration of cinematic immediacy, the uselessness of aestheticization and power, which is released directly on set. A monstrous stack of meat of Nordic roast tenderloin. (23/11/2010)

The form did not dazzle me, no matter what Dogme 95 says, it rather bothered me and spoiled the experience of this movie, which definitely does not tell a bad story, where relationships are in the first place, especially how they can beautifully manifest and complicate a celebration during one dinner, which opens many closed doors. The impression is good, but not much more than that. (01/04/2016)

The hotelier Helge has everything that ordinary mortals can only dream of: a family, property, prestige, and as a member of the Freemasons, a secret influence. True, his daughter Linda took her own life a few months ago, but fortunately there are three successful children left for him to be proud of. The celebration of his 60th birthday is supposed to be a triumph - or is it? Soon, things start to go wrong. The eldest son, Christien, sees the gathering as a unique opportunity to confront his demons and bring up some unpleasant facts from the family's history. The facade of the honorable bourgeois family begins to develop dangerous cracks, and even though the attendees try to maintain their composure and continue playing the game of civic respectability, the tension quickly builds. As a social drama, The Celebration works great, even though it occasionally delves deeply into the festival of hypocrisy and ruthless selfishness. However, the film's form doesn't resonate with me. I've never liked rigorous dogmas, including those from the workshop of Vinterberg and Lars von Trier. The reduction of film techniques in the name of purity and preaching asceticism is highly questionable in my eyes, and it's just as well that both gentlemen soon broke their "vow of chastity." The handheld camera in the film is unfortunate and bothered me throughout the viewing, which is not the only flaw I find in Vinterberg's adherence to Dogma 95. Overall impression: 80%. (01/02/2021)

Part disappointment, part enthusiasm, overall a big surprise. I didn't know what I was getting into, and after an initial somewhat harrowing introductory clash, I left like a snivelling dog feeling the deepest depression and deprivation, because I was forced to watch one of the most surprising and, in a sense, most twisted plot twists, which, thanks to a very naturalistic narrative, took away one of life's most precious certainties. I’m not saying that this was the most important motif, but I stand by the fact that this is where the time comes to switch off for a moment and reflect on what we have just seen. A challenging piece that stirs the range of our emotions, but at the same time is as unpleasant as a cold mother-in-law (although given the film I can think of a much nastier comparison...)... Yuck! 80% (12/04/2014)