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Source 丨 Watch the movie to see the dead (moive-ing) Wen 丨 January
We who have been fans of film for many years are already familiar with the French New Wave, Italian Neorealism, german new film movement and so on. And what we are going to talk about today is the "Dogme 95" film movement from Denmark, extreme, crazy, rebellious, barbaric growth.
The initiator of this movement was the director of "Untold" Lars von Trier. So, what exactly is the so-called "Dougma 95"? You may wish to take a look at today's article.
On June 19, 1998, director Thomas Vinterberg's work "Family Banquet" was released in Denmark. Just a month ago, the film won the Grand Jury Prize in Cannes.
In addition to the film's controversial content and different aesthetic styles, it marked the beginning of the last European film innovation movement of the 20th century, that is, the "Dougmar 95" film movement advocated by young directors such as Lars von Trier and Thomas Winterberg.
"Experimental" family tragedy
The film "Family Banquet" is marked as "Dougma 95" No. 1 at the end of the water ripple subtitle card. In order to celebrate his 60th birthday, the rich Man Helge specially called his children who had not seen each other for a long time back to his suburban villa, and invited relatives and friends to come to the party.
In addition to the joy, the speech of the eldest son Christian completely changed the atmosphere of the banquet: the seemingly charitable father Helge was actually a pervert with a personal beast heart, and had been sexually abusing Christian and his sister Linda since childhood, and Linda had recently committed suicide due to psychological problems.
However, the indifference of the guests and the anger of the other siblings were cruelly heinous, while the members of the family, and even the servants, were pregnant with ghosts, making the family feast even more absurd and distorted.
Another translation of "Family Feast" is called "That Night." The film limits the time to the helger family's one-day and one-night party, and writes the black story that happens in the family very compactly. And this compactness is only the premise of the film's various uneasiness. The characters in the film are extreme and agitated, and the emotional outbursts that have recently come to light as the story develops and the truth is revealed.
Plots such as the youngest son Michael's blowing up his wife and children on foot and letting Christine ride to a party, as well as the unclear relationship between the sons and the maids, all cover the entire film at all times, containing some kind of indescribable depression.
The theme of the film "Family Feast" is highly controversial, and it strives to express the evil of human nature through the creation of characters, as well as the collapse of traditional European family values. After Christian exposed the ugliness of the family, all the guests were indifferent, and even some people took the initiative to save the awkward atmosphere and laugh, as if What Christian had just said was just a boring cold joke; this was actually more serious than the problem of sexual assault, and the indifferent and indifferent attitude, although not uncommon in the Danes, still could not organize the occurrence of things under this extreme premise, and became more and more terrifying. What should have been a warm family gathering suddenly became a humane field.
Michael, the violent youngest son, who had been scolded out of the house by his father for alcoholism, came to celebrate his birthday this time, apparently with a profit-oriented purpose. Therefore, at the banquet, he once became an accomplice to save his father's face, and it is clear that choosing a side has become a value choice for his livelihood. Therefore, Michael's change of attitude toward his father's violent confrontation, and the act of expelling his father at breakfast, do not seem to be a tragic reconciliation, but another irony of his positionlessness and ignorance.
Since it is the No. 1 work of the "Dougmar 95" movement, the aesthetic style of "Family Banquet" also has a benchmarking significance. The film was shot on 35mm film, magnified on the screen, and the huge graininess of the picture appeared extremely rough, coupled with the violent shaking of handheld photography, and the heavy use of flinging lenses to emphasize the subject in the shot.
At the same time, the drifting camera movement (some call it "Linda's ghost viewpoint"), the poor composition, the unarranished natural light source, and even the various intentional zooms and unintentional virtual focus, all make the film resemble a kind of home video shot using DV, and bring the audience into an unadorned on-the-spot real experience; and in this regard, they complete the spirit of the declaration: to resist the exquisite high standards of production, liberate the camera and the producer, and return the film to its authenticity.
The "purity" film movement
In 1995, four Danish filmmakers, Russ von Trier, Thomas Winterberg and Kristian Levring and Søren Kragh-Jacobsen, unable to stand the declining status quo of Danish cinema under the weight of Hollywood, decided to speak out on their own and draft a statement about "pure cinema."
These young people who graduated from the Danish Film Academy (Ras von Thiel was no younger at the time) were ready to regain the soul of Danish cinema left by Karl Theodore Delieux, wrapped in the unique temperament of Nordic cinema, and reshaped the image of Danish cinema with their youth and boldness. "Dogme (Danish: Dogme, Rules) 95" The film movement was born.
Russ von Trier
They co-signed and issued the Dougmar Declaration and the Oath of Purity. The Dogmar Manifesto is an outlining spiritual manifesto against the illusory and illusory cinema of exquisite cinema, against the setting of technical thresholds for ordinary producers, against mediocre and individualistic cinema, while the Oath of Purity specifies the code of practice for Dogmar cinema in the form of rules and clauses.
These 10 rules, which are based on the principle of pursuing truth, require that the film must be shot in real scene, real sound, real light, the local environment at that time, must use handheld photography and academy standard 35 mm film, and also prohibit tripods, filters and post-production scenes, prohibit genre films, prohibit director signatures, etc.
With the popularity of works such as "Family Banquet", "Idiot" (Dogmar 2, shot by Tyre) and "Toro Sad Song" (Dougmar 3, photographed by Jacobson), the Dogmar 95 movement began to have a certain influence. Producers around the world follow its rules by submitting the resulting film to the four people who drafted the manifesto for review, and after passing the review, they receive a Dogmar number and certification.
"The Idiot"
Film movements like the Dougmar 95 had a special significance in the last years of the 20th century. Like the naturalistic Green Organization, the Dougma 95 movement is like a "green" and purified film movement. What these filmmakers advocate is about returning to the original intention of film, about the spirit of naturalization of film.
They strive to pursue the real texture of the film, refuse to design too much of the ups and downs of the plot, and will not elaborately arrange how complex the photographic environment is, the lens language and the actor's performance also present a real state without pretense; and then put forward the concept of "everyone can make a movie": you just take out the DV and shoot the story that really happens around you, you are making a movie, and you will not lose the opportunity to create a movie because of the threshold of technology, the lack of funds and the lack of equipment.
In addition, the subject matter of "Dougmar 95" films often expresses an original reflection on "human nature". These films often appear in a group of good-seeking justice, nothing or even simply demented protagonists, who use their encounters and stories in a certain dark and distorted environment to discuss with the audience, and finally use a "fairy tale" with extreme colors to show human nature; and use a return to the basics to challenge authority, fight and resist oppressive forces.
The qualities of Dougmar's 95 works also appear in "Family Banquet". The innocent and kind Christian, despite the pressure, exposes the family scandal that has been hidden for many years, and despite all kinds of duties and attacks, he still insists on returning to his father's villa to fight to the end. At the end, he dances in a round of embraces with his sister and other justice-seeking people, which is a reconciliation plan with obvious innocence and fairy tale style in the film: they dance fearlessly to defeat their dirty father.
The decline of "undefeated"
The Danish "Dogmar 95" movement completed the early classic "Dogmar Quadrilogy" after Dogmar 4 and Christian Levo's The King Doesn't Die. However, it is puzzling that these classic Dougmar works violate the 10 rules of the Oath of Purity. Too strict rules were a constraint on producers, and these rules soon began to become loose and weakened as more and more participants joined.
"The King Doesn't Die"
Ultimately, the Dogma 95 movement, because of its overly idealistic advocacy, has taken on a detached meaning to some extent. At the same time, without a deep ideological basis as a support, such a film movement will find it difficult to reproduce the glorious achievements of the great film movements of the 20th century, but instead become the best footnote to an increasingly diverse world that is difficult to generalize with a system. Thus, the Dogmar 95 presents an "undefeated failure", the failure of the original declaration is not adhered to to the end, and the success is actually the legacy left by the movement for world cinema.
First of all, the initiators of the early Dogmar movement established two film companies: Zentropa and Nimbus as the base camp of the "Dougmar 95" movement, and these two companies have gradually become well-known art film production and distribution companies in Europe in the construction of more than 20 years, and have established a good tradition of cooperation with the Danish government's film agencies, achieving more new filmmakers, and still excavating many excellent new works.
"Family Banquet" director Thomas Winterberg and the creator
At the same time, the "Dougmar 95" movement has also spawned a large number of excellent filmmakers. Thomas Winterberg and Russ von Trier have become excellent film directors, and although they no longer mention sports, they often unconsciously maintain the characteristics of Dougmar, which is why they have reason not to admit defeat.
In 2012, a "Hunt" made Winterberg regain everyone's attention, and while receiving rave reviews, it still returned to the characteristics of the movement in some details (the poster is the film picture, the kind male protagonist is thrown into an extreme environment); the mainstream praise also can't suppress his "Dougmar" spirit, and occasionally drums up experimental works like "Commune". His old friend Trier, on the other hand, was closer to a state of frivolity, constantly experimenting with some outrageous productions, and eventually was expelled from the film festival in Cannes and became a controversial and topical filmmaker.
The Hunt
At the same time, Basil Shafi ("Growing Education"), who later joined the "Dougmar 95" movement, and Suzanne Bill ("Better World"),also accumulated shooting experience through the movement and became a very characteristic, especially feminist art film director. Some well-known directors such as Steven Soderbergh (Drug Network) and Spike Lee (Do What They Should Do) have claimed that the Dougmar 95 has had a non-negligible influence on their work.
"Do What You Should"
The movement's leading photographer, Anthony Dodd Manto, participated in "Slumdog Millionaire", which also had familiar handheld photography and eventually won the Oscar for Best Cinematography.
Slumdog Millionaire
Russ von Trier once said: "There are only two film directors in Denmark, one is Carl Theodore Dreyer and the other is me. Perhaps it is because of participating in the rebellious film movement of "Dogmar 95" that filmmakers like Tyre have the courage to speak so arrogantly.
Nowadays, big-budget films continue to wreak havoc on the senses of the audience, but after the happiness has passed, it is often only boring. In these exquisite times, perhaps we will miss these savage growth, rough and real "Dougmar 95" movies even more.
E/N/D
22 years ago, they challenged the entire history of cinema
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