Directed by:
Thomas VinterbergCinematography:
Anthony Dod MantleComposer:
Lars Bo JensenCast:
Ulrich Thomsen, Henning Moritzen, Thomas Bo Larsen, Paprika Steen, Birthe Neumann, Trine Dyrholm, Helle Dolleris, Therese Glahn, Klaus Bondam (more)VOD (1)
Plots(1)
A celebration is being prepared in a large lonely house. Helger Klingenfeldt, the patriarch of the family, is celebrating his sixtieth birthday. Slowly the guests begin to arrive - friends, relatives and, of course, the celebrant's closest: wife Elsa and the three adult offspring Christian, Michael and Helena. All is ready, the guests sit at the table. Nobody knows what will happen next when Christian rises to give a speech. Soon everyone realizes that they will never forget this evening and this night. (Zlín Film Festival)
(more)Reviews (7)
A classic premise, an unconventional formal approach, a superb film. I haven’t had that much fun with a thoroughbred drama in a long time, and it’s been long since a thoroughbred drama gave me such chills. The best moments: Christian’s first speech and the singing of racist songs.
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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.
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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%.
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They promised purity only to reveal the filth. Sticking to those principles doesn’t seem restrictive to me; instead, it opens up space to embrace any imperfection as part of the concept. However, with each new speech that slightly opened the wardrobe door to reveal a skeleton, the spontaneity of the form and the purposefulness of the content began to diverge. Being the master of ceremonies at such a gathering, pouring pure wine—das ist Selbstmord...
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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%
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The form didn't impress me, no matter what Dogme 95 claims; it rather bothered me and spoiled the experience of this film. However, it definitely doesn't tell a bad story, where relationships come first, especially how they beautifully manifest and complicate things during one dinner, opening many closed doors. A good impression, but not much more.
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Apart from the main storyline (with the father), it's still quite interesting to see the gradual profiling of the characters (although for some of them it's obvious from the beginning) and also the reactions of the "mob", which are mostly an exemplary display of hypocrisy and narrow-mindedness. A brilliant, gritty, thought-provoking drama that is also the best representative of the Dogme 95 manifesto.
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