filmbore pick of the week - Festen

Festen

Director: Thomas Vinterberg
Screenplay: Thomas Vinterberg, Mogens Rukov
Starring: Ulrich Thomsen, Thomas Bo Larsen, Paprika Steen, Henning Moritzen, Trine Dyrholm, Bjarne Henriksen, Helle Dolleris
Year: 1998
Language: Danish
UK rental release: November 2003 (DVD)

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Well, it's been a couple of weeks now since I last reviewed a film. Hopefully, you've been celebrating Christmas well and continue to do so. Your first treat from filmbore came in the guise of an alternate version of my Top 10s with filmbore's 12 days of Christmas, so go check it out if you haven't already.

Due to last week's missing review, I'll be posting two articles this time around; one today, one tomorrow. Today's choice was inspired by the Christmas tradition of families gathering in celebration over dinner and drinks. And there's only one film that captures this experience, albeit in a typical filmbore fashion, and that's Thomas Vinterberg dark drama Festen.

An elaborate lodge is the destination for many family members, travelling from all over Europe for a gathering in celebration to their patriarch, Helge (Henning Moritzen, Cries and Whispers, Allegro), who is 60 years old today.

We first meet his eldest son, Christian (Ulrich Thomsen, Adam's Apples, Brothers) walking with his luggage through the Danish countryside. A slightly reserved gentleman, Christian has been very successful in his life, with a couple of restaurants in Paris. He's looking to move the business to Lyons however, so has plenty on his mind.

Just passing him is his younger brother, Michael (Thomas Bo Larsen, The Hunt, The Biggest Heroes), an excitable, veracious character. He has a tumultuous relationship with his wife Mette (Helle Dolleris, Flickering Lights), already arguing with her about giving Christian a lift to the hotel. Picking him up off the side of the road, he leaves his wife and kids to walk all the way to the lodge.

Once they reach the hotel, Michael finds that he isn't welcome at the gathering at all; his father doesn't want him there. Michael will stay regardless, hoping to reconcile the rift between them. At this point, their younger sister Helene (Paprika Steen, Mifune, Okay) arrives by taxi. Helene is a singer and is well travelled, but has always been seen as a bit of a loner in the family.

When the three siblings get together they turn into kids again, play fighting like the good old days. There is someone missing though: the other sister, Christian's twin sister Linda, had died earlier in the year leaving a gap in all of their hearts.

Helene finds out that she's staying in the room where Linda died, and she's unsure if she wants to stay there. That is until she discovers that Linda left a cryptic clue for her in the same vein as the games they played as children. After searching all over the room, following Linda's clues, Helene discovers her treasure: an unexpected letter.

Even though they are estranged, Helge offers his youngest son Michael a potential invite into the Freemasons, citing that introduction to the secret organisation is more certain if he demonstrates a good manner in the evening's proceedings, ensuring that every goes by without a hitch.

This maybe out of Michael's control however, as Christian has ulterior motives. While everyone gets ready for dinner, preparations are underway, lead by the family chef, Kim (Bjarne Henrikesen, Chinaman, The Hunt). Kim is Christian's childhood friend and knows of his intentions. Christian wants to leave after he reveals his secret but Kim wants him to stay and see it through. He'll do whatever it takes to help his old friend through this.

All falls apart when Christian, tasked with making the first key speech of the evening, as he makes a shocking announcement that will begin to tear the family apart.

Welcome to the mother of all dinner parties! With some intense speeches and frightening revelations this is a film that will take you by surprise. From brilliant Danish writer and director, Thomas Vinterberg, who's recent film The Hunt, which I reviewed here, is another example of dark secrets and withheld truths, Festen is a story of revenge and stature in its microcosmic setting.

It's also about how appearances at family gatherings can be deceiving. On the outside, the siblings in this tale seem to be doing very well in general but are clearly troubled internally. This is accentuated at its fullest when seeing the relationship between Christian and his dad, Helge. Brewing through the entire piece is a psychological battle between father and son, which is the canvas that the whole picture is grafted onto.

The spine to this story is quite disturbing. I don't want to give anything away, as the reveal is key to your involvement with the piece, yet you'll notice the tension gradually erupting in phases once the first secret is announced.

There is some light at the beginning of this story though. The coming-together of the three siblings is joyous and familiar. There are a few laughs too. In fact, many have described Festen as a black comedy. I think not though... there is some surprising humour earlier in this tale, but I feel that it is placed there purely as character establishment. 

These moments are very funny, but this veil is dropped once the heavy premise of the overall plot raises its head. This early balance of comedy, resentment and fear works so fantastically due to the key performers. This cast is incredibly raw, all encapsulating genuine emotive execution with ease.

Thomas Bo Larsen, in particular, is just sensational as begrudging younger brother, Michael. Even though still successful, he is always in the shadow of his elder brother, Christian. Yet, this is never uttered, just portrayed with delicate subtlety by a man who is born to act. He blew me away as supporting character Theo in The Hunt, and he demonstrates the same level of both simmering emotion and explosive, uncontrollable dynamism in this piece too.

Such rich and absorbing performances have been allowed to flourish due to the perspective taken by Thomas Vinterberg in the creation of Festen. For those of you who may not be aware of this premise, this picture is the first to be crafted under the method determined by the Dogme 95 Manifesto. Set by both Vinterberg and another great Danish filmmaker, Lars Von Trier, the Dogme 95 Manifesto takes its credence from an article by François Truffaut, which illustrated the desire for creating pieces that concentrate purely on plot and performances. 

By exiling any techniques that involve special effects or post-production improvements and following a specific set of rules, these low budget outputs are intended to be shot in their entirety on set in the form that they are expected to be seen and heard. Of course, editing is allowed, but that is as far as you are permitted to go. This approach was revelatory at the time, inspiring other filmmakers to follow suit and gifting the world with a plethora of beautifully and simply crafted films.

This mentality prevents excessive budgets, yet the techniques used demonstrate how you can use the tools you are given to their fullest for incredible effect. With a very "fly-on-the-wall" feel throughout, there is some insanely brilliant shooting to be enjoyed. The nature of the camerawork flips from patient close-ups, to capture the tender performances, then parades a flourish of sweeping pans and a perfectly measured amount of moving dutch angles that garnish the flavours served.

Infusing the overall picture with a little panache, the lens work is just superb, especially considering that only basic lenses are permitted, again down to the Dogme 95 Manifesto. The methods used, accompanied by incredibly natural acting and a tale that would shake anyone, Festen is a pure demonstration of what is capable when you strip down all the gimmicks and focus on pure brilliant film making.

As one of the world's ultimate dinner party movies, Festen will not be what you expect. This is an extremely dark story, revealing a disturbing family history. You'll find a personal connection with the siblings in particular and will be drawn in by the realism of the overall piece. But taking into account the outcome of this tale, I'd be surprised if any Christmas gathering would turn out like this! You've been warned...

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