‘I don’t think so. Looking at American society, I’m sure that there are a lot of families living on the surface, not thinking of what’s behind the facade. And that’s the topic of the film. There’s also a huge amount of Child abuse in American. At Cannes, many French journalists had to stop their interviews because they were crying. The reason that people say this is very Danish is explained by the rituals which we follow thoroughly in the film. The themes of the film are universal, although it doesn’t sound very humble to say that. ’
In the interview of Festen (Thomas Vinterberg, 1998), Vinterberg mainly mentioned that many families are different in appearance and inside in society. Many families will deliberately show their happiness and harmonious in front of outsiders. But inside the family, there are many unspeakable sadness and corruption. The director concentrate on Child abuse, the oppression of children by a family. This phenomenon is common, and the event in the film Festen is only a typical event, which is dramatized and revealed. The story takes place in the upper class, a class that pays more attention to hierarchy and dignity. The conservative tendency and patriarchal style of northern Europe can be better displayed in the upper class.
The whole family presents absurd "harmony" in the celebration, which can be regarded as the ultimate hypocrisy. With Christian's hand, director Thomas Vinterberg lift the fig leaf of a decent family and revealed the true face of the authoritative father. In the opinion of the director, the family is the only one institution that people can't choose and escape (Porton, 1999). In such a family environment, the primary task of each child is to maintain the glory and dignity of the family. Helena chooses to swallow the sadness after seeing her sister's suicide note and does not publish it to the public. After Michael seeing her sister's black boyfriend, he tries to drive him away in order to "not shame the family". This is tantamount to Fascism in the family, where individual interests are suppressed under collective interests. Christian is the eldest son favored by his father in the family. His character is modest, gentle and decent, which is in line with the image of a regular successor wanted by the big family at that time. His brother is ignorant, cynical and not valued. But no one thought that it was the eldest son who lit the smoke of "war" at home. Because the dead person is his twin sister. In such family oppression, the interaction between peers will be more important and the relationship between peers will be solid. His sister died under the pressure of the sexual assault of the authoritarian father.
In Denmark, one in 10 children will suffer from domestic violence, which seems to have become a part of society and is difficult to change in a short time (Porton, 1999). His father's behavior finally violated Christian's last line of defense, even if his behavior would disgrace the family and disgrace his father's majesty. He can't stand such a hypocritical family, and blames himself for failing to protect his suicidal sister. Then, the role of mother accounts for a small proportion in the film. In the patriarchal family, she is always around her husband. She speaks appropriately and behaves gracefully. However, after her son tells everybody the truth she had already known for many years, she chooses to cover up the facts and claims that Christian is suffering from paranoia. The false accusation against his son reflects that in this kind of family relationship, the oppression of the younger generation has become conventional. In the end, the father's exit will not completely destroy such a family relationship, Wood (1999) argued that even if patriarchy is overthrown immediately, it will still take several generations to gradually eliminate the imperceptible habit of universal rule.
Word count: 544
Reference list:
Kaufmann, M., Hald, B. (Producer), & Vinterberg, T. (Director). (1998). Festen [Motion Picture]. Denmark: Scanbox Danmark.
Porton, R. (1999, March 22). Something rotten in the state of Denmark: an interview with Thomas Vinterberg. Cineaste, 24(2–3), 17.
Wood, R, P. (1999). Humble guests at the celebration: an interview with Thomas Vinterberg and Ulrich Thomsen. CineAction, pp. 47-54.
又是一个发生在聚会中的变故的电影故事。一夜之间,地覆天翻。
又或者什么都没变,丑恶的人还是那么丑恶,无辜的人受过的伤害也无法被当作从未发生。
这部电影,在我的片单里是少有的。我很少看北欧的电影,但是,在我的印象里,它们的电影风格应该是平实又兼深邃,又像是遥远的星星,一闪一闪,点缀在深蓝的夜空中。夜空也不是太过暗黑,就是单纯的色调,简单地悬挂在我们地眼中。这一次的观影体验,正是这样的。
记得我看过一部纪录片,关于胶卷和数码相机在电影中的运用,它们各有各的拥趸,而这部影片正是在摄影机发展过程中首次被用于电影拍摄的影片,如果我没记错的话。那是我第一次听说这部影片,今天,是我首次看这部影片。
影片的展开平铺直叙,孩子们从各地赶回家,参加父亲举办的60岁的生日宴会。兄弟妹三人相处融洽,你丝毫看不出有任何不妥的地方。当然,不妥之处不在于孩子们之间的关系,而在于父亲与孩子们之间。并且,当我看到Christian和父亲会面的情节时,我甚至一度认为父亲更偏爱Christian一些,相对于父亲将Micheal排除在宴会名单之列。但是随着情节的展开,我才渐渐发现Micheal仅仅是莽撞而已,而Christian才是有故事的人。之后宴会上,Christian一次次地尝试把所有事实讲诉给宾客们,却都以失败告终。在第一次尝试后,Christian甚至都试图放弃。但是Christian地朋友们(酒店的工作人员)支持他,他才继续坚持,并且在酒店侍者的帮助下,让所有的宾客相信他所说的故事不是他臆想中的,而是真真切切发生的。Christian非常无助,在所有人不信任他的时候,在所有人保持冷漠的态度选择性的相信着自己的偏见的时候,他就好像是落入河水的一颗石子,推着他前进的是一股默默涌起的浪和自己双胞胎妹妹死亡事件对自己的打击。Christian的所有尝试均无果,最后揭开它们父亲真面目的还是Linda的遗书。但是奇怪的是,事实被揭发了,父亲恼羞成怒了,宾客们却没有我期待的反映,只是默默地面面相觑。反而是Micheal在夜里找到父亲,发泄一般的对他拳打脚踢。
关于宴会上众人对Christian揭发事件的反应,我想提一下。首先讲到Micheal。这是一个十分具有个人色彩的角色,自私、莽撞、大男子主义、无知且简单、重情义。他对家里发生的事情一无所知,从不了解哥哥姐姐所遭受的厄运,因此他不信任Christian,只觉得是Christian脑子出了毛病。于是他的做法很简单,将Christian轰出去,让他无法再回到宴会上,并且在每次推搡中都说这是他哥不能太伤害他。并且在真相被确认后,他的脸上也表现出了明显的震惊。Micheal角色的性格十分突出,易怒的性格,鲜明的红色。Helene知道一切真相,但是并不支持Christian的曝光行为。她曾经质问Christian为什么要这样做。她似乎一直在试图维护家族的形象,维持宴会的平稳进行。她一次次的的想要逃避。最终,Linda的信回到了她的手上,并由Helene的口被念出。Helene的角色十分脆弱,她试图维护表面的平静,但深感无力之后只能选择哭泣,从他人的安慰中逐渐站立起来,直面现实大厦之倾覆。她的颜色是绿色。另外Christian则是蓝色。不过他也并非是一直忧郁的,在事情解决之后,他的人生也开始有了亮色,开始追求自己的爱情。关于宾客们所担任的角色,大概就是冷眼旁观的群众吧。它们随着引导而大喜大怒,随着引导而且歌且舞。
故事地讲述从Christian回来途中偶遇Micheal开始讲述,接着便是众人等待晚宴的开始。兄弟妹三人的画面平行剪切,但是画面的组合令人疑惑。众人没有对晚宴的期待,反而是各有各的心事。也是在这个过程中,故事终又有了一个新的角色,自杀身亡的Christian的双胞胎妹妹。故事的高潮发生在晚宴上,并随着Christian的晕倒,陡然变得平稳。晚宴的戏份是很值得细究的。各位主要角色的演技也十分专业。画面镜头的摇晃似乎更增添了我们心情的复杂。拍摄的角度也时时变化,距离也时而偏远时而靠近。特写的部分是我们审视角色内心的部分;来自角落的目光则给予我们作为旁观者的感觉。另外,电影似乎很会抓人眼球,不仅来自于情节的发展上,也来自于画面的组接上,比如上一秒是Christian低沉的画面,下一帧便是宾客开怀的画面。
大元旦的看这么压抑的片子,别说片子里参加宴会的人了,观众看着都如坐针毡。29岁的温特伯格好不血气、泼辣,这脾性一点都不比拉斯冯温和。如果《秘密与谎言》只是家庭小抑郁的话,《家宴》就是重度精神分裂了。
本片是第一部遵守道格玛95“纯洁誓言”的电影,也是温特伯格成名作。影片撕破了一个表面高贵光鲜家庭的遮羞布,将不堪的家丑赤裸裸示人。俯仰偷窥多视角的手持拍摄完美契合了这个躁动不安、暗潮汹涌的故事。剪辑粗粝随性,三兄妹浴室寻宝的交叉蒙太奇精彩万分。一部张力满满抓马不断的佳片。(9.0/10)
Dogma#1,第一部用迷你DV拍摄的电影,反叛父权。虽规定抛却形式,但在机位的选择上格外用心。几处监视器视角及鱼眼镜头给人强烈的窥视感,高至天花板低至地面的摄影角度加强了幽灵视点的怪异,让自杀去世的双胞胎女儿Linda始终保持一种疏离的在场。最后烛火熄亮间插帧,浅梦中死去双胞胎的召唤,再填几分鬼魅。不太信服的是过度破碎的剪辑,既然选择使用DV还原现实感,为什么还要反复切角度将时空的连贯性打碎呢?3047
【B-】还是接受不了这个导演的风格。但是剪辑真是厉害呀。这个剧情应该去豆瓣“直播我身边的皇家极品”小组
Dogme95真的生猛(拉斯冯提尔和温特伯格都是金牛),能把这么classic的剧本拍的倍儿带劲,剪辑太不讲理了简直就是把观众一把推在墙上赤裸裸的耍流氓,摄影也非常爷们儿,金牛男可真是法西斯。四星半,剧本太无懈可击否则我会给五星的。
剧作太神了,即使不是Dogme95的片子也会很赞啊。没有流于简单的家庭情节剧,寓言性很强。剪辑是这部片子里最亮的部分。
太赞了!看的英文字幕居然还能那么喜欢!丑恶的家族秘密和各种抓马最精彩了!这估计是最不闷的Dogme电影之一吧!几处神剪辑和摄影亮瞎眼!
在瑞典、丹麦这几个北欧国家,我甚至猜想凡是有纳粹背景的家族常有父亲性侵自己儿女的行为,他们甚至把这个当成一种为人父的权利,好比【龙纹身的女孩】里的那个纳粹家族。那一个晚上一场热闹的家庭庆典成了一场家变,家丑被导演处理成了一个个连环炸弹,彻底撕掉了资产阶级的遮羞布。★★★★
那种乱中有序的气氛在一台小小的DV下被惊人地制造出来,这本身可能就是奇迹,精巧紧凑的剧本和导演技艺,塑造角色的水平堪称完美,同时温特伯格在堪称混乱的低画质画面中,还靠着晃动剪辑的组合制造了独特视听效果,可以说整部电影为了这个道格玛95证书,已经对传统电影语言进行了全面改造,堪称壮举。
看上去波澜不惊的家庭宴会,随着一次次敲打酒杯行致酒词,新状况不断发生。舆论被动的长子最终反败为胜,让道貌岸然的禽兽父亲名誉扫地。值得一提的是家宴中的群众被刻画的十分麻木不仁,总是窃窃私语然后若无其事。Dogme95的画质有些折磨人。
Dogme 95的作品,晃时间长了也不错,不过还会觉得用古典拍法,变革和反讽的力量会更明显。牛逼的还是剧作本身,以一种传统的家庭故事做派入手,不断解构和演变。
Dogme1。比较少被提及的一个点是Dogme95是最早对数码影像进行回应的艺术电影运动,而在对数码摄影机手持优势的极端运用之外,Vinterberg也同时乞灵于欧洲电影传统的两大脉络:实景、同期声、无音乐、时空连续性的极端现实主义,以及非连续性的蒙太奇(两者或许存在内在冲突)。借此Dogme将自身与同期好莱坞数码电影(科幻片为主)的奇观路线区分开来。
亲密而又疏离的流变(上帝)视角在私人以及公共空间里缓慢攀爬或肆意飞行。偌大的聚会上不是人与人的相敬如宾而是彼此之间的相敬如冰,温特伯格的《家宴》正如拉斯的《狗镇》一样生猛而直接。这个两个天才型的反叛者都在剧本上显露出他们自然而外溢的才华,但二人在叙事的语言和形式上却也沾染了过多“失败者”的戾气。“众声喧哗 总是艺术又失败了 艺术的胜利都是静悄悄的”,木心明审。于是接着说“惊世骇俗 就是媚俗”。
比起罪有应得的父亲,永远正襟危坐在荣誉那边的母亲才更像一个魔鬼吧
看的时候就觉得这种手提拍摄很奇怪,查了一下才知道这是世界上第一部Dogme95电影。剧本很强大,但可能因为下载的版本原因,扩大了观影的不适感。但还是对导演新作狩猎充满期待。
又看,再次感慨牛剧作神剪辑。很多人认为不晃更好,伯格曼也是这么说的。但我觉得晃得很好,有必要晃(除了鬼魂视点这个动机,你不能否认摄影机架好,演员就很容易端起来油起来,而这里演员的松紧适度,对不可预知的摄影机有一些不知所措的状态非常有感染力)就是画质太渣
天主教的北欧滋生了像伯格曼和托马斯·温特伯格这样的对性和对偶婚姻的平衡与“纯净”有着极端感受的文化,正是因为把性视为罪恶,把肉体视为堕落的象征,所以电影中漂浮着对人类身体的管制,通过家庭制度、现代法律、亲邻关系的全景敞视监禁,人的兽性被规训起来,由这种压强所产生的变态行为也格外令人怵目。一个有趣的对比:帕索里尼就几乎不会在这个意义上处理乱伦的题材,即使是《俄狄浦斯王》和《索多玛120天》,也是完全不同版本的故事。
还没看到过国内真正反思二战与人性的电影,场面不用漫山遍野地逃荒那么大,时间不用连绵几十年,一天一家人足矣,期待能有人破冰。
加强升级版《雷雨》。尽管Dogme95实在无聊透顶,但很难不给这部片子打个5星啊。
首部Dogme95,表面规矩得无可挑剔内里奇思堆叠的制限反利用,尤持拍特点被凸显至强烈却超现实的在场感.若真有个手持DV赴宴的存在,那必是带着冷彻洞察力和空无悲哀的幽魂.内幕的极端将戏剧化程度一并带高,但却像是投影,敛回原点就是实态.摊开的真相前,亲近与自私点燃的虚伪依旧毫不自知.剪辑凶猛而又平衡