Dogme 95 Founders to Recieve European Film Honor
Lars von Trier
Coming from Denmark, the Dogma movement has changed they way we look at film: "In 1995, a group of Danish filmmakers rocked the film world, establishing a revolutionary set of rules for filmmaking, and invading film festivals and cinema screens with a distinctive, rough and not always comfortable look. Thus Dogma was born... without doubt it has exerted a strong influence on filmmaking and has set an astonishing example for filmmakers all over the world, demonstrating that it is possible to make successful films on a low budget, in a small film nation, and without a tripod." (Projections 15, Faber&Faber)Click here to read the full press release.
In recognition of a unique impulse to the world of film and honouring their dedication to European filmmaking, the European Film Academy will present Søren Kragh-Jacobsen, Kristian Levring, Lars von Trier, and Thomas Vinterberg with the award EUROPEAN ACHIEVEMENT IN WORLD CINEMA 2008.
All laureates will be among the guests at the 21st European Film Awards Ceremony on 6 December 2008 in Copenhagen.
Lars von Trier is one of my favorite filmmakers, and has directed two of the best films of the decade so far (Dancer in the Dark and Dogville), so any honor or recognition is cause for celebration here at From the Front Row. Congratulations to Mr. Von Trier and all of the founders of the Dogme 95 movement, as well as to Dame Judi Dench, who will also be receiving a lifetime achievement award from the European film Academy.
If I were to list 10 methods here that bans a couple of expressional methods in movies, I would have my own movement. They must have realized either their insignificance or mere stupidity that they broke their own rules even from the first film.
Interesting take on Dogma95 Anil, but I can't agree.
Sam, DOGVILLE was also my #1 film of 2004, and ETERNAL SUNSHINE was my #2, so we're definitely on the same page. However in 2000 our #1 and #2 picks were reversed, with CROUCHING TIGER coming in first and DANCER IN THE DARK coming in second.
I have not yet seen BREAKING THE WAVES (which I've been on the lookout for for a while now) or EUROPA, but I definitely think that MANDERLAY is underappreciated, even if the novelty of its ultra-minimalism wore off a bit after DOGVILLE.
As an example, I love Dogville exactly because it facilitates a unique visual and narrative expressional method by breaking the very first rule of Dogma95. So do not equate the films you have mentioned to the movement itself.
Matthew, I am not saying dogma does not mean anything at all; on a close analysis you can read that as a rebellion against Hollywood's domination of the film medium with artificial techniques. So I agree that they have defined a very significant problem, but I am simply not satisfied with the solution they came up with. I read their 'restrictions' as their tendency to declare such things as completely worthless, which nags me. Needless to say, Hollywood and that artificial feel they had been criticizing has great examples (one of which is Dogville itself) along with the terrible ones, some of which are actually closer to the European understanding of film than that of Hollywood itself.
What's worse is, their pretentious attitude turns this meaningful rebellion into a craving for attention/artistic grandeur, which, as we can see from your post, has been finally responded with an award.
That's all I am saying; otherwise I agree with all your assessments regarding Trier's films at hand. He excites me as a director, to say the least.