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Gee, if you think your family has skeletons in its closet or its gatherings are awkward, check out these guys. A wealthy Danish man is celebrated by friends and family at his manor for his 60th birthday, an event clouded by the recent suicide of one of his daughters. What starts off as light satire of the affluent, heightened by the home-movie-like realism that director Thomas Vinterberg got out of using handheld cameras, soon segues to much darker areas. It's a mesmerizing mix of comedy and pathos, and engaging throughout.

I won't spoil it, but there is lots of incredibly bad behavior, some overt and stemming from how entitled these people are, and some complicit, protecting their insular world. Nothing shows just how much they are willing to sweep things under the rug than when some of the truths about the past come out, and one of the sons is aggressively taken out into the woods. Nothing shows just how bigoted the group is than when one of the other sons starts singing a racist song to antagonize a black guest (the man his sister is dating) and everyone happily joins in. The father saying the line "that's all you were good for" was like a knife to the heart, and the subtlety of the son's reaction (Ulrich Thomsen) is heartbreaking. The unique style of the film and moments like this make it memorable, and it's worth seeking out.

Vinterberg's "Festen" which follows the strict guidelines of Dogma 95 could perhaps be hampered in its artistic approach, but not so here. Indeed with the hand-held camera the reality of the scene is intensified to such an extent one feels an integral part of the drama.

It's a family celebration of father Helge's 60th birthday. It's strange though that all the guests seem to arrive at the same time, speeding up the driveway in great excitement. There is lots of noise. hugs and kisses and the camera intruding in a mischievous way.

This family has some terrible dark secrets known to some, not to all. They are divulged by the eldest son Christian (Ulrich Thomson) in his dinner speech toasting his father. This is a wonderful scene, tense, sharp, riveting. The guests are shaken to the core. Is he telling the truth or is he having a wicked game with the assembled company? It's great stuff - really compelling drama.

The history of the family can be pieced together from information revealed in a series of toasts, but Christian's contribution renders the party speechless. It's a fairly noisy film with lots of people talking together, having arguments (Christian's brother Michael {Thomas Bo} has an uncontrollable temper) or screaming in frustration. These out bursts contrast so well with the scenes of stunned silence. They are quite electrifying moments - no words are necessary.

Films like this one make movie-watching well worthwhile. No wonder it won a Jury Prize.

Talk about dysfunctional families!! This movie is a real shocker ... expect the unexpected, all the way through. Very creative, profound and heart-wrenching breaking of the family silence about dark secrets. You cannot watch this movie and not be changed, outraged and shaken.

So many critics seem to have missed the point of "The Celebration," which is almost unbelievable because it actually does have a point, and I feel like I got it between the eyes with a sledgehammer. This is a movie about, among other things, the power of social conventions, how we depend on them to deal with unpleasantness, and just how stubborn and difficult they can be to circumvent, even when your life depends on it.

What knocks me out is how much I'm convinced by the whole thing. Every sad detail makes perfect sense. There is so much wisdom here that it never overreaches, no matter how deep in the storytellers get.

In particular, the medium of digital video is used in an outstanding way that adds authenticity to the experience. Think about it- most of the hand-held video work we've seen is of our own family events. When we watch the only scene in which Christian weeps, with Gbatokai leaning over and giving moral support, it could almost pass for a candid moment in a homemade documentary.

I've seen a lot of good family dramas, but rarely have I had such an urge to hug the main character and unleash profanity at several of the others.

What a film. Apparently the first of the dogme series of films (hand held camera, natural lighting, no backing track etc.). Forget that. This is brilliant in its own right as a 'family' drama. I was hooked from 20 minutes in. A fascinating insight into how human beings will brush abhorrent past crimes under the metaphorical carpet if it means continuation of their privileged lives. Human drama at its best. 10 out of ten

First of all, the home video camera style, casting and editing perfectly suited the subject matter and script. Wealthy and overbearing patriarch is feted on the occasion of his 60th birthday -- extended family and hangers-on gather with some of the best and worst aspects of our culture on display. It's also a rather sad occasion, as one of daddy's daughters killed herself not long ago, but several guests mention how "nice" the funeral was, and which room is mine? Eldest son rises to give a toast to the old man -- and out comes some unpleasantness that people would either prefer to pretend they didn't hear, or stuff forcefully back down his throat. Then the fun really starts.

Thanks to the cast for acting with restraint -- and being believable.

Some very black humour (including pathetic scenes of the decadent bourgeoisie at play), none of it gratuitous, some of it damning, some just outrageously funny. But this is not a light film in any sense. Guess what really happens when the victimised family member tells the truth? Ouch! What about when mommy gets to choose between husband and child? Double ouch!! And finally, when victim asks dad why he did it -- well, prepare for the blow to the old solar plexus...

Trust me, I know. This is how it really happens. It's good to see a well-crafted film (that gives its human themes paramount importance) on this subject. I'm tired of watching films which try to make me feel sorry for rich kids whose parents just don't understand how hard it is to be a rich kid with pimples.

As the families (one in ten?) with histories like this one can attest, being "dysfunctional" would have been a very happy place to be, compared to the reality as shown in this fine film.

I have seen this film more than I've bothered to keep track of. That's not to say that I've seen it an unusual amount of times(it's probably not more than three), just that I've never bothered to keep track. Anyway, my point is, every time, it's like seeing it for the first time. I keep discovering things that I must have noticed before, but don't remember seeing earlier. Tonight, I finally realized why; I'm blocking them out. I'm blocking out almost every single second of this film, and here's why; it reminds me of everything I hate about Denmark and being Danish. Everything strangers automatically associate me with, because I'm Danish. Not only does it remind me of it, the film flaunts it, without ever even considering holding back. The way we drink, how superficial we are, how dependent the typical grown male is of women, how racist and ignorant we are... everything. The film effectively airs our dirty laundry to the audience. On this latest viewing, I actually couldn't stand sitting through(a self-contradiction, I know) more than the first half hour... after which I casually followed the rest whilst sitting at my computer, from where I can see the TV screen... when I bother to stretch, so the computer monitor isn't blocking the view. Needless to say, I didn't catch an awful lot of it this way... but what I got was more than enough to disgust me. I can't think of any other movie I have this kind of relationship with... and I know why. I also know why this film has such an impact on me. It's because it's real. True. This is the kind of stuff you don't find in fiction... but in the newspaper, in your own family, in your own people, wherever you're from... the ugly side of us all. The shadow side. What we keep hidden from the outside world, but what we ultimately succumb to if we don't indulge it every once in a while. I chose to center my review for this film around this, because I think it's what really stands out about it. Also, I think we all, by now, know how great the acting, writing and direction is. And, being a Dogme film, it's very creatively filmed, too. So there you have it. A very creative film that puts so much focus on the shadow side of us all, of Danes in particular that is so effective that it actually makes me sick, me, a person who's been watching violent movies since I was twelve and was hardly ever affected by it. I recommend this to anyone who believe they can take it. Definitely not for the faint of heart or very sensitive people. Most people will probably have as strong a negative reaction to this as I did(unless they're far more grounded and at peace with who they are than I am), but don't let that deter you from seeing it. Chances are, you'll love it. If nothing else, you can't claim that it was fake or untrue. 10/10

"Festen" aka "The Celebration" was the impressive directorial debut of the young Danish filmmaker Thomas Vinterberg ("It's All About Love", "Dear Wendy"), and the first film made according to the rules of the daring Dogme 95 movement. It shows that you don't need big budgets to make a great film. However, Dogme wouldn't work if its films weren't as daring as its ideals of film-making - and "Festen" proved that those guys really have much to say.

"Festen" is an extremely cruel film, and it's somewhat uneasy to watch in some moments. The celebration of the title refers to the 60th birthday of Helge Klingenfeldt-Hansen (Henning Moritzen), who entertains his big family in his castle. But Helge's son, Christian (Ulrich Thomsen, excellent), whose twin sister recently committed suicide, has an important revelation that will surprise - and displease - many people; in the meantime, other secrets are revealed and nobody will get away clean. "Festen" deserved all praise/awards it got in international festivals (it won the Jury Prize at Cannes 98) and is a great introduction to Danish cinema. My vote is 10/10.

Having read about the film makers' "Dogme 95" charter I was expecting something pretty bizarre here but "Festen" (festival, celebration) co-written and directed by Thomas Vinterberg turned out to be the fairly orthodox tale of a traumatic family reunion. The only oddball feature, which added nothing to the dramatic impact, was the deliberately coarse film quality, achieved, it seems, by using a digital video camera. Perhaps "no artistic egos were destroyed in the making of this film" but the impression I got was that somebody competent was in charge, albeit somebody with a taste for odd camera angles.

The story centres around Christian, who travels back to the family country hotel (in Denmark) from his successful Paris restaurant to celebrate his father's 60th birthday. We soon discover the family are a pretty gross lot. There's a nymphomaniac sister, a violent, overbearing younger brother, and a twin sister who has committed suicide. Father is a burly dirty-minded bully with a short fuse "protected" by his elegant but cowed wife. Naturally a family like this has enough dirty linen to fill the hotel laundry which they proceed to reveal in the course of the evening in front of twenty or thirty guests, who, just in case they were thinking of leaving, have had their car keys hidden from them. Complicit in all of this are the long-suffering hotel staff, who can't see it happening to a more deserving bunch of people.

It's a bit difficult to say much about the acting - not understanding Danish is a bit of a barrier- let alone Danish mores. Christian (Ulrich Thomsen) is played as the still centre - we find out about him from what others say- yet he holds our attention throughout. Thomas Bo Larsen as Michael the obnoxious younger brother puts in a full-blooded manic performance and Paprika Steen as their sister Helena gave her role plenty of depth. The father (Henning Moritzen) was a bit two-dimensional - not enough charm to offset his basic nastiness. Among the minor players, I particularly liked Lars Brygman as Lars, the reception clerk, who never loses his (somewhat stunned) composure even as he is lying fully clothed in a bathtub at the behest of Helena looking for ghosts in the ceiling. I also liked Helmuth (Klaus Bondam), the Danish idea of the comic German toastmaster, who after some particularly shocking revelations at the dinner table manages to suggest dessert, coffee and dancing in the lounge - and the stunned guests meekly comply.

There were hints of Bunuel in this movie ("there's nothing charming about the bourgeiose") and perhaps "Last Year in Marienbad." The spirit of Ingmar Bergman was not far away either. The hotel itself, near Stockholm, according to the rather wavery credits, had a pretentious overstuffed, claustrophobic atmosphere that seemed quite appropriate.

Well. I don't know if Dogme 95 has anything new to say about film-making, but this was a watchable story. I think, however, anyone coming from a family like that would avoid reunions at all costs, even if seeking revenge.

I'll say 2 things about this movie.

1. This is a danish movie. A danish philosopher known to numerous people, Søren Kierkegaard, talked about emotional contra intellectual. This is a movie you should experience with your feelings, not your brain, turned on. If you do this, you'll smile and cry.

2. The acting is fantastic. It's so realistic, but still "wild" enough to keep you to the screen.

Can't help it, need to give it 10/10. It's not at great MOVIE, but it's a truely great EXPERIENCE. And as far as I'm considered, we're watching movies because we like to experience?

I've never fell into a movie like i fell into this one.

A different and interesting movie with some important message delivery.

After witnessing what Thomas Vinterberg has done in the Hunt (2012), a masterpiece of Danish cinema, I had to check out other works that he had made, which took me back all the way to 1998 and to Festen, a recent directorial debut for the young Thomas. Although it discusses the same topic as the Hunt, it has a very unique a different approach to it.

In Festen we witness a rich family dinner in Denmark, and we see the spiral towards some dark discoveries as the hours go by. What seems to be in the beginning another typical eccentric rich family gathering, becomes an uncomfortable reunion where some very serious matters are brought to the table.

The message the movie conveys is daunting and yet I find it highly relevant, we as a society, specially in big gatherings and reunions, have a standard set of rules of politeness that we follow and one would be considered rude or an actual outcast if he /she wouldn't abide by those rules, in Festen this is taken to the extreme (or maybe not), and it criticizes how those standards we follow, cause sometimes for us to awkwardly ignore major issues that can be unfolding right in front of our eyes, and we choose the superficial approach.

Now it would be legitimate to ask why I haven't given a much higher score then? Well for starters, I've read some previews reviews, including some from Danish people, who claim that this exposes a real issue with special importance in their society given how superficial they are, I cannot of course speak for this as I 'm not Danish so although the message is critical, it doesn't touch me probably as it does to Denmark nationals if this represents the truth.

Adding to that, and although I do believe that Thomas is an amazing director and this was an innovative approach, I am not a fan of the camera work and the perspective that we look into the film, a lot of people argue that it brings some realism, almost resembling an amateur camera filming the events, but for me it didn't quite work and it brought some odd feeling while watching it, for me it had the reverse effect, it didn't seem real, I still believe it's a great film regardless and definitely worth watching, if the same message was conveyed in a different manner this would be a 10/10.

Danish actors are always good. So are they in this film, and they kept me watching, but I didn't like it much. It's called a funny satire in a reviewer's quote on the video box. I think he was just trying to be smart. Reviewers are prone to label as satire anything that falls outside their experience, and to demonstrate their coolness by laughing at what moves the groundlings. The situation, a family reunion that explodes the family, could easily be treated as comedy, and is in the first scenes, but for the rest of the film it's played straight, as far as one can see, and the characters' suffering seems intended seriously rather than ironically. If satire was the aim, the filmmakers chose a style ill suited to it, that jarring, repetitive, pseudo-photojournalistic style now commonplace in TV crime shows and soft-drink commercials. It can be used well; most often it's just irritating; but the impression of in-your-face immediacy that is its object is the opposite of the distance required by satire. Here, it does something else that put me off: it makes the film look like an American film. So do the younger actors, who play in the same Methody style as Americans; the black-sheep brother comes off like a Danish James Spader, only with more talent. They're still good actors, and I I believed their performances. But with this qualification: I believed what they were doing, but usually I didn't believe they'd be doing it. On American cop shows the pseudo-documentary style is often used to add verisimilitude to scenes that would seem false without it, and I felt it was being used to the same effect here. Most of the characters' lines, especially at the banquet table, I found unmotivated; that is, they had plenty of motivation in general but none to say that particular thing at that particular time. I found most of the reactions unlikely too. I kept finding myself asking Why? Why this? Why now? The scenes needed to be carefully managed to be credible; the cop-show style gives the look of credibility; two different things.

I always wanted to watch "Festen" since I knew about the Dogme 95. As any Danish movie, it was released in a unique cultural theater. And, as most of the European movies, in less than 3 weeks, it wasn't...

OK, you'll tell the truth: I don't know why but I didn't watch it on a theater, and I could have done it. I waited for its release in video but all the times I went to the videostore I forgot to rent it. But one year after the release on theaters, it was rolling in Eurochannel (a cable-TV channel. It's all about Europe). I couldn't miss that chance so, on a Friday night, at 22:00, I finally watched it. And what an AMAZING film!!!

At first, the plot seems interesting and simple but after 20 minutes you finally realize how strong and provocative Festen really is. It's about one celebration made by the patriarch of the family Kingenfelt in the hotel where he lives. He's commemorating his 60 years. Christian, the older son, makes a speech where secrets are revealed.

The rules of the Dogme 95 as the use of natural light, camera in the hands, etc, help to create a claustrophobic and confidential clime, like nobody knows that someone is filming them. The scenes look incredibly real. Paprika Steen (Helene) and Ulrich Thomsen (Christian) were more than extraordinary. Paprika is a great actress and I can't stand waiting to watch "Idiotern", the second Dogme, in which she's acting again.

"Festen" is not just a worth watching film. It's a worth watching, re-watching, watching again, renting many times and recording to watch it a hundred times. Being the first Dogme, it's a mark in the cinema's history.

Grade - A+

The Celebration (Festen) is a Danish film directed by Thomas Vinterberg that is a masterclass in storytelling and acting. The film follows a family gathering to celebrate the 60th birthday of the patriarch, Helge, at a lavish hotel in the countryside. However, as the evening progresses, secrets are revealed, and long-held grudges surface, ultimately leading to a shocking and emotionally charged climax.

The Celebration is a brilliant exploration of family dysfunction, with all of its complexities and contradictions. The film deals with themes such as abuse, trauma, guilt, and the corrosive effects of denial and repression. The performances of the entire cast are nothing short of extraordinary, particularly Ulrich Thomsen as Christian, Helge's eldest son, who is harboring a deep and painful secret.

The film is shot with a raw and intimate style, using handheld cameras and natural lighting to create a sense of immediacy and authenticity. The pacing is relentless, with each scene building on the tension of the previous one, until the explosive finale.

While The Celebration is an emotionally challenging film, it is also a deeply rewarding one. Vinterberg and his team have crafted a masterpiece that is both a commentary on the state of the modern family and a testament to the power of forgiveness and redemption.

In conclusion, The Celebration is a must-see for anyone who appreciates powerful and thought-provoking cinema. The film is a tour de force of storytelling and acting, and a testament to the power of the human spirit. It is a film that will stay with you long after the credits have rolled, and a true masterpiece of contemporary cinema.

The story, the acting, the cinematography... it all blew my mind when I first saw this as a college student. You know that feeling when you've been invited by your boyfriend or girlfriend to a wedding and you knew nobody? It's especially uncomfortable if the family is from an upper class and there's a certain air of privilege in these people's lives? You're a guest and an observer. You feel a level of admiration, jealousy for how good these people have it. The film takes you on that journey from the point-of-view that I describe (at least it felt that way for me). I was an unknown guest observing the family dynamics. That insecurity and jealousy, turn to shock and embarassment as the story unfolds. The film truly invites you inside this "celebration".

Few movies are as uncomfortable to watch as this.

It feels sort of like a home movie but handles it a lot more naturalistically, yet somehow more creatively, than a lot of contemporary found footage.

Soap operas have nothing on this, limited resources come together into a perfectly crafted story of the things you only think happen to other people happening to you.

It's really hard to describe "Festen" (The Celebration), since I've don't want to spoil anything for people who havn't seen it before.

The acting is amazing, the screenplay/sound is one of a kind and the story is just so twisted, that you'll keep thinking about the movie in years to come.

I can't rate this movie other than a perfect 10.

Although I know most people who see this movie won't experience the displeasure of listening to the terribly pretentious director bragging about how it only took 2 weeks it took him to write this movie, but I'm sure for most people the lack of attention to detail will be evident in the final product. The most annoying part of the dogma 95 trend is that with the minute amount of talent, time and money required to make these films the growing number of directors involved in this trend could put out another one of their "home movies" every week. And with all the money they save is that they can fly to all the screening and explain to you why putting 10% effort into their work is art. I would like to suggest one amendment to the dogma95 doctrine: the problem with only using ambient lighting is, as the day gets darker a $800 video camera can't adjust like our eyes can in the real world. The result as the day progresses the film quality gets worse, not exactly a natural effect if you've ever been anywhere at night. Maybe all the d95 directors could get the actors to bring a few lights from home and set them up themselves, then the directors wouldn't have to lift a finger, or spend a penny. That way the actors wouldn't finds the lights intrusive because they've seen them before in their own house. Just a suggestion.