Dogma Films

  • Søren Kragh-Jacobsen – Mifunes sidste sang aka Mifune’s Last Song (1999)

    Søren Kragh-Jacobsen1991-2000ComedyDenmarkDogma FilmsDrama
    Mifunes Sidste Sang (1999)
    Mifunes Sidste Sang (1999)

    Kresten’s dad dies and he returns to the farm on Lolland to take care of things incl. his retarded brother. He employs a hooker as maid. He loses wife and job due to lies. The maid’s kid brother moves in and they’re a family of 4.

    DOGME 95 #3Read More »

  • Kristian Levring – The King Is Alive (2000)

    Kristian Levring1991-2000Dogma FilmsDramaSweden
    The King Is Alive (2000)
    The King Is Alive (2000)

    When a bus breaks down in the desert, the passengers decide to stage “King Lear.”

    Thinking Inside the Box
    Rating * Has redeeming facet

    The King Is Alive, directed and cowritten by Kristian Levring, is the fourth film to have the dubious honor of qualifying for certification under the rules of the Dogma 95 manifesto, whose professed aim is to get back to the basics of realism — shooting, for example, in natural locations with handheld cameras, direct sound, and natural lighting. But what’s basic or realistic and what isn’t, in terms of film history and technique? The manifesto also insists that movies be shot in color, a rather ahistorical reading of what’s basic — unless one labels all possible uses of color in film realistic and all possible uses of black and white artificial.Read More »

  • Ole Christian Madsen – Kærlighedshistorie AKA Kira’s Reason: A Love Story (2001)

    Ole Christian Madsen2001-2010DenmarkDogma FilmsDramaRomance
    Kira's Reason: A Love Story (2001)
    Kira’s Reason: A Love Story (2001)

    En Kærlighedshistorie AKA Dogme # 21

    REVIEW by Scott Tobias (from
    The 21st film to receive official Dogme certification, and one of the few unharmed by its minimalist limitations, Ole Christian Madsen’s powerful Kira’s Reason: A Love Story could be the undercard to A Woman Under The Influence, John Cassavetes’ seminal study of a marriage and mental illness. Beginning with a wife’s return home after time in a psychiatric ward, both films gain their tension from the strained attempt to return to normalcy after everything has irrevocably changed, a transitional phase made all the more painful by brief flashes of the couple’s old dynamic. Though Madsen’s middle-class heroes have little in common with Cassavetes’ more combative blue-collar counterparts, their reunion is similarly raw, painful, and unexpectedly romantic, as they try to redefine their relationship around a new set of terms. Looking and acting uncannily like a young Genevieve Bujold, Stine Stengade gives a touchingly unhinged performance as the title character, a madwoman who tries to find her footing as a wife and mother after being committed for an unspecified condition.Read More »

  • Lars von Trier – Idioterne AKA The Idiots [+ Commentaries] (1998)

    1991-2000DenmarkDogma FilmsDramaLars Von Trier

    The group of people gather at the house in Copenhagen suburb to break all the limitations and to bring out the “inner idiot” in themselves.Read More »

  • James Merendino – Amerikana [+Extras] (2001)

    2001-2010Dogma FilmsDramaJames MerendinoUSA

    A road-movie about two friends, Peter and Chris, in their late 20′s, one incredibly idealistic and optimistic; the other cynically nihilistic and negative. They pick up a Vespa in South Dakota and travel with it to Los Angeles. As they travel through the northwest to the southwest, they see their country through different eyes. Chris has high expectations and romantic notions of America. Peter sees the emptiness of America with lost ideals and lost people. While they do not discover the identity of America on their road trip, they ultimately find themselves…Read More »

  • Lone Scherfig – Italiensk For Begyndere aka Italian for Beginners (2000)

    1991-2000DenmarkDogma FilmsDramaLone ScherfigRomance

    In a city suburb, a young minister arrives to take up duties at a local church. He is persuaded by his assistant to join an Italian night school class, and he soon becomes the centre of a group of people to whom fate has dealt quite serious blows.Read More »

  • Jesper Jargil – De ydmygede AKA The Humiliated (1998)

    1991-2000DenmarkDocumentaryDogma FilmsJesper Jargil

    Rarely is a making-of doc so perfectly matched in tone or storyline as the subject of its gaze, but The Idiots and The Humiliated are furiously intertwined, in a mindgame kind of way that seems quite — Von Trier-ian? Filmmaker Jesper Jargil accepted an assistant director post on The Idiots under the condition that he be allowed to make his own film about the film, and the result is as personal and scarring as Von Trier’s masterwork. Using the same DV cameras as Von Trier was using, Jargil covers the actors and director living in the same communal space (much as the film’s characters do), and as Lars pushes his actors to the brink of emotional endurance, he himself goes bonkers in a paranoid, hypochondriachal fit — and the viewer is left feeling as if the whole production is the brainchild of a semi-mad cult leader intent on instantly capturing on tape every neurosis he wishes to purge in the real world. Unprecedented and ultra-rare, The Humiliated is an intimate meta thrill ride.Read More »

  • Lars von Trier – Idioterne AKA The Idiots [+Extras] (1998)

    1991-2000ComedyDenmarkDogma FilmsDramaLars Von Trier

    “Idioterne is the cinematic equivalent of a knife in your gut. The Idiots is altogether a complex, maddening, devastating, kaleidoscopic one-of-a-kind viewing experience.”Read More »

  • Juan Pinzas – Dias de voda Aka Wedding Days [+Extras] (2002)

    2001-2010Dogma FilmsDramaJuan PinzasSpain

    from imdb:
    For starters the audience must be aware of the fact that this is a film that is part of the DOGME 95 Movement, described as follows: ‘the goal of the Dogme collective is to purify film-making by refusing expensive and spectacular special effects, post-production modifications and other gimmicks. The emphasis on purity forces the filmmakers to focus on the actual story and on the actors’ performances. The audience may also be more engaged as they do not have overproduction to alienate them from the narrative, themes, and mood’ – superficial action such as murders, no special lighting and must be in color, film must be shot on location with hand held cameras, director must not be credited, etc. Given these restrictions the story and the action of DIAS DE BODA (‘WEDDING DAYS’) seem much more immediate and the lapses in fluidity of the story can be forgiven – to a point.Read More »

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