The inauguration of the Dogma 95 movement, this movie it's a punch in your stomach that somehow gets undermined by its frantic approach.

An example that good filmmaking doesn't need big budgets or incredible visuals to be great. One of the most representative films of Dogma 95

The Celebration may just mostly be known for being the first film of the Dogme 95 movement, but it's also so much more than that. This is an amazing film that is extremely funny at times, and shocking in others. The restrictions in the filmmaking actually heavily help this film, letting the amazing writing and interesting character dynamics shine. The handheld camera work also makes for some of the most interesting shots I've seen in a movie. The Celebration is an interesting exercise in filmmaking, and a great film on its own too. This is a must-see for any fan of interesting films.

Isso sim é um filme autoral e de vanguarda, da maneira que eu gosto "câmera na mão e ideia na cabeça", um longa experimental e fantástico, o (Dogma 95), é um movimento do qual sou um grande entusiasta.

Even if sick from the hand-held camera, this was an amazing, must see display of truth in the face.

An emotional roller coaster, authentic to its core, and deeply effecting. I have seen few movies like it. Vacillating between dark comedy and utter melancholy, the strands of trauma run taut throughout this claustrophobic piece of bold filmmaking as it unfolds in real time. Each character has a purpose, each scene keeps you engaged. Ulrich Thomsen is phenomenal.

The best film of the dogme 95 movement, fantastic script, editing and accelerated camera capture so that the events are realistic, in addition, fantastic performances and direction

I've seen this movie a few times over the years and I can't come up with one bad thing to say about it. It's a masterpiece.

The sharp screenplay, though written by the filmmaker to comply with Dogme's 10 rules and its staunch edict to forsake "artistry" and "refrain from personal taste," is a profoundly personal explosion of what isn't talked about. It was a blast felt around the world, resonating in the form of accolades, awards, and an Oscar-winning film career for Vinterberg. And The Celebration -- and by extension, Vinterberg and his excellent crew and bold cast (including Ulrich Thomsen, Henning Moritzen, Thomas Bo Larsen, Paprika Steen, and Gbatokai Dakinah) earns every bit of the massive acclaim it reaped.

"It is quite a job being toastmaster tonight." Well that's an understatement. Most of the Dogme 95 'classics' (i.e., von Trier takes) do relatively little for me, they mostly seem to add a unique stylistic flair without justification, different for the sake of being different. But Festen is different; the shaky-cam and intimate angles play into the domestic instability, and actually impart an energy that helps place the audience at the table, stewing in the atmosphere of uncomfortable tension. And this Thomas Vinterberg film is one that relishes tension, playing off of the tightrope walk between social graces and honesty. The family is taken aback by explicit and unexpected accusations, and their first response is to ostracize the accuser despite the emotional authenticity of his pleas; the air in the room is quickly replaced by a shared, uneasy denial, almost surreal in nature. It takes several additional outbursts, including the testimony of an unquestionable source (from a candid suicide note) to ultimately force the truth onto the family, and even then breakfast returns to a cheery balance the following morning, with the notable exclusion of one now-reviled family member. Equal parts caustic, bleakly comic, and dramatically powerful, Festen is stripped-down but hard-hitting, a testament to the strength of a new aesthetic movement when paired with a narrative that actually complements it. (4.5/5)

A story with a twist that keeps you glued to the screen.

One of those films that's going to linger in the memory. The acting is faultless, the realism frightening, the plot and dialogue is razor sharp and the whole film leaves an extraordinary impression. A staggering piece of cinema.

Only after watching most of the other dogma films did I realize how much Vinterberg’s work stands out. In this, The Hunt, and Another Round, he takes absurd or extreme premises and confidently makes absorbing, nuanced, fascinating films from them.

As a part of a very interesting manifest (and the first one of them), it works very well because of the story and its revelations that are shown throughout the movie. The start is a little bit of slow (could make some people give up), but it evolves in a interesting way until the end, presenting timely themes unexpectedly. The acting is promising from all the cast, especially Ulrich Thomsen, Henning Moritzen, Thomas Bo Larsen and Paprika Steen. Very good watch, but be patient and open for some surprises.

So successful because it's achieving its main goal: extremely disturbing.

strong development of characters and even stronger ending. it's a shame we don't see more like this but ... Thomas is in a league of his own.

Deeply unsettling yet somehow joyous, Festen celebrates the simplicity of cinema by digging into the complexity of human drama in the most satisfying way possible.

Dogma-95 sounds borderline moronic, but this outcome is a must watch.

Brilliant - engrossing drama on family dysfunction and dark secrets. It is Helge's 60th birthday and a lavish celebration is being held, with a host of guests. His three children - Christian, Helene and Michael - come from afar for the occasion but it is soon obvious that the family is hardly a harmonious, happy one. Hanging over the occasion is the recent suicide of Christian's twin sister, Linda. Then, during the toasts at the dinner, Christian drops a bombshell. Brilliant drama from Danish director Thomas Vinterberg. Immediately engrossing, with well-developed characters, each with their own unique peculiarities, and a high level of engagement. Very interesting plot, with Christian's revelation kicking the intrigue up several notches. It doesn't let up from then on out. Clever camerawork from Vinterberg. Many of the shots give a home-movie feel, heightening the candid, family atmosphere, and providing a touch of irony, considering how the plot develops. The ending may feel anti-climactic but anything more would have been unnecessary and would just have diluted the brilliance of the movie. Solid performances all round, with Ulrich Thomsen, as Christian, the pick of the lot. Thomas Vinterberg went on to direct two more masterpieces: Submarino (in 2010) and The Hunt (in 2012). However, the first indication of his genius was here, Festen.

One of my all-time favorites.