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To wind up this term’s offering of world cinema we will once again fix our attention on Europe, with the nation of Denmark being the object of focus.
Although in the 1970s Danish cinema was more widely known as a mélange of sexually explicit scenes, in the last few decades they have stayed thoroughly in the leftfield through the use of more experimental cinema, although Danish cinema is not without its controversy. This week the films discussed here represent both the experimental spirit (Festen) and the more mainstream (Babette’s Feast).
Director: Gabriel Axel
After spending many years in the wilderness, Babette’s Feast represented the first time Danish cinema made it into the foray of foreign critical attention with it scooping the Best Film in a Foreign Language prizes at both the Academy Awards and BAFTAs over the much-acclaimed French film Au Revoir Les Enfants.
Based on the story by acclaimed Danish authoress Karen Blixen, Babette’s Feast is set in a remote coastal town which is home to a very religious community. The first half depicts the past lives of Martine and Philippa, pious daughters of the local religious leader, who sacrifice all their chances at love for the sake of their faith. During this we become acquainted with Babette who, having run away from France after a recent uprising, has now been taken in by the sisters as their cook.
However, the majesty of this film is truly revealed in the second half, set decades later, with the feast itself. Here the titular character has won the Parisian lottery and decides to use all her money to cook a divine feast for all of those villagers who took her in during her moment of dire need.
There are few films that are able to truly transfer the delectable qualities of food to the big screen, something that Babette’s Feast does with aplomb. It may not be everyone’s idea of a gripping film but its study of humanity’s spiritual relationship with food makes this an interesting watch.
Director: Thomas Vinterberg
Although hailed upon release as the foundation of Thomas Vinterberg and Lars Von Trier’s revolutionary ‘Dogme’ of cinematic purity, Festen is actually a surprisingly modest affair. Rather than creating a revolutionary storyline, Vinterberg instead chooses to create a film set entirely at a country house where family secrets are revealed at the patriarch’s 60th birthday celebration.
Time has only made one thing abundantly clear about Festen, which is that despite its claims it is simply not revolutionary. Yet this is hardly a criticism for while stylistically it may not have altered cinema, it makes for a superb drama. Both the acting and script are brilliant throughout the film, creating an ever escalating sense of tension and anguish as it becomes increasingly apparent that respected patriarch Helge is not what he seems. Vinterberg’s direction is also excellent, managing to make the home where the film is set seem like a living, breathing place as we see it both from the perspective of the wealthy owners and their somewhat troublesome staff. One criticism that has to be levelled at the film however, is that due to its setting and nature, it feels very much likes a converted stage play - which of course it isn’t.
Over a decade on it seems apparent that Festen and ‘Dogme’ have as yet failed to have much impact upon cinema outside Denmark. That is certainly not to say that Festen is not a superb film being both well-made and a highly watchable drama.
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