above comes from Dougma's 95 Director's Manifesto.
As a representative of Dougma, the order of Las Von Leer’s trilogy of conscience is a bit reversed, followed by "Dancer in the Dark", "Breaking the Waves" and "Idiot", except for "White". The heart cannot be calm. Of course, what "White" brings is not fear and helpless lament, but more anger. The trilogy tells three stories, and a woman. This woman is both the mother in "Darkness" and the wife in "Breaking the Waves", as well as a fake and mad housewife abandoned by the family in "Idiot".
This poor woman, kind and fragile, sensitive and neurotic, weak and sharp, determined and brave, sadly betrayed by men in all three stories. As a male director, Lars von Lier has used his unique vision to tear open wounds that have been covered up in real life. These wounds exist between religion and life, love and sex, family and ethics, and are directly condensed into male desires and greed.
The woman under the lens does not have a high status and income, but has an amazingly rich knowledge of herself.
In addition to "Breaking the Waves", I think of Fassbinder's "Fear Swallows the Soul". Love seems to only accelerate death. It seems that only with the help of abnormal love can we express our desire for love freely. There are many kinds of love. There are many kinds of hatred, and love is inseparable from sex. However, under the banner of love, sex-oriented incidents continue to occur. Does the dignity of men have to be manifested as the sex that dominates the wife even in marriage? The husband in "Broken Waves" eventually recovered his health but destroyed his wife who was devoted and loyal to love.
Every work of Lars Von Leer strictly follows the Dougma Manifesto. Such a simple realist work is like a sudden storm in a peaceful afternoon, which makes people's emotions and rationality instantly collapse and return to peace.
The full text of "Dogma 95 Declaration" (ie "The Vow of Chastity") is attached as follows: The
film must be shot on-site, no scenes or props are allowed ;
no sound is made out of the picture, and no picture is made out of the sound ( The use of music is prohibited unless there is music with a sound source at the scene); it
must be taken with a handheld camera. The story of the film does not need to happen in the presence of the camera, but the filming of the film must be done at the location of the story (any moving or fixed lens only It is allowed to be completed in portable photography, no tripod is allowed); the
film must be colored and does not accept special lighting (if the scene lighting is too weak to be exposed, the scene must be deleted, and only a single light attached to the camera can be used at most );
Optical processing or the use of filters is prohibited; the
film cannot contain superficial behavior (such as murder, the
prohibition of weapons, etc.); it is forbidden to deviate from the time and scene (that is, the film must take place in the local area);
genre movies are not accepted;
film specifications shall institute a standard 35 mm format (Note: Academy 35 mm, the Academy of Motion Picture Arts and sciences 35mm technical specifications);
director of the name can not appear in the employee table in
the video channel to obtain the first sigma qualification is "that One Night" (Thomas Winterberg, 1998), because the film was shot with a digital video camera and then enlarged to 35mm film, it will show obvious coarse grains when it is shown in the theater. The Jury Prize at the Cannes Film Festival, the second is "Idiot" (Las von Trier, 1998), and the third is "The Tragedy of Min Lang" (Soren Cragg Jacobsen, 1999) year). By 2000, 15 or so films had obtained the Dougma Film Certificate. In addition to the members of the Dougma Group 95, the directors of these films include French, American, Italian, Swedish, Swiss, Argentine, and South Korean film directors. director.
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