In 1995, Danish directors Lars von Trier and Thomas Vinterberg wrote and co-signed the Dogme 95 manifesto. Beside a lengthy, long-winded text, there were a set of vows that ruled the way the two directors, and their followers, were to make movies. These are the rules:
1. Shooting must be done on location. Props and sets must not be
brought in (if a prop is necessary to the story, a location must be
chosen where the prop is to be found).
2. The sound must never be produced apart from the image, or vice
versa (music must not be used unless it occurs where the scene is
3. The camera must be hand-held. Any movement or immobility
attainable in the hand is permitted.
4. The film must be in colour. Special lighting is not acceptable. (If there
is too little light for exposure, the scene must be cut, or a single
lamp may be attached to the camera.)
5. Optical work and filters are forbidden
6. The film must not contain superficial action. (Murders, weapons, etc. must not occur.)
7. Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now).
8. Genre movies are not acceptable.
9. The film must be Academy 35mm.
10. The director must not be credited.
The Dogme 95 experiment lasted ten years in which 35 film were made worldwide. But from their first films, both von Trier and Vinterberg admit that they never followed the rules entirely. Today, Vinterberg makes films that are far removed from his Dogme years. The commune stars Trine Dyrholm and Ulrich Thomsen as Anna and Erik, and Martha Sofie Wallstrøm Hansen as their teenage daughter Freja. After moving in the estate inherited from Erik’s dead father, Anna proposes that they start a commune. It’s clear that Erik is reluctant and only accept in the hope of saving his crumbling marriage. Soon, they welcome a few friends and some other people they have interviewed. Freja goes through the whole affair with a WTF look on her face. But it gets worse when she walks in on her dad and his mistress, a young student called Emma (Helene Reingaard Neumann). Then Erik tells Anna about the affair, and announces that he wants Emma to move in with them and be part of the commune. That’s when Anna starts coming apart. She drinks more and her job as a popular TV news anchor is in jeopardy. As for 14 years old Freja, she has sex with an older boy from school. The commune has a bit of a mocking, satirical tone. When the members have a meeting, it seems more like an excuse to drink beers. Then the usual “commune” stuff happens. They speak ad nauseam, drink more beers, make a democratic decision by vote, drink some more, and everybody goes skinny dipping. In the early scenes The commune is quite funny, until it becomes a family drama. It is surprising how much Vinterberg has veered from Dogme. You could not get a more conventional looking film. Vinterberg even inserts some pop music songs from the 70s. One thing is sure. One cannot be cynical about Trine Dyrholm’s performance as Anna. It is an impressive exploration of traumatic depression. Otherwise, The commune is too conventional to be interesting. It is quite ordinary.
The commune (Kollektivet)
Martha Sofie Wallstrøm Hansen
Helene Reingaard Neumann
Julie Agnete Vang
In Danish with English subtitles.