DOGME 95 TECHNIQUE
Just like Dogme 95, the new movement is influencing a wave of filmmakers across the globe. At Cannes, earlier this year, directors Tom Tykwer, İlker Çatak, Nora Fingscheidt, Helene Hegemann and Kurdwin Ayub announced the launch of Germany’s own Dogma movement. The five directors have officially signed up to follow the Dogma 25 manifesto’s ten rules. A Dogma filmmaking programme has also been greenlit in the UK, driven by Mia Bays and Gillian Berrie, and the making of a Dogma film has recently been announced in New Zealand. “It’s fun that we’ve made these rules and others are following suit, it’s very inspiring,” Alami says. “It’s great to think of filmmaking as a group effort, or solidarity that you can inspire people from other countries and cultures. Film is a universal language.” Isabella Eklöf’s next project, Mr. Nawashi , is set for a 2027 release and
will mark the first of the Dogma 25 films. The feature will be followed by Annika Berg’s God Is Love – Backwards It’s Dog . Alami believes Eklöf’s project will be very different from the Dogme 95 films. “We are a different group of people, with different backgrounds,” he says. “Lars von Trier and Thomas Vinterberg, however, were both very happy and really supportive. They felt that it was cool that someone is going to do something.” The manifesto states: ‘we stand together to defend artistic freedom as a shield against pointlessness and powerlessness’. Three decades after von Trier and Vinterberg disrupted conventional filmmaking, Dogma 25 is attempting its own rupture, not with the way films look, but with the way they are made. Whether or not it will shake up the industry as their predecessors did remains to be seen.
PARTY ON Julien Donkey-Boy was the first non-European film to follow Dogme 95 rules
NEW RULES: DOGMA 25
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The script must be original and handwritten by the director. At least half the film must be without dialogue. The internet is off-limits in all creative processes. We’ll only accept funding with no content-altering conditions. No more than ten people can be behind the camera. The film must be shot where the narrative takes place. Don’t use makeup or manipulate faces and bodies unless it is part of the narrative. Everything relating to the film’s production must be rented, borrowed, found or used. The film must be made in no more than one year. Create the film as if it will be your last.
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IT’S GREAT TO THINK OF FILMMAKING as a solidarity ”
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DEFINITIONMAGS
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