The abundance of great extras on this release of The Celebration may violate the Dogme 95 “Vow of Chastity,” but it’s a fitting tribute.
Thomas Vinterberg’s latest, like The Hunt, is ultimately a parable about breaking a social contract.
The lack of real analysis or consideration leaves this perilously close to a Goldilocks-style depiction of privileged female indecision.
The film is in part an exceedingly black comedy that parodies proper society’s eager, self-righteous naïveté on the subject of its children.
Anchored by an impressively modulated performance from Mads Mikkelsen, The Hunt is otherwise an indecisive, weak-kneed film.
We spoke with Vinterberg about the experience of making The Hunt, our world’s changing values, and the modern-day witch hunt.
The presentation is too fake to be real and not nearly fake enough to be called avant-garde.
Impossibly glossy, the film claims to be all about love but its heart never makes a beat.