Cinema and Directors

What is it about cinema that so attracts an audience. Who knows? It is far from the greatest of art forms, but certainly it is the most popular of recent times. Once I was a film addict who belonged to various cinema groups, enthused over the bleakness of Igmar Bergman, the filminess of Fellini or the elegance of Visconti. I became devastated by 'A day in the life of Joe Egg', and was oh so titillated by the sight of the slightest hint of nudity in the late sixties /early seventies. Oh how one's taste can change. I guess cinema today (particularly European and Chinese cinema)  is largely better, or more honest  than it once was, except for the Hollywood studio, lowest common denominator, mass appeal style of entertainment which in its stupidity and blandness lacks artistic or moral value of any kind.  I do however enjoy the technology of modern affects, but why, with such expenditure, do they forget to invest in writers with a soul.  Today I enjoy the mysteries of a Peter Greenaway film, the indulgence of the late Derek Jarman and, surprisingly to me, the many great films at last coming from an assortment of Australian directors, but once I had to say that all my favourite films were from the Italian Masters.

What makes a great director? A unique perspective that can be transmitted to others, an intelligence that can draw on the wealth of human understanding, so that it sparks deep memories of our common experience, a certain elegance in style and an ability to entertain. It is not necessary that they appeal to everyone, for that would negate the individuality of us all and deny our humanity. Taste is something that is nurtured and expands with our exposure to and assessment of a variety of experiences. Only when we are willing to, and permitted to be exposed to everything can we freely choose. That is why censorship is a failed hindrance to our development. We can not judge, disagree with or assimilate what we do not know. This is my opinion and of course many will not agree, which is fine, for they have their own reasons for appreciation. Mine too will change according to time and mood, but there are still some that have stood the test of time, or should I say, my time.

Italian Directors

Probably amongst my lifetime favourite directors are the great Italians listed here and the English directors below. I respect the work of others from around the world but seldom with the passion with which I have always been drawn to the works of these masters.

Federico Fellini

The great master of cinema as art. Fellini used his wife Giulietta Masina (right) often in his masterpieces. The exotic large breasted whores were his trademark, He even asked Joan Sutherland to be in a film but she declined. Smart woman. He is also the only one of my favourite Italians who was not gay.

Franco Zeffirelli

The great opera director who created the role of Lucia di Lammermoor for Joan Sutherland is also a film maker, creating such wonderful pieces as Romeo and Juliet, The Taming of the Shrew and Jesus of Nazareth and Brother Sun Sister Moon. Zeffirelli also created some wonderful opera films such as La Traviata and Otello. One of his old films on Toscanini has Elizabeth Taylor miming the role of Aida in magnificent sets designed by Zeffirelli himself and  which I once saw in a Rome production where Zeffirili made an appearance to take bows until the last twenty people remained in the theatre. I think I was more excited by seeing him than by the opera which was grand and magnificent.

Luciano Visconti

Visconti was known for celebrated opera productions, including those with Maria Callas. His films have a sophistication and elegance found in few other directors.

Pier Paolo Pasolini

Pier Paolo Pasolini was born on the March 5,1922 in Bologna. He was the eldest son of the infantry lieutenant Alberto Pasolini and Susanna Colussi, a teacher. They moved often throughout northern Italy.  "They have made a nomad of me. I passed from one camp to another. I never had a fixed abode". In 1925, a brother, Guido, was born and they had mutual, lasting love for each other however Pier Paolo's had a bad relationship with his father, but he was always attached strongly to his mother. "She told me stories, fables, she read them to me. My mother was like Socrates to me….She really believes in heroism, in charity, in piety, in generosity. I have adopted all that almost in a pathologic way." He entered elementary school a year early. Pier Paolo filled many notebooks with pictures and moved on to grammar school.  He wrote a passage known as Teta veleta, that Pasolini spoke about: "It was in Belluno, I was a little more than 3 years old. As the boys played in the public gardens in front of my house what struck me most of all was their legs, particularly the internal convex part of the knee, where the tendons stretch out while running. I saw in those quick tendons a symbol of life that I hadn't yet attained. That image of the running boy for me represented the grown-up being. Now I know that it was a distinctly sensual sentiment. If I re-feel it I feel with exactness in my bowels the tenderness, the sorrowfulness and the violence of the desire. It was the sense of the unreachableness, of the carnal - a sense for which a name hasn't yet been invented. I invented it that time and it was "teta veleta". Seeing those legs bent in their furious game I told myself that it felt "teta veleta," something like a tickle, a seduction, a humiliation."

He finished high school at 17 and matriculated in Literature at the University of Bologna. During his high school years he created a literary group and wrote poems in Italian and Friulian. He contributed to a magazine and created the "The little Academy of Friulian language" as a sort of dialectic opposition to fascism and the church. WWII affected him badly  "As to my health, it's not bad, indeed it is just fine. So is my morale, when all is quiet, which is rarely. Otherwise, I'm very afraid. I fear for my skin, do you understand Rico? And not only for mine, also for the others. We are so exposed to destiny; poor naked men…I don't know if we'll see each other again, all smacks of death, of end, of shooting...everything is disgusting, if one thinks of those fellows shitting on this earth. I would like to spit on the earth..."   However he was conscripted into the army in Livorno, in 1943 but he disobeyed an order to deliver his arms to the Germans and fled. The family moved away from the bombing to Versuta where he taught boys in high school. Guido joined the partisans and In February 1945 he, with the entire command was massacred. The family only heard of the death and its circumstances at the end of the war. 

Guido's death had a devastating effect on the sorrow-stricken mother and following his father's return from imprisonment in Kenya the relationship between Pier Paolo and his mother became even closer. Guido's death would also be exploited by the Italian Right as a means of attacking Pasolini. 
"Pier Paolo, Marxist writer, advocates the ideas and defends the system of his brother's maltreaters." "Pasolini's brother was killed by the Communists. He would have asked for his brother Pier Paolo's help in vain." In 1945 Pasolini graduated with a thesis entitled "Anthology of pascolinian lyric poetry" and settled in Friuli where he found a job as teacher in a secondary school of Valvasone. In 1947 he started contributing to the Italian Communist Party weekly "Lotta e lavoro".  Loyalty to the party was seen as a sacrifice to a social ideal of the deep sorrow caused to himself and his family by the death of his brother.  Pasolini became secretary of the of the party in Casarsa, but they didn't like him. Many Communists suspected Pasolini of disinterest in socialist realism, and having an excessive attention in bourgeois culture. This was the only time Pasolini was actively engaged in the political fight. On October 15,1949 Pasolini was accused of minor corruption and moral unworthiness involving three boys and the ensuing legal battles changed his life. Years later, Pasolini said "on me there's the sign of Rimbaud, or of Campana or also of Wilde, whether I like or not, whether the other people agree or not." "I fled with my mother and a case and a few jewels that turned out to be fake... We went towards Rome"

Pasolini stumbled into a completely new reality of the Roman suburbs. "That was a tremendous period of my life... unemployed for many years, ignored by all people, consumed by internal terror of not being as life wanted, occupied on working furiously on hard and complicated studies, unable to write" In 1950 he began ‘Ragazzi di vita’. He entered the film industry as a proof-reader at Cinecittà and sent his books to the local bookstalls and found a job as teacher in a private school. In 1954 Pasolini left teaching and moved to a bourgeois quarter in Rome. In 1955 he published the novel ‘Ragazzi di vita’, which had a big success both among the critics and the public. The party did not like it and he was charged. The trial ended with acquittal "because the fact doesn't amount to a crime". Newspapers accused him of everything from aiding and abetting, brawling, theft to armed robbery until it became grotesque. In 1957 Pasolini, collaborated on Fellini's film, Le notti di Cabiria, writing the dialogue in Roman dialect. In 1961 Pasolini made his first film as film-director and scriptwriter, Accattone (Bernardo Bertolucci was his assistant). The film was forbidden to those under 18 and excited many. Then followed Mamma Roma and an episode La ricotta directed by Pasolini for the film RoGoPaG, which was sequestered and Pasolini  was accused of the crime of public defamation of State religion. However in1964 this Marxist director made the sensitive and stunningly beautiful 'Gospel according to St. Matthew' at the request of Pope John XXIII.  He continued with film until his death.

He travelled in 1961 to India; in 1962 to Sudan and Kenya; in 1963 to Ghana, Nigeria, Guinea, Israel and Giordania In 1966, he attended the New York Film Festival. In 1968 Pasolini was again in India to film a documentary. In 1970 Uganda and Tanzania, from which he filmed the documentary Appunti per un'Orestiade African. In the years of the student protest Pasolini took a different approach from the rest of the Left. Though he supported  the student’s motives, he thought that they were anthropologically bourgeois and, destined to fail in their attempt at revolution.  

On the morning of 2^nd November 1975, on the Roman litoral of Ostia, in an uncultivated field in Via dell'idroscalo, a woman, Maria Teresa Lollobrigida, discovered the dead body of a man. Ninetto Davoli identified the body as Pier Paolo Pasolini.

"When his body was found, Pasolini lay outstretched, face downwards, a bleeding arm shifted and the other one hidden by the body. The blood-kneaded hair fell on the excoriated and torn forehead. The face deformed by swelling, was black because full of bruises and wounds. Black-and-blue and red of blood, as were the arms, the hands. The fingers of the left hand were broken and cut. The left jaw was broken. The nose was flattened by the tires of his car, under which he had been squashed. A horrible tearing between neck and nape. Ten broken ribs, the breast-bone broken. The heart burst". During the night Carabineers stopped a young man named Giuseppe Pelosi,  while driving Pasolini's stolen car. The boy confessed the murder. He claimed to have met Pasolini near Termini railway station, and after a dinner in a restaurant went to the place where the body was found. He claimed Pasolini attempted to approach him sexually and they fought.  The boy was found guilty. It was rumoured that it was a set up and a political assassination but has never been proved. The trial that followed brought to light disturbing facts.

Pasolini was buried in Casarsa, in Friuli. 

The Films

Throughout the films of Pasolini expressionless portraits, almost stills, of his non professional actors' faces define his love of the peasant life. The great beauty of these common faces is a powerful expression of what appears to me a great passion for humanity. Whether old, toothless, worn by real life, or simplicity and youthful innocence of experience, these faces are masterpieces in observation and a true homage. The beauty of his composition and imagery is what makes him a master to me. A poet's eye that sparks true contemplation and gives joy, an intelligence that invites one to see beyond the superficial and grasp reality in all its splendour and wisdom. His films are a mirror to what we are, without pretension, without inhibition and without irrational guilt.

The Last Film 'Salo'

Banned in most countries in its early days it is only recently receiving showings, although it still elicits condemnation, mainly from those who have never seen it. A powerful and poetic metaphor of the dangers of unfettered Fascism. It is also cruel and confronting in subject and imagery, but, in my opinion, such a work should be seen as a reminder of just how far mankind can go. It was in 1979 that I saw this film in London and at that time I thought it a masterpiece. Not until I got hold of the DVD recently (along with The Decameron, Canterbury Tales, Arabian Nights, Oedipus Rex, Accatone,The Gospel According to St Matthew , Teorema, Medea, Porcile and the biographical film Nerolio) was I reassured that it remains an important film.

My Books

'Pasolini'  a biography by Enzo Siciliano

'Pier Paolo Pasolini - Cinema as Herasy' by Naomi Greene

'The Ragazzi' by Pier Paolo Pasoloni

In 1996 a Film 'Nerolio' was made by  Aurelio Grimaldi. on the last days of Pasolini. A  beautiful Black and White movie much in the style of a Pasolini film and is available on DVD.

Film Connections

Much of what is produced with great budgets or 'Made or churned out for Television' seems to often mean mediocre,  uninspired and often an unfortunate biased, simplified, xenophobic or censored approach to history or reality. The messages of these formula movies seem, to me, to promote false morals, or perverted sentimentality and unreality, as they come from  writers, producers and directors who have little conception of ethics due to the influences of a blind need for popularity and profit. The appeal to the lowest common denominator keeps people in place and does nothing to enlighten or uplift. To make many a modern movie there appears to be a few simple rules, plenty of product placements,  drop in a no smoking message however irrelevant, say something about racism, but enact the opposite, make the woman (usually skinny and with the chauvinistic appeal of a bimbo), but unconvincingly stronger and wiser than the male who is often stupid or cowardly, particularly in comedy, place an American flag in as many scenes as possible and inappropriately promote current populist values particularly out of place in historical dramas. The unfortunate thing is that because of the wide audience they receive, they are altering, manipulating and destroying man's ability to love, share, learn and understand with any truth or decency. My problem is that I see directors or screen writers not merely observing, but obsessed with preaching a moral tale or promoting their set of values as if it were absolute truth, but they give all evidence of being totally bereft of morality or understanding it and it is more in line with Tabloid sensationalism rather than honest ethical values. True, my understanding of morality diverges far from the simplistic and populist. Basically much film is made to please the investor, the actor's self image, the sponsors and the moral majority or the ignorant. Fear of a financial backlash has led to censorship of not only images, but content. Fictional and historical characters are redrawn to not offend those with a big mouth or a big wallet and thus a false view of our world and often its literature and  history is pouring onto our screens. 

There are however some who can still merely entertain, touch the true heart, enlighten or provoke thought without the need to bastardise the truth. Theatrical metaphor is fine, extravagant exaggeration is fun, fantasy is healthy, but I can not accept the wilful destruction of a handed down truth, be it legend or historical. Perhaps this sounds very pessimistic, but occasionally my heart is given hope when along come films like 'Dancing in the Dark' (von Trier), and even mainstream works like 'The Usual Suspects', 'The Lord of the Rings', 'Moulin Rouge', all so different but equally enjoyable for holding my attention without wincing at glaring or inappropriate and meaningless anomalies. It is easy to differentiate an anachronism that is placed there for artistic reasons (Derek Jarman) and for triggering a thought, from one which is simple ignorance. It is also funny that so many film covers claim to be the most, the best etc however a Lars von Trier film I own 'Breaking the Waves' quotes on the cover 'One of the best films ever made' and a friend told me of a quote something along the lines of 'it is like watching open heart surgery without anaesthetic' To me it really is one of the most powerful and affecting pieces of cinema I have experienced, but I accept that the harrowing descent into the insanity of goodness would not affect all the same way. Real movies of the human experience do exist and to track them down reveals awesome rewards. Below are some outstanding directors. Some have my belief in beauty, others prefer to shock, some make films of stunning cinematography and others use rough imagery and basic techniques, but all are interesting and a breath of fresh air from the cloying mind numbing obscenity I see in most main stream cinema.

Having recently embarked on collecting DVD's I have found my research is evolving in greater depth as I find new interests and search for the cinema which has seldom appeared near me or rarely on television. Several directors have made an impact and as I read and explore I find, like days of old, the artists I prefer are most often connected in some way. Similar to the times of Oscar Wilde or the later Beat generation links appear as no doubt the influential congregate together and encourage mutual progress in their art.  Of those listed below I would love to meet Bruce Labruce and Bavo Defurne. Two directors who could not be further apart in their work, but both so interesting in their individual approach to the art of cinema and who express the differing ideas that stir my imagination. However because watching a movie on Jesus Christ does not make you God, or watching a war movie does not make you a soldier, one should also not infer that observing life in its bright and dark sides is necessarily  a reflection of, or an influence on an individual's personality or actions. Censorship is an oppressive and futile exercise by those who have succumbed to the corruption of egotistical power. I do not want to be patronised by those who have set themselves up as my aesthetic or moral guardians, because I do not accept that they have the right to believe they are the source of all truth.

"I am a man, and nothing human is foreign to me."

Bruce Labruce 

Canadian. As it says on the cover of one of his DVD's "The difference between pornography and art is the lighting'. Gay and celebrating sexuality in all its explicit variations, he is a great observer of life and its pain and pleasures. A sense of self deprecating humour which is endearing to his characters no matter how unprofessional or individual their appearance. A nude skinhead with a tear in his eye, an amputee in a suitcase, egos and fantasies, tributes to every iconographic film ever made and a love of his story and on the fringe lifestyles, that are both rough and on occasions sentimental. Often appearing in his own films he also has made guest appearances elsewhere with directors below. His stories are also being filmed by other independent filmmakers. The results are far from perceived perfection, but I am sure he does what he does intentionally or as he said 'one of the reasons I make movies is to rile people up and get under their skin'. Comic, crude, honest and uninhibited - refreshing. http://www.brucelabruce.com/. p.s. and recently I was excited to received a signed book from BLB.

Gus van Sant

American. Appearing to be closer to the mainstream than the others here, but also often seen in credits as the producer or lending assistance to film makers such as James Boulton, Nickolas Perry and Larry Clark's 'Kids'. Known well for films like -Last Days (2005) with the remarkable Michael Pitt - Elephant (2003) - Finding Forrester (2000) - Psycho (1998) - Good Will Hunting (1997) - To Die For (1995) - Even Cowgirls Get the Blues (1993) -My Own Private Idaho (1991) - Drugstore Cowboy (1989). No doubt he has used his popularity, influence and finance to help further the aspirations of other like minded film makers. Many of his films have an element of peaceful contemplation, like the striking repeated walk through the corridors in Elephant. I like a film that gives me time to absorb and imagine. Frenetic editing is visceral stimulation, but I have become often immune to that far too prevalent, thoughtless excitement. It gives a false and irrelevant sense of being alive. A time for everything but not too much too often. http://www.geocities.com/SunsetStrip/Club/9542/vansant.html

 However once the likes of Oliver Stone, George Lucas and others were part of the radical new wave in cinema, but with a loss of their youthful enthusiasm they have bowed to their perception of acceptability and their work is now expensive and mundane. It fills in some hours, but is not likely to do much more for my spirit. When films become obviously over slick I am nauseated. A soaring score will not manipulate my emotions if the subject is clichéd. Hopefully Gus van Sant etc. will not head in this direction. The danger seems to be that when one takes on 'Stars' the story or creativity often appears to take second place to the public image, publicity and dos and don'ts of said star. I prefer actors or more often non-actors who take on a role without believing that their own image, perceived stature and reputation is more important. I do not need them to be my moral guardians, just actors for that is all they are. Be admired for being a good actor, but it does not bring any other responsibility. Perhaps I hope they are just successful enough to keep going, but not too popular as to start attracting big sponsors who dictate content and political preference and propaganda. eg if I see one more can of Coke I will die. I counted 37 placements of that logo in one film. It has been enough for me to never buy it. Mean of me I guess, to hope they never become too rich but what else can I say.

  Harmony Korine

American. The dogme work 'Julien Donkey Boy' and the devastatingly grim 'Gummo' are works with impact that very few films possess. His talent has also included lyrics with Bjork from Lars von Trier's 'Dancer in the Dark', scripts and collaboration for Larry Clark's 'Kids' and 'Ken Park' and appearances in film by Gus van Sant. Adventurous and hardly optimistic, but possesses observations of life that are unfortunately real and memorable. A writer and director who will give you ample opportunity to contemplate our society and the question - are we making a good job of realising our potential. I think not or at least Harmony appears to want to portray his doubts for future generations. To me he seems to enjoy a voyeuristic love of the fringes and wishes to remove the sugar coating which more manipulative cinema attempts to hide behind. Writer, photographer and artist he has a lot to say. http://www.harmony-korine.com/

 Larry Clark

American. In his many years as photographer and occasional film maker he has sought to expose the real life of adolescence. Often confronting to many in today's conservative and blinkered society his imagery is never filtered through rose coloured glasses, but confronts life and its frailties and the subcultures in which escape is found. Recently his work such as the stunning Ken Park has aroused the ire of many, but such strong documents will find a way of getting to those who are willing to open their eyes. His works have involved the ideas and stories of Harmony Korine and collaboration with others who are venturing bravely into cinema and stories which can be engaging but at the same time disturbing, in the mirror faced up to the reality of who we are or at least who some of us are. What he films is there and should not be ignored and from my perspective, judged. I will judge myself and leave others to their own past, needs and reasons. http://www.larryclarkofficialwebsite.com/

  Bavo Defurne 

Belgian. Young and inspired film maker whose involvement in film has been as director, actor, set design, producer. A self confessed love of beauty and an eye for imagery akin to the master works of Eisenstein or the stylised photography of Pierre and Gilles or the soft and serene intimacy of Herbert List. To date there are only short films available (a collection titled Campfire) but a full length work seems to be in progress (working title Secretly Inside). He has worked with Peter Greenaway on the sets of 'The Baby of Macon'. Actors in his small works are largely non-professionals and or friends although others better known in theatre or European television  have also joined the ranks. His beautiful films populated by faces worthy of any work of art have been praised deservedly at many Film Festivals. In an interview his enthusiasm and philosophical approach shines through with clarity and joy. http://www.bavo.org/

 Werner Werner Fassbinder  

German. Prolific director who made 43 films in less than twenty years and died at 37 in 1982. Fassbinder also wrote at least 14 plays, 6 adaptations, 4 radio plays, 24 cinema and television films, and 12 lieder texts. He wrote 50 film scripts – thirteen of them as co-author. He was also fond of appearing in several of his own films. His movies include The Bitter Tears of Petra von Kant, Effi Briest, Ali-Fear Eats the Soul, Fox and His Friends, Lili Marleen, Lola, Veronika Voss, and Querelle. Credited as being responsible for moving German cinema in a new direction if not influencing world cinema. His mastery over cinema technique and at times breathtaking imagery as well as observations of life which can make you feel genuinely uncomfortable are experiences not to be missed by new generations. So celebrated are his films that you can find the majority on DVD.. He could make a memorable film in two weeks, but also had the reputation of being a difficult genius. http://www.fassbinderfoundation.de/

Francois Ozon

French. His beautifully balanced film 'Water Drops on Burning Rocks' was made from a script written by Fassbinder at the age of 19. Still in his thirties Ozon has directed 26 films including some shorts available on DVD. Swimming Pool, Criminal Lovers, 8 Women and Sitcom are but a few which are outstanding. Like so many who really know their art he has been writer, producer, cinematographer editor and actor. In his work you can see into the eyes and soul of his characters. A sensitive artist who can clothe often darker subjects with occasional true wit and humour, heightened technical skill and actors of impressive talent. http://www.francois-ozon.com/index.html

Todd Verow

Left is a signed photo I was thrilled to received from Todd Verow. New York based and often using a core of actors including himself as writer, director and sometimes star.

Quotes.

'Todd Verow is the love child of Kenneth Anger and Andy Wahole'

'Be afraid, be very afraid'

'... so edgy it almost draws blood'

http://www.bangorfilms.com/

Ventura Pons

Spanish. Not so new and not young, Pons apparently films in his home city for which he has a great love, Barcelona. To date I have only come across a few of his films but each is a pleasing experience. The 'Food of Love' is a story of first love, confusion and almost a travelogue of the beauty of Barcelona ( even the shots of American houses are in Barcelona) In Caresses, set in less attractive surroundings, he traces a series of linked personalities full circle and explores relationships and isolation. Beautifully insightful and tender portraits of hidden, lonely and diverse human beings reaching out for what may or may not be attainable. http://www.venturapons.com/aindex.html

Robert Chuter

Australian. As yet I have not seen any of the films made by the often controversial and imaginative Australian director Robert Chuter, but I have seen one of his remarkable plays which is mentioned on my 'Genet' and 'Seen on Stage' pages.  A comment I found:-"Chuter creates stunning scenes worthy of Fassbinder or Derek Jarman and more remarkable than anything Peter Greenaway has filmed.." (all favourites of mine) Apart from many awards etc. he also studied with Lindsay Kemp whom I once entertained at home along with his company (connections again!). Robert generously gave me some photos from his movie  In Der  Nachtluft (In the Night Air) as well as from many of his stage productions. I am presently attempting to locate the DVD. http://www.thievingdingo.com/directory//model.php?id=52

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Lars Von Trier

In recent times I have become aware of and begun to collect a series of dogme films that had originally been challenging to me as a viewer, but thought provoking and of great interest. The repeated viewing of these works is expanding my perception of just what can be achieved by reality. Perhaps I am totally wrong, but for me they evoke the fascination of some of the early Paul Morrissey/Wahole films which on first appearance seem simple and nonsensical, but recent viewings are revealing humanity with greater reality than I had originally estimated and certainly more than I get from a false story so frequently shown on my television screen. A collective of film directors expressed a goal of countering 'certain tendencies' in cinema today and Dogme 95 became a rescue action with a set of rules called 

'The Vow of Chastity'

"I swear to submit to the following set of rules drawn up and confirmed by DOGME 95:

1: Shooting must be done on location. Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found).

2: The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the scene is being shot).

3: The camera must be hand-held. Any movement or immobility attainable in the hand is permitted. (The film must not take place where the camera is standing; shooting must take place where the film takes place).

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 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 format must be Academy 35 mm.

10: The director must not be credited.

Furthermore I swear as a director to refrain from personal taste! I am no longer an artist. I swear to refrain from creating a "work", as I regard the instant as more important than the whole. My supreme goal is to force the truth out of my characters and settings. I swear to do so by all the means available and at the cost of any good taste and any aesthetic considerations.
Thus I make my VOW OF CHASTITY."

Copenhagen, Monday 13 March 1995
On behalf of DOGME 95

Lars von Trier         Thomas Vinterber  

http://www.geocities.com/lars_von_trier2000/index1.html

A quote  "I, Lars von Trier, am but a simple masturbator of the silver screen."

A much treasured message from Joe.

Updated April 24, 2007