The festival (film)
|German title||The party|
|Country of production||
|Age rating||FSK 12|
|script||Thomas Vinterberg, Mogens Rukov|
Birgitte Hald ,
|music||Lars Bo Jensen|
|camera||Anthony Dod Mantle|
Das Fest (original title: Danish "Festen") is the first feature film produced according to the rules of the Danish group Dogma 95 . The festival is about exposing the sexual abuse of a father to two of his children. From the afternoon of the one until the morning of the next day, the feature film tells how the truth about the abuse of many years ago and the recent suicide of one of the two children is brought to light during a family celebration. Director was Thomas Vinterberg , the camera Anthony Dod Mantle .
Table of contents
The hotelier Helge Klingenfeldt-Hansen is celebrating his 60th birthday at the family home. Shortly before the start of the celebration, his three children Christian, Michael and Helene arrive at the hotel in three very different ways. Both brothers work as local owners in the catering trade - Christian successfully in Paris, Michael with a dump at the southern harbor in Copenhagen - sister Helene is a long-term student and life artist. The mood seems torn between the joy of seeing each other, the personal differences of the individual protagonists and the grief over the suicide of Christian's twin sister Linda. Together they then greet the arriving guests. The party begins when Helge and his wife Elsie enter the hall.
It can be seen that Christian has a close and friendly relationship with the staff. In particular, waitress Pia, who is in love with Christian, and cook Kim, Christian's best friend from childhood, seem very close to him. Helene goes to Linda's previous room, where she is now supposed to spend the night. She looks around intensely and discovers a hidden letter with the help of the new receptionist. Helene reads it and reacts violently. Whispering hectically, she lets the letter disappear into a tablet tube.
After all, everyone is gathered around the table to eat. As the oldest son, Christian is supposed to give a speech. He lets his father choose one of the two prepared, covered speech slips in front of the assembled audience. The father ignorantly chooses the sheet on which the "truth speech" is written. Christian describes in a distant and almost analytical way how he and his late sister Linda were regularly sexually abused by their father. There is an embarrassed silence at the banquet table. Christian leaves the table and goes to Kim in the kitchen. He plans to leave now.
Meanwhile, Helene's friend Gbatokai arrives. As soon as he got out of the taxi, Michael tries to get rid of him and to scold him away with racist insults - Gbatokai is black. Helene intervenes. But Gbatokai also encountered rejection and racist allusions at the banquet table.
In the kitchen, Kim clearly points out to Christian that his story would be dismissed and would be ineffective if he did not continue to fight for the truth. As if called, Helge comes in and denies all allegations. Christian returns to the table with his father, takes the floor again, and openly blames his father for Linda's suicide. Helge then storms out of the hall, there is a pause. Many of the guests want to leave the party, which is not possible because the staff has hidden all the car keys on Kim's instructions. Christian remains alone in the hall. Helge comes to him and tries to intimidate him. The guests come back, the party should continue.
Elsie is speaking now; she emphasizes Christian's mentally unstable condition as a youth and asks him to apologize to his father. Christian then reveals that his mother knew about the abuse and did nothing. He is dragged out of the house by some of the men of the celebration, but can again disrupt the celebration. Two men and his brother Michael grab the violently struggling Christian, drag him into the nearby forest and tie him to a tree.
The party continues in the house, the alcohol is now flowing freely. After a misunderstanding with Gbatokai, Michael begins to sing a racist song, the party joins the crowd. The whole situation puts a lot of strain on Helene, she vomits and asks Pia to get her pills. Pia finds the letter and brings it to Christian, who was able to break free and is back in the house. Christian puts an anonymous piece of paper at the toastmaster's place, on which, according to festive tradition, the name of the person who now has to give a speech is written. So Helene is forced to read the letter.
Linda writes in it that she took her own life, traumatized by the fear of renewed abuse by her father. There is silence again. The now unmasked Helge insults the two children he abused in the most violent way - they were no longer worth - and leaves the room in a rage, Elsie follows him. After most of the guests have retired to their rooms, Michael appears completely drunk and beside himself in front of the house next door and rings Helge out of sleep. With tears in his eyes, he beats his father, who endures the blows and kicks. In the morning at breakfast, Helge acknowledges his guilt for the destruction of the family and the unforgivability of his crime. After Michael has expressed that his father should now better leave the table, because one is disgusted in front of him, Helge leaves the room alone, as the mother now refuses to accompany him.
The story was first told in 1996 by a man named Allan on a Danish radio talk show . After the success of “Das Fest”, the journalist Lisbeth Jessen researched the background to the double abuse of children. She found Allan and introduced him to director Thomas Vinterberg . However, Allan confessed to the journalist that the story was fictitious under the impression of his own AIDS illness and the AIDS death of his partner. Thomas Vinterberg later learned that Allan's fiction was again based on a true story - a nurse had revealed her sexual abuse at a family celebration and told her patient Allan about it.
Vinterberg shot the film in Skjoldenæsholm Castle, eleven kilometers northeast of the city of Ringsted . The castle has served as a conference center and hotel since the 1970s. As the taxi driver who drives Helene's friend Gbatokai to the festival, the director also has a cameo in the film.
People and groups of people
Helge is the head of the family. The viewer experiences him as determined, but funny and warm-hearted. He is eloquent, charming, and confident. It is difficult to relate Christian's allegations to this person. It is only when he talks to Christian in the deserted hall that he becomes scary, uncontrolled and, if only verbally, violent for the first time. These impressions accumulate in the course of the action until he has an outburst after reading the letter.
But his speech the following morning already emphasized his human side. Vinterberg explains in conversations that it was important to him not to let the viewer develop a fixed attitude towards this person. Of course, he is unspeakably deterred and disgusted by Helge's actions, but he feels a kind of forbidden sympathy through Henning Moritz's game. Vinterberg's deep respect for all of his characters is particularly evident in this example. Despite the seriousness of his crime, Helges is not deprived of its dignity. He is never portrayed as a monster, but as a sick person.
Elsie, Helge's wife, is barely noticeable and is perceived as inconspicuous. Despite everything, she also bears responsibility for the abuse, even if only with knowing tolerance, since she discovered Helge with Christian in a clear position. According to Christian, Elsie saw her husband with his pants down and her son on all fours. Helge asked his wife to leave the room immediately.
Elsie reacts to Christian's remarks with a nervous smile; she tries to undermine her son's credibility. So she tells of the imaginary friend "Snut", who had accompanied Christian since childhood, whereby the two had formed a solid team, against which the mother had not come up against either. This has always seemed to annoy them. So she explains to society and also as a reproach to Christian that "Snut" was most likely present again at the ceremony and therefore Christian's accusations are not truth, but rather fantasy.
Elsie's entry into the breakfast room the next morning seems so insignificant, as if it hadn't happened the previous evening. Smiling and greeting the guests, she goes to her seat and sits down. She also meets the instruction of her son Michael, who asks his father to leave, with an uncertainly smiling expression. She seems to barely want or be able to fully grasp the extent of her husband's crime and also her guilt of knowing. Overall, Elsie seems emotionally and psychologically very dependent on her husband, although she has a little independently developed personality, but in the end does not leave the room with him despite her husband's request.
Each of the living children has sought distance from their parents in their own way. The viewer learns a lot about this in the mother's speech. The late Linda, however, stayed with her parents. It seems as if neither the flight as Christian is living it nor sitting out is a solution or a cure for the trauma. Otherwise the viewer will learn little about Linda, she is present in her effect on Christian and the others. Michael and Helene do not know about the abuse at the beginning of the plot, but it is likely that they suspect something.
Christian lives in Paris and successfully runs a restaurant there. In relationships, he is ambitious and dismissive. This is made clear by first dismissing all of Pia's clear advances. In relation to her, but also in general, Christian is closed, quiet and withdrawn. Only in situations of extreme emotional tension do aggression and vengeance break out of him.
Despite his rather shy nature, he seems surprisingly self-confident and calculating when he reads the "truth speech". In addition, he takes up one of his father's rituals before the abuse in his speech, mocking him. As a twin sister, Linda is very close to him even after her death, especially since the two also share the role of victim in abuse by their father. Christian spends the night after the party with Pia. He has a dream in which Linda knocks on the room door and he can say goodbye to her. A process of change in character becomes visible here; when Christian is ready to let go of past pain, he may also be ready to open up and let in deep feelings.
In general, Pia, Kim and other members of the staff are important people for Christian. In his figure, the connection between the bourgeois family and servants becomes clear because, while he comes from the bourgeois family, he has greater trust and a greater emotional bond with the staff. This can be seen in his close friend Kim, who knew about the abuse, and his love for Pia.
Michael is the youngest of the four siblings and spent most of his childhood not in the family home but in boarding schools. Later he was at a cooking school in Switzerland and on a navy training ship , but does not work as a cook. According to the parents, Michael's achievement is primarily that he has three healthy children. His siblings are childless. As soon as the three siblings are greeting each other, one learns of Michael's debts and family failures.
Michael is impulsive and quick-tempered (Sister Helene: "your pub manners"); you can call him a bully . While he is fighting for recognition from his father, he is very dominant towards supposed subordinates. So he yells at his wife Mette several times. His dealings with the waitress Michelle, with whom he had an affair until recently, is also very concise. Christian and Michael have intimate relationships with members of the hotel staff, but they are completely different. This is not only due to the different characters of the two brothers, but also to Christian's friendly and Michael's condescending relationship with the staff and the professional success / failure of the respective brother.
The arrival of Gbatokai also shows Michael's racism. Only Helene enables Gbatokai to get to the party. Later, when Gbatokai wanted to toast Christian with Michael, he misunderstood him and began to sing a racist song, which the entire party would join. Michael may be the most extreme in his attitude, but he does represent the tendency that is common among the guests.
Michael is initially on his father's side in the course of events. In addition, his father informed him at the beginning of the celebration that he had planned him as his successor with the Freemasons , which makes Michael very proud. Only the letter from Linda - the final proof of the correctness of Christian's allegations to the father - forces Michael to look the facts in the eyes. From now on he recognizes in his father a danger for his own children, which becomes clearly recognizable at breakfast the next morning. Here he orders his daughter, who at Grandfather Helge's request, sat on his lap to come to him. So it is he who asks his father to leave the company before breakfast starts and thus makes a kind of final judgment: “You have to go now so we can eat”, whereupon Helge leaves the room approvingly.
Helene has turned away from the family, especially in her lifestyle. On the one hand, she studies anthropology against her parents' wishes , and on the other hand, she seems to have many short-term relationships. Her introductory scene, in which she flirts with the taxi driver, gives an idea of her relationship with men. Already at the beginning of the festival she found Linda's letter and wanted to keep its contents a secret, as she obviously fears the breakup of the family, which will then also occur. Ultimately, she only reads it publicly when Christian and Pia let her understand that they also know its content.
The guests / the staff
The characters in this film are clearly split into two camps; on the one hand Christian, who is supported by the staff, on the other hand Helge, the family and the guests. While Christian and his friends fight for the truth, the others try to maintain the status quo, which on the one hand means lies, but also the supposedly normal everyday family life.
The Klingenfeldt-Hansen family / crowd of guests
The arriving guests seem exuberant and happy. Already at the beginning, but especially later, the alcohol flows. The solemnity itself is determined by tradition and humor. When Helge then enters the room very stately, there is singing and cheers to the jubilee. Individual fragments of conversation can be heard, the camera view lingers a little longer on some people, yet the “party crowd” remains a kind of anonymous being that will always react to the coming events, never act itself. In small gestures it is expressed that the invited guests come from the bourgeoisie and pay little attention to the staff.
After Christian has voiced the allegations against his father, those present react disturbed, but there is no appropriate reaction to the gruesome crime. As Kim correctly assessed, they are trying to escape a situation that is unpleasant for them and want to leave the property. While the crime has happened within their ranks, there appears to be no need to face it or do anything. Forced to stay by the ruse, the party continued to be exuberant, despite the serious allegations in the room.
Another highlight of this reality-suppressing attitude is the ruthless attunement of those present in the racist song. Just as the festival itself forms the framework for the actual story, the guests form the framework for the acting of the main characters.
The guests, played exclusively by extras, were not informed about the course of the plot, they actually believe that Christian is crazy until Linda's letter is read out. In a certain way, they are helplessly exposed to the events, their emotions and the gaze of the camera.
In any case, there is a parallel between the staff and the partying company - there is drinking on both sides. The staff knows or suspects of previous incidents and wants Christian to speak and be heard. Kim in particular knows the prevailing conditions very well and brings Christian to fight for the hearing and recognition of the truth. Michelle and Pia even loyally steal the car keys from the guests' rooms. In a way, the staff is the moral and human support of the house. Not only do they want to expose the lie, but also the improper treatment that Michelle receives from Michael is denounced right from the start.
Structure of the film
The film can be broken down into two levels of plot. First there is the festival and its course, which is structured by certain rituals. Vinterberg calls this "natural history". What happens during the festival - greetings, dinner speeches, toasts, singing - can be understood from the viewer's own experience. This framework is in a certain way predictable and, in its logical sequence, holds the film together.
Anything but predictable, as the Dogma Manifesto demands, is the main plot, the exposure of the crime and thus the family's lie. This story moves within the framework given by the festival and is emphasized by it, for example in the surreal scene in which the grandmother sings while Christian again accuses his parents.
The dramatic structure of the plot is analytical. Models of classical dramaturgy can only be used to a limited extent, as this is a modern, open narrative style. The characters in particular can hardly be stereotyped.
After the introduction, there is the exciting moment in Christian's “truth speech” , the action rises to the reading of Linda's farewell letter, the dramatic climax. The lie is destroyed. The plot now drops sharply to a state that is neither a disaster nor a solution. So the family is obviously destroyed, it was internally due to the abuse for a long time. The end remains open, the viewer sees Helge disappear and Christian's thoughtful look. Even if it was no longer possible to go on living with the lie, it remains to be seen whether all questions have been answered and life will be easier for Christian. Because, as Helge himself says at the end, this crime can never be atoned for, nor can the wounds that have arisen be completely healed.
In addition to incest, which runs through the film as a taboo subject, the dynamic that prevails in a family is a motif of the film. Constantly changing power, dependency and trust relationships develop between parents and children, spouses and siblings, which can be severely disrupted by actions and events. The abuse established the roles of the bearer (Christian), the perpetrator (Helge) and the denier (Elsie). Generally, an unspoken agreement of silence was reached. It wasn't until his father's sixtieth birthday that Christian broke the silence and resolved the “old” situation.
Two groups can be clearly identified in the film: the bourgeoisie and the workers. These, as well as their respective behavior towards the events, are another central element. In the film, the bourgeoisie provides the environment in which such a crime can occur. The appearance of external health is shown while its members make one another sick. This intention becomes clear in the title originally intended by Vinterberg, “The Blood of the Bourgeoisie”.
Focus on acting: the principle of the irrational as the principle of the human
“When the characters are sad, they play happily. If the father did something terrible to his children, then the actor in this role must be adorable and charming. These are banal things, but they give the universe a touch of irrationality and make it more human. "
As indicated, the film works very strongly with the contradictions of the human character in the acting, but also in the script through the stage directions. The main character Christian has numerous negative qualities, he is vengeful, indifferent and, especially towards Pia, often emotionally cold and generally closed. On the other hand, Helge, whom the viewer completely rejects because of his actions, is depicted as charming and personable. As required by the dogma principle, this makes identification on the part of the audience more difficult and does not allow clichés (such as the good guy or the bad guy ) to be applied to the characters.
A second level of contradiction can be found in the representation of feelings. Again and again, breaks are created between what someone feels and radiates, between what a conversation is really about and what is ultimately said. Again using the example of Christian, this "ambiguity" becomes clear in Ulrich Thomsen's play. While short scenes repeatedly show Christian's great sadness, anger and conflict, most of the time he appears calm, friendly, almost humble and controlled. These breaks make the complexity of the characters clear and are necessary "to provide insight into the characters."
Naturalistic currents and tendencies, as they can be found very strongly in the literature of the early 20th century, have also emerged in the course of film history. In the late 1950s, five French film critics began to publicly fight against the “tradition of quality” and the “psychological realism” of cinema and to produce their own films that were supposed to show their individual view of the world. The new wave, “La nouvelle vague”, meant going out onto the streets, away from studios and backdrops, and making modern films about modern life in original locations with original sound and young actors or amateurs. In their manifesto, the Dogma directors refer directly to the Nouvelle Vague, seeing it as the right approach, but the wrong means of “liberating cinema”. The innovative innovations in the arts are also possible because they arise from the awareness of what has gone before. In the following, various parallels between naturalistic dramatic texts and Dogma # 1 “Das Fest” are shown, always keeping an eye on the fact that all previous artistic movements, including of course literary naturalism and the Nouvelle Vague, have shaped the emergence of dogma films and their success.
Also due to the rules of dogma, the focus is on acting. In addition to the facial expressions and gestures, the dialogues are of the utmost importance. Colloquial language is often used, the conversations seem improvised. This is also true for some, but a look at the script shows that many of the dialogues are written so authentically and realistically that the impression of improvisation arises. The actors also confirm this in interviews.
Language plays a major role in many naturalistic works. It makes it clear, through dialect and vocabulary, that the speaker's group belongs to. In addition, it authenticates what is happening, since the “stage language” is no longer spoken, but that of reality.
In many naturalistic pieces there is pessimism about the potential for self-change of the individual characters. The social origin determines the fate. This attitude was based not least on the social science theses widespread at the time. In “Das Fest” determinism does not apply to the characters in this way. In this way, as mentioned above, Christian manages to break through the established patterns. Despite the open end, the viewer can guess that a permanent change has happened here.
"Before Sunrise" and "The Festival"
Some parallels can be found between “Das Fest” and the drama “ Before Sunrise ” by Gerhart Hauptmann. First of all, of course, the breaking of taboos, in which sexual violence against children and incest is discussed. In “Das Fest” he plays a central role, while in “Before Sunrise” he represents an aspect of the family's decline. It is the other way around with the issue of alcohol abuse. While in “Before Sunrise” the family's addiction to alcohol means social exclusion, even for the non-alcoholic daughter Helene, drinking in “Das Fest” is embedded in the celebration. Only marginally does the viewer learn that some characters, especially Michael, had or still have problems with alcohol. The intoxication with alcohol serves as a way out of reality in both works. While in “Before Sunrise” every person has an individual conflict that they want to escape through alcoholism, in “Das Fest” it is the current situation from which almost everyone present wants to escape through excessive alcohol consumption.
"Supporting Society" and "The Festival"
In the overall context, “Das Fest” can be compared with Ibsen's drama “Stützen der Gesellschaft”. A lie of life is exposed in both. The patriarch who presents himself as the pillar of order is exposed as the one who destroys it. In “Das Fest” it is Helge who abused his children, in “Supports of Society” Consul Bernick, who fraudulently and dishonestly conducts both his business and his private life. In both works it is not the bourgeoisie but the workers who form the real pillar of society, especially in moral terms.
"Like Lars von Trier's" Idiots ", Thomas Vinterberg's film is an example of how great films can be made with small resources."
“In his fourth feature film, Vinterberg shows the courage to risk content. [...] Its merciless directness in the formal, the absence of any 'frills' and concessions, does not make the bulky subject more catchy, but gives the film an enormous, albeit cool, intensity. "
“Thomas Vinterberg stages a family melodrama with a disturbing intensity, whose merciless directness is punctuated by finely nuanced irony. Big, compellingly up-to-date cinema from Europe! "
The festival was presented together with The Idiots by Lars von Trier at the 1998 Cannes Film Festival . Together with Claude Miller's Die Klassenfahrt, the festival received the special prize from the jury .
The film was nominated for the British Academy Film Award , the César and the Golden Globe and won the Independent Spirit Award and the Guldbagge for Best Foreign Film . At the 1998 European Film Awards ceremony , the film was nominated for Best Film and Ulrich Thomsen for Best Actor . Thomas Vinterberg received the award in the European Discovery of the Year category .
The Danish Film Prize Bodil was awarded to Das Fest for Best Film and Ulrich Thomsen for Best Actor . The film won the Robert in seven categories, including Best Film , Best Screenplay and Best Actor (Ulrich Thomsen).
Adaptation for the theater (selection)
The script for "Das Fest" was adapted for the theater . Among other things, the following productions were performed in German-speaking theaters:
- 2000 Staatsschauspiel Dresden , Dresden , director: Michael Thalheimer
- 2003 (May 31) Thalia Theater (Hamburg) , Hamburg , director: Stephan Kimmig
- 2003 Theater am Sachsenring , Cologne , Director: Joe Knipp (the stage adaptation and production by Knipp was awarded the Cologne Theater Prize 2003)
- 2004 Hessisches Landestheater Marburg , director: David Gerlach
- 2006 Theater Baden-Baden , director: Claudia Brier
- 2007 Theater in der Josefstadt , Vienna , director: Philip Tiedemann
- 2007 United City Theaters of Krefeld and Mönchengladbach , Mönchengladbach , director: Carsten Bodinus
- 2007 Münchner Volkstheater , Munich , director: Jorinde Dröse
- 2007 Mecklenburgisches Staatstheater Schwerin , director: Matthias Brenner
- 2007 Theater in der Josefstadt , Vienna
- 2007 Anhaltisches Theater , Dessau, director: Herbert Olschok
- 2009 Schleswig-Holstein State Theater and Symphony Orchestra , Rendsburg, director: Ulrich Hüni
- 2010 Schauspiel Köln , director: Dieter Giesing
- 2010 Centraltheater Leipzig , director: Martina Eitner-Acheampong
- 2012 Theater Vorpommern , Stralsund and Greifswald
- 2013 Theater Dortmund , director: Kay Voges
- 2014 Schauspielhaus Stuttgart , director: Christopher Rüping
- 2015 Theater Heilbronn , director: Uta Koschel
- 2017 Theater an Fluss, Schwerte , directed by Sylvia Guse & Sven Möller
- 2017 Theater Nawal, VorAlpentheater Luzern , director: Reto Ambauen
The continuation of the film is the play “The Burial”, which premiered on March 6, 2010 in the Vienna Burgtheater under the direction of Thomas Vinterberg.
- The festival in the Internet Movie Database (English)
- Christiane Peitz: The Liberation of Pictures . Thomas Vinterberg and his film "Das Fest". A portrait. In: Die Zeit 2, 1999
- Das Fest, Arthaus Premium Double DVD, Bonus DVD, "The true background of the film" (Interview with Thomas Vinterberg)
- See: “Das Fest” 00: 09: 30–00: 12: 10; 00: 24: 41-00: 25: 10; 00: 29: 17-00: 30: 50
- See: “Das Fest” 00: 52: 03–00: 53: 52
- See: “Das Fest” 01: 34: 55–01: 37: 00
- Cf. Dogma 95. Between control and chaos. Ed. V. Jana Hallberg and Alexander Wewerka. Berlin: Alexander Verlag, 2001. p. 97; 102 f.
- See: “Das Fest” 01: 34: 55–01: 37: 00
- See: “Das Fest” 00: 57: 45–01: 02: 15
- See: “Das Fest” 00: 14: 07–00: 16: 06; 01: 18: 00-01: 21: 30; 01: 25: 30-01: 26: 36
- See: “Das Fest” 01: 03: 53–01: 04: 10
- See: “Das Fest” 00: 20: 30–00: 20: 51
- See: “Das Fest” 01: 05: 02–01: 05: 30; 01: 07: 36-01: 08: 20
- See: “Das Fest” 00: 33: 09–00: 33: 43; 00: 38: 16-00: 38: 26
- See: “Das Fest” 01: 25: 30–01: 26: 36
- See: “Das Fest” 00: 37: 30–00: 38: 29; 01: 09: 40-01: 10: 17
- See: “Das Fest” 01: 25: 29–01: 25: 54; 01: 34: 14-01: 34: 40
- See: “Das Fest” 00: 04: 30–00: 04: 58; 00: 06: 49-00: 07: 12
- See: “Das Fest” 00: 17: 34–00: 17: 52
- See: “Das Fest” 00: 25: 27–00: 26: 52
- See: “The Feast” 00: 12: 12–00: 12: 28; 00: 31: 54-00: 31: 59; 00: 50: 01-00: 52: 00
- See: “Das Fest” 00: 44: 28–00: 46: 18; 01: 08: 54-01: 09: 40
- See: “Das Fest” 01: 11: 02–01: 11: 44
- See: “Das Fest” 01: 35: 20–01: 35: 30
- See: “The Feast” from 01:37:20
- See: “Das Fest” 00: 06: 14–00: 06: 25
- See: “Das Fest” 00: 21: 36–00: 22: 10; 00: 24: 03–00: 24: 30
- See: “Das Fest” 00: 33: 10–00: 33: 15; 00: 43: 08-00: 43: 43; 00: 55: 27-00: 55: 33
- See: “Das Fest” 00: 38: 31–00: 38: 49; 01: 23: 03-01: 23: 42
- See: Hallberg u. a .: Dogma 95, p. 96
- See: "The Feast" 01: 15: 23–01: 16: 10; 00: 52: 02-00: 52: 23
- See: “Das Fest” 00: 56: 00–00: 56: 15
- See: “Das Fest” 00: 54: 08–00: 54: 32
- See: “Das Fest” 00: 48: 50–00: 49: 26
- See: “Das Fest”, bonus material, review of “Das Fest” 13: 05–14: 08; “The Feast” 01: 21: 21–01: 23: 40
- See: “Das Fest” 00: 37: 30–00: 38: 29
- See: “Das Fest” 00: 04: 30–00: 04: 58
- Hallberg et al. a .: Dogma 95, p. 98
- See: Hallberg u. a .: Dogma 95, ibid
- See: “Das Fest”, bonus material, review of “Das Fest” 14: 53–16: 07
- Hallberg u. a .: Dogma 95, p. 97
- See: Hallberg u. a .: Dogma 95, ibid
- Hallberg et al. a .: Dogma 95, p. 96
- See Grob, Norbert; Kiefer, Bernd: Discovering life with the cinema. On the definition of the Nouvelle Vague. In: Nouvelle Vague. Ed. V. Norbert Grob, Bernd Kiefer u. a. Mainz: Bender Verlag, 2006 (Genres & Styles series; Vol. 1). P. 11/12; 17/18
- See: Hallberg u. a .: Dogma 95, Dogma Manifest / The vow of chasity
- See: "Das Fest", bonus material, review of "Das Fest" 08: 26-09: 00
- See: Hauptmann, Gerhart: Before sunrise. In: Dramas of Naturalism. From captain to Schönherr. Munich: Winkler-Verlag. 1981. from pp. 34, 45
- See: Hauptmann, Gerhart: Before sunrise. from p. 86
- See: “Das Fest” 00: 55: 41–00: 55: 52; 00: 57: 00-00: 57: 24; 01: 01: 18–01: 01: 31
- Herrenmagazin give their "word of honor". In: Musikexpress. Accessed November 3, 2015 (German).
- Video premiere: Herrenmagazin - "Ehrenwort" - Herrenmagazin goes Thomas Vinterberg. In: www.tonspion.de. Retrieved November 3, 2015 .
- Mogens Rukov, Thomas Vinterberg “The Burial” at Burgtheater.at ( Memento of the original from February 19, 2010 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.