Dogme 95

These were rules to create films based on the traditional values of story, acting, and theme, while excluding the use of elaborate special effects or technology.

They announced the Dogme movement on March 13, 1995, in Paris, at Le cinéma vers son deuxième siècle conference.

Called upon to speak about the future of film, Lars von Trier showered a bemused audience with red pamphlets announcing "Dogme 95".

The founding "brothers" have begun working on new experimental projects and have been skeptical about the later common interpretation of the Manifesto as a brand or a genre.

[7] Since the late 2000s, the emergence of video technology in DSLR photography cameras, such as the Canon EOS 550D, has resulted in a tremendous surge of both feature and short films shot with most, if not all, of the rules pertaining to the Dogme 95 manifesto.

[citation needed] However, because of advancements in technology and quality, the aesthetic of these productions typically appears drastically different from that of the Dogme films shot on Tape or DVD-R Camcorders.

[citation needed] The goal of the Dogme collective is to "purify" filmmaking by refusing expensive and spectacular special effects, post-production modifications and other technical gimmicks.

While Interview (2000) does not explicitly mention that it is registered as Dogma #7, the number had originally referred to a scheduled German film titled Broken Cookies, directed by another one of von Trier's frequent collaborators, Udo Kier.

[citation needed] The above rules have been both circumvented and broken from numerous films submitted as a Dogme, particularly a director's credit and background music appearing in Interview and Fuckland as for examples.

[citation needed] In 2015, the Museum of Arts and Design celebrated the movement with the retrospective The Director Must Not Be Credited: 20 Years of Dogme 95.

The retrospective included work by Lars von Trier, Thomas Vinterberg, Jean-Marc Barr, Susanne Bier, Daniel H. Byun, Harmony Korine, Kristian Levring, Annette K. Olesen, and Lone Scherfig.