(Thomas Vinterberg, 2011)
Thomas Vinterberg’s Festen explored a heated family celebration made all the more corrosive by the revelation of child abuse, a narrative exposure underscored by the exacting and naturalistic values and methods of the Dogme 95 movement it inaugurated. Vinterberg’s latest, The Hunt, breaks free from the strictures of that simplistic form by concentrating on a similarly scathing accusation, one that sets about destroying a seemingly perfect idyll. (Continue reading here)
Big Screen, Little Screen 