The Door, Blue : A Film by Mario Feroce and his producer Ange Producteur
Actors are: Chantal Desroches
Caroline Lallau
Séverine Fhal
Mathilde Wambergue
Sabine Voegtlin
Emmanuelle Cosso
Marie Donnio
Marie Mengès
Fabrice Bagni
Raphaël Fregeac
Laurent Lejeune
Sylvie Eymere
Yasmin Shah
Eléonore Stern
Émilie Joubert
Le maître des lieux
Caroline
Séverine
Mathilde
Sabine
Emmanuelle
Marie
Fabrice
Raphaël
Laurent
La Mort
Groupe de la Mort (chant)
Groupe de la Mort (danse)
Groupe de la Mort (danse)
Mario Feroce
Yasmin Shah
Samya Teboursouki
Céline Morfoise
Cindy Courrège
Mikael Thomasoglou
Nathalie Gormand
Yannick Delahaye
Delphine Marcoux
Olivier Blanchard
Pascal Lesaulnier
Direction, scene, picture, production
Music
Customs
Composition
Composition
Productive assistant
Script-girl
Assistant of production
Assistant of production and control
Engineer of the sound
Engineer of the sound, perchman and Assembler its
Assemblage
A group of actors are in one factory in disuse for
to try one teatrale show. The producer showed him the places and says that
they have all the rights, except that one to open one door...
I have intentional to create a film without sceneggiarura, que the sceneggiarura
construisca during the tournage...
Per informazioni ecco il sito ufficiale di Dogma95 : http://www.dogme95.dk/
il suo "manifesto" : http://www.dogme95.dk/the_vow/index.htm
ed il suo "Vow of chastity"... : http://www.dogme95.dk/the_vow/vow.html
ici le veux traduit et mes modifications (en rouge)
.. is a collective of film directors founded in Copenhagen in spring 1995.
DOGME 95 has the expressed goal of countering “certain tendencies”
in the cinema today.
DOGME 95 is a rescue action!
In 1960 enough was enough! The movie was dead and called for resurrection.
The goal was correct but the means were not! The new wave proved to be a ripple
that washed ashore and turned to muck.
Slogans of individualism and freedom created works for a while, but no changes.
The wave was up for grabs, like the directors themselves. The wave was never
stronger than the men behind it. The anti-bourgeois cinema itself became bourgeois,
because the foundations upon which its theories were based was the bourgeois
perception of art. The auteur concept was bourgeois romanticism from the very
start and thereby ... false!
To DOGME 95 cinema is not individual!
Today a technological storm is raging, the result of which will be the ultimate
democratisation of the cinema. For the first time, anyone can make movies.
But the more accessible the media becomes, the more important the avant-garde,
It is no accident that the phrase “avant-garde” has military connotations.
Discipline is the answer ... we must put our films into uniform, because the
individual film will be decadent by definition!
DOGME 95 counters the individual film by the principle of presenting an indisputable
set of rules known as THE VOW OF CHASTITY.
In 1960 enough was enough! The movie had been cosmeticised to death, they
said; yet since then the use of cosmetics has exploded.
The “supreme” task of the decadent film-makers is to fool the
audience. Is that what we are so proud of? Is that what the “100 years”
have brought us? Illusions via which emotions can be communicated? ... By
the individual artist’s free choice of trickery?
Predictability (dramaturgy) has become the golden calf around which we dance.
Having the characters’ inner lives justify the plot is too complicated,
and not “high art”. As never before, the superficial action and
the superficial movie are receiving all the praise.
The result is barren. An illusion of pathos and an illusion of love.
To DOGME 95 the movie is not illusion!
Today a technological storm is raging of which the result is the elevation
of cosmetics to God. By using new technology anyone at any time can wash the
last grains of truth away in the deadly embrace of sensation. The illusions
are everything the movie can hide behind.
DOGME 95 counters the film of illusion by the presentation of an indisputable
set of rules known as 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