Linked from

The 12 pages that link to Dogme 95, each with the reason it gives.

• French New WaveRelated: Its rejection of polished studio technique echoes the New Wave’s challenge to conventional filmmaking.

• Independent filmRelated: Its low-budget principles offered an artistic route to filmmaking outside expensive studio conventions.

• European art cinemaRelated: Its rule-based austerity offers a later, deliberately prescriptive form of European experimentation.

• Wes AndersonCompared with: Its rejection of conspicuous cinematic polish stands opposite Anderson’s designed visual surfaces.

• Swedish cinemaCompared with: Its Danish manifesto offers a useful contrast with Sweden's varied institutional and auteur traditions.

• Yorgos LanthimosRelated: Lanthimos’s early work in Greek film developed amid European interest in austere production methods.

• Lars von TrierRelated: Von Trier coauthored its manifesto and made films under its restrictions.

• Alejandro JodorowskyCompared with: Its self-imposed realism sharply contrasts with Jodorowsky's elaborate symbolism and artifice.

• Cinema of FranceCompared with: Its manifesto-driven austerity contrasts with France's diverse, institutionally supported production landscape.

• Nicolas Winding RefnCompared with: Its pared-down approach contrasts with Refn’s emphasis on composed images and heightened style.

• Romanian New WaveCompared with: Both favor material restraint, but Romanian directors did not share Dogme’s formal manifesto.

• Postmodernist filmCompared with: Its commitment to restricted, grounded filmmaking contrasts with postmodernist pastiche and conspicuous artifice.