Wendy Mitchell over at indieWIRE mulls over the success of Dogme 95 during its 10-year anniversary celebration at the Curzon Soho this month. Lars von Trier and the other Dogme brothers (Thomas Vinterberg, Soren Kragh-Jacobsen, Kristian Levring) have departed, for the most part, from their exclamatory constraints and now leave it up to other filmmakers to continue in the Dogme tradition. The Celebration, the first Dogme film, is still one of my personal favorites. Had it not been Dogme-certified would I have liked it less, or more? On the Dogme 95 website, directors must confess "transgressions" committed during filming: von Trier bought a cast member a suit, and at one point covered a window with a black drape. Vinterberg akins the process of filmic constraint to that of a painter deciding to paint in only three colors. I think Picasso's Guernica, a greyscale piece, is an extraordinary painting—would I find it distasteful in Technicolor? It's the same conflict I have with the Dogme 95 tenets. Rules may make us inventive, but they don't necessarily make us talented.