It's been six years since Dogme 95 nailed its ten-point "Vow of Chastity" to the door of world cinema. Lars von Trier's gang of four Danish film rebels flung an inkwell at the father of Hollywood lies, calling for an end to auteurist indulgences, corrupt special effects, duplicitous props and sets, backslider's reshoots and the devil's tricks with camera and soundtrack. As pious as my Lutheran Grandma Dyveke, they demanded an overnight reformation. And now they've finally unveiled the fourth film from the movement, Kristian Levring's The King Is Alive. Apparently, nothing takes longer than absolute spontaneity.

It took the Dogme-ticians only 150 seconds to devise each of the ten rules of the Vow of Chastity, and from the start they were fully prepared to violate them all. Dogme directors are expected to submit a list of their "sins" in making their films-- the parts of the Vow they've broken. Yet their playfulness about the creative process is also dead serious. They view their allegiances the way Mary McCarthy was said to regard marriage. They need a worthy ideal to be unfaithful to.

Von Trier remains the high priest of the movement, even though 1998's The Idiots, his only film made under formal Dogme rules, was by far the worst of the four. An encounter-group-grope movie, whose big nude scene he directed in the nude, The Idiots is completely overshadowed by his great, albeit grandiose, proto-Dogme epic Breaking the Waves, about a simple country girl (Emily Watson) whose crippled husband manipulates her into having sex with thugs who kill her, and the semi-Dogme musical Dancer in the Dark, about a simple country girl (Björk) manipulated by a suicidal man into killing him.

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