"I swear to submit to the following set of rules drawn up and confirmed by Dogme 95:
01: 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).
02: 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).
03: 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).
04: The film must be in colour. Special lighting is not acceptable. (If there is too litle light for exposure the scene must be cut or a simple lamp be attached to the camera).
05: Optical work and filters are forbidden.
06: The film must not contain superficial action.
07: Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now).
08: Genre movies are not acceptable.
09: The film format must be Academy 35mm.
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 "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 cost of any good taste and aesthetic considerations.
Thus I make my vow of chastidy.
On behalf of Dogme 95".
Este é o voto de castidade que os realizadores fazem antes de começarem a gravar um filme "Dogma". Se está a pensar em realizar um, não o esqueça. Afinal, Portugal ainda não figura na lista...
"Era como se, por um estranho fenómeno de alquimia, não apenas o sangue de Tita mas todo o seu ser se tivesse dissolvido no Molho de Rosas, para dentro das codornizes, em cada um dos aromas do prato. Dessa maneira penetrou ela no corpo de Pedro, voluptuosa, aromática, calorosa e totalmente sensual. Era como se tivessem encontrado um novo código de comunicação em que Tita era o emissor Pedro, o receptor, e Gertrudis a felizarda em quem se sintetizava esta relação sexual através da comida".
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