My project’s territory is desire, and the object of this enquiry is the film Festen by Thomas Vinterberg. Festen showcases a family’s revelation to its secrets and traumatic past. The film was the first film made under the influence of the rules of Dogme 95 Movement. The aesthetics of the film are directly influenced by the strict rules of the movement. From the aesthetics of the film, I started my examination of the film in order to uncover a new understanding of desire. The conceptual tools that I utilised for this intellectual exploration are found in two primary texts. The first text, written by Gilles Deleuze, is Cinema 2: The Time-Image. This text provided a philosophical taxonomy of cinematic images that indicated a way the aesthetics of a film can be understood. The second, and more central text, is Anti-Oedipus. This text was written by Gilles Deleuze and Felix Guattari and it features an extensive critique of the psychoanalytic discourse and a new conceptual image of desire.My project’s main objective is to present the novel image of desire, as seen in Festen, with the aid of the two philosophical texts. The film is interested in the idea of the family and all things that are attached to it. Through my examination, I uncovered how closely attached is desire to the family. Festen, seemingly, unpacks this conception of desire and reveals the repressive implications of such conception.The result of my examination is a new, and more open, picture of desire that can reverse the negative and repressive implications of the familial conception of desire that was previously established.