a local Baptist church, where the sermon has a profound impact on Julien. Some time later, Pearl and Julien spend a day together going ice skating at an indoor skating rink. Julien tries to sell some homemade skates to a Hasidic boy and Pearl takes to the ice despite being heavily pregnant. She trips, landing on her abdomen and causing a miscarriage. At the hospital, Julien convinces a nurse to let him hold the baby, saying it is his. She allows it, but while alone with the baby, Julien escapes home on a bus. Julien goes to his room, hides under the blankets, cradles the baby and mutters prayers. Cast Production Julien Donkey-Boy was the first American film made in accordance with the Danish filmmaking collective Dogme 95. Shot in New York on MiniDV tape, the film was transferred to 16mm film before being blown up to 35mm film for the master print. Korine used this method to give the film a low-definition, grainy aesthetic. Much of the actors' dialogue was improvised. The film utilizes several cinematographic styles, including stop-motion photography, parallel cuts, and still photographs in order to tell its story. The film’s budget of $1.5 million was mostly spent on travel and work visas for Werner and Ewen, as well as post-production in Denmark. Dogme 95 Korine broke a few of the Dogme 95 rules in making the film. Dogme 95's tenets stipulate all the camerawork must be handheld, but this film uses hidden cameras that are technically not handheld. There is also the use of non-diegetic music (Oval's "Mediation" from Systemisch in the ice-skating scene, same group's "Shop In Store" from 94 Diskont). Finally, the film breaks the rule that the director must not be credited; however, the film only displays Harmony Korine's name and not an official director title. Despite these transgressions, the original Dogme 95 committee endorsed Julien Donkey-Boy. In an interview on the Epidemic DVD, Lars Von Trier, Dogme 95 co-creator, lauded Korine's ability to interpret the rules creatively. Release The film premiered at the Venice Film Festival in September 1999. It received a limited release in Los Angeles at a single cinema on October 15, 1999; the film showed for a month's time at the Los Angeles Theatre, and grossed a total of $80.226 by that November. It was given a wide theatrical release in European countries the following year, particularly in France