With founding father Lars Von Trier moving on to Björk and 100 cameras (in his new film, Dancer in the Dark, in Cannes later this week), people are saying that the Dogme cine-puritan movement has had its day. But now the last film to be unveiled by a member of the original Dogme quartet has redrawn the rules.

Kristian Levring's The King Is Alive is its most adventurous production yet. Plot-wise, it is a fairly traditional psychological nail-biter. A group of travellers in Africa are stranded in the desert with only tinned carrots for food. Before they start tearing each other apart, actor Henry (David Bradley) begins to stage an impromptu production of King Lear.

Like Festen, the script - by Levring and Anders Thomas Jensen - has the feel of a TV drama, or would do if the visual execution weren't so daring. Photographer Jens Schlosser makes Dogme's best-yet use of digital video: the desert colours aresearing; skin and fabrics become translucent, as if about to melt in the heat. And Levring proves a master at directing actors. A nervy, eclectic cast includes Jennifer Jason Leigh and portly British elder statesman David Calder as the most unlikely sexual partners in recent cinema. Questions have already been raised about possible infringements of Dogme rules - if a character hangs himself, should the actor do it for real? But hair-splitting seems less appropriate than in other Dogme film, and this stands out as the most assured of an erratic bunch.