As so often in films, Louder Than Bombs is not a dissertation, but a meditation on its themes and motifs. Seen in isolation, words and deeds may seem unexceptional – it is as a whole that Joachim Trier film takes flight.
Our in-depth look at M. Night Shyamalan’s early films continues with Unbreakable: perhaps the only mainstream Hollywood formalist film, a mass-market movie approached with an unrelenting European art film sensibility.
A Shyamalan enthusiast is struggling mightily to come to terms with the conundrum of The Happening, a split identity film that swings wildly between excellence, rampant quirkiness and unchecked hysteria.
Årets Oscar-nominasjoner ble nettopp offentliggjort i Los Angeles, og blant filmene som mottok flest nominasjoner finner vi Mad Max: Fury Road, The Revenant, Carol og The Martian. 
With the artistic, commercial and critical success of his two latest films, it is about time to soberly unearth the very real qualities of M. Night Shyamalan’s disproportionally maligned middle period.
Before The Visit came M. Night Shyamalan’s early masterpiece The Village. Mismarketed and misunderstood as a horror movie, it has gained a following as a mood piece of pastoral beauty, intense emotion and stylised lyricism.
«Homesick primarily plays on the unspoken. Dialogues are marked by pauses and silent tensions between characters. Most films increase their pace towards a climax, but in Sewitsky the pauses just grow longer and more pregnant.»
After a general evaluation of this M. Night Shyamalan tour de force, the large cast of characters and their relationships are examined, with a special emphasis on subtext and how that is expressed through mise-en-scène.
A return to this severely under-appreciated film, for its discussion of storytelling, interpretation, film criticism, artificiality, stylisation, interconnectedness – and whether stories can become real.
Ekspressive actionscener og grovkornede figurer setter scenen for en ny Mad Max i Fury Road-traileren. 
«Mira kvikner plutselig til, som om hun har våknet etter en lang søvn. Øyeblikket fremkalles av to varme menneskehender, helt uten spesialeffekter. En illusjon er det likevel – skal vi velge å tro på den?»
«Hvert minne kan skape en legende», sier fortellerstemmen i Sans Soleil. Ifølge Chris Markers poetikk er det umulig å fange, beskrive eller formidle minner. Men i filmene løper han mot sin egen død i forsøket på å gjøre dette umulige.