It was one of the most hated films of the 2000s, but with the trauma now at a distance, it is time to appreciate M. Night Shyamalan's Lady in the Water for its very real qualities. [1]

The cat-and-mouse sessions between psychiatrist and patient form a thrilling acting laboratory, where M. Night Shyamalan's fundamentally static set-ups are done with rigour and discreet invention. Bonus: film references.

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 stunning piece of high-precision filmmaking, formally inventive, thematically intelligent, emotionally gripping, a momentous commercial success, an almost perfect film. [1]

«Peter Weir har efter min mening endnu ikke lavet en dårlig film,» skriver Christian Monggaard i denne artikkelen - der vi også får et gjensyn med et intervju han gjorde med Weir i 2007.

«Upon its release, Raymond Bernards Les Croix de bois (1932) was seen as a pacifist march of death.»

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.

Persona er Ingmar Bergmans mest eksperimentelle verk – om kunstnerrollen, narsissisme, psykoanalyse, drømmer. Filmen er blitt lest på utallige måter siden premieren for over femti år siden. [1]

«Som både budskab og symptom er filmen mærket af dårlig samvittighed. Den ved godt, at Rebecca ikke er et dårligt menneske, men bare et svagt menneske, altså et almindeligt menneske.» [3]

«Der er intet specielt ved denne film. Den er bare ramt af banalitetens problem: udtrykket er kraftesløst fordi det er gentagelse.»

I likhet med stormen Bodil har Lars von Triers Nymphomaniac kastet en markant skygge over København de siste par dagene. I kjølevannet av det mye omtalte pressearrangementet har det dukket opp et knippe nyheter om filmen.

A guide to the many powerful suicide scenes, including the brilliant, icily electrifying opening where normality turns into nightmare. Plus motifs, visual ideas and references to earlier Shyamalan works.

Pixars siste film er meget mulig deres beste. Montages sin danske skribent Christian Mongaard har tatt seg en samtale med filmskaperne bak suksessen. [2]

«Her life as a mother dictated what spaces she would film in. Her feminist I takes place in the film, in the frame, behind and within the camera. Her installations are inhabitable, a shed of cinema to walk through and be within.»

The new leaner, meaner version of M. Night Shyamalan has made a bizarre but thoroughly gripping film, providing an emotionally deep understanding of why psychological survival mechanisms arise in abuse victims.

Jordbærstedet er en eviggrønn og allmenngyldig fortelling. Ingmar Bergman veksler uanstrengt mellom nåtid og fortid, drøm og virkelighet på en måte som stadig inspirerer filmskapere.

We conclude our in-depth analysis of M. Night Shyamalan's masterpiece with a close look at motifs and structural aspects, concluding with a shot-by-shot commentary on the post-funeral sequence.