What happens as the cyberpunk elements in Blade Runner are adapted and changed in Blade Runner 2049, brought into both the fictional future Los Angeles, as well as the cultural context of 2017?
Dette er en engelskspråklig utgave av den norske artikkelen av samme navn, supplert med et nytt vedlegg med innspill fra diverse Facebook-diskusjoner om Denis Villeneuves film.
I Stobritannia slippes denne våren en komplett retrospektiv på kino av digitalt restaurerte kopier av alle de syv Tarkovskij-filmene, etterfulgt av komplette utgivelser på Blu-ray. [7]
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.
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.
Zeitgeist is replaced by timelessness, chamber music by a symphony. The systematically unpredictable Thelma is Joachim Trier and his team’s most sonorous, lyrical and adventurous film.
Mesterverket Antichrist støter folk nesten uansett hvor den vises, og i Storbritannia har mange allerede reagert sterkt på promomaterialet for filmen, som har britisk …
M. Night Shyamalan’s visual style consists of a series of recurring formal devices. Watching Unbreakable feels like participating in a ritual where these devices are applied and reapplied, in new variations and combinations.
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.
M. Night Shyamalan’s enigmatic superhero thriller is a film where everything seems to be connected to everything else. We look at various motifs and colour codings that move in intricate and sometimes very strange patterns.
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.
