
Lady in the Water, Part I: A reappraisal
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.
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.
Film fra Sør 2020: Vi anbefaler fem titler fra årets digitale festivalprogram. [1]
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 return to this severely under-appreciated film, for its discussion of storytelling, interpretation, film criticism, artificiality, stylisation, interconnectedness – and whether stories can become real.
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.
«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.»
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.
Vi har snakket med regissør og manusforfatter Eskil Vogt om arbeidet med Blind, årene som registudent på La fémis i Frankrike, møtet med Joachim Trier, filmforståelse, viktige inspirasjonskilder – og mye annet. [2]
This is the first of three analytical articles on Christopher Nolan’s science fiction epic Interstellar. A transcendent cinematic work, whose construction and staging hold a plethora of deeply embedded patterns and structures.
En Visconti-lignende familietragedie gjendiktet som en gotisk giallo, med stearinlysfoto inspirert av Barry Lyndon og et plott verdig Shakespeare, satt til Iran på 1920-tallet, lagd og tapt i Iran på 1970-tallet, og nå… gjenoppstått.
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.
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.
Den største forbrytelsen gir menneskene bak tallene navn og ansikter. Filmen er nærværende og viktig, samtidig som den hviler på konvensjoner for hvordan andre verdenskrig og Holocaust fremstilles.
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.
A stunning piece of high-precision filmmaking, formally inventive, thematically intelligent, emotionally gripping, a momentous commercial success, an almost perfect film.
We are unable to let go of Interstellar…! This third article explores the film as an experience and its music, editing and consistency. And perhaps there are more plans in the film than Plan A and B?