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Îmi este indiferent daca în istorie vom intra ca barbari2018

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77Neste »
Unbreakable, Part I: Characters and relationships
International Edition

Unbreakable, Part I: Characters and relationships

Av Dag Sødtholt

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.

Maria by Callas by Volf
International Edition

Maria by Callas by Volf

Av Joakim Parslow

Tom Volf's film Maria by Callas is by no means the first documentary about Maria Callas, by many considered to be the twentieth century’s greatest opera singer. Why, then, make yet another film?

Louder Than Bombs: Joachim Trier’s play on perspective

Louder Than Bombs: Joachim Trier’s play on perspective

Av Dag Sødtholt

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.

Split, Part II: The fine print of M. Night Shyamalan

Split, Part II: The fine print of M. Night Shyamalan

Av Dag Sødtholt

The apparent simplicity of Split conceals a surprising amount of ideas, refinement and subtlety. This is a moment-by-moment analysis of the brilliant abduction scene, plus a hard look at isolation, corridors, animals and flowers.

Unbreakable, Part III: Visual style

Unbreakable, Part III: Visual style

Av Dag Sødtholt

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.

Christopher Nolan’s Interstellar, plan C: The love of gravity

Christopher Nolan’s Interstellar, plan C: The love of gravity

Av Dag Sødtholt

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?

After Earth, Part I: Much better than you think

After Earth, Part I: Much better than you think

Av Dag Sødtholt

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.

Christopher Nolan’s Interstellar, plan B: A modern myth

Christopher Nolan’s Interstellar, plan B: A modern myth

Av Dag Sødtholt

This second of three analytical articles on Interstellar explores themes: identity, religion, lies and truth, inflexible worldviews, and the difference between the imagined and the experienced.

Joachim Trier’s Thelma (2017) Part I: What does it all mean?

Joachim Trier’s Thelma (2017) Part I: What does it all mean?

Av Dag Sødtholt

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.

Christopher Nolan’s Interstellar, plan A: Caressing across the galaxies

Christopher Nolan’s Interstellar, plan A: Caressing across the galaxies

Av Dag Sødtholt

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.

Split, Part IV: Creativity in cramped quarters
International Edition

Split, Part IV: Creativity in cramped quarters

Av Dag Sødtholt

A final look at M. Night Shyamalan's Split, this time its formal approach with a special emphasis on his inventive use of point-of-view shots, stealthy camera movements, overhead and underhead shots, and many other subtleties.

The Sixth Sense, Part I: Stature and Style
International Edition

The Sixth Sense, Part I: Stature and Style [1]

Av Dag Sødtholt

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

Realism – Search for Truth or Road to Nowhere?

Realism – Search for Truth or Road to Nowhere?

Av P. Stuart Robinson

«What gives a work the kind of mark of authenticity that can prompt the sophisticated cinephile to nod with approval and self-satisfaction at being able to appreciate such a difficult but worthwhile film?»

The Village, part I: Motifs and story arc

The Village, part I: Motifs and story arc

Av Dag Sødtholt

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.

The Happening, Part III: Do you think it could be plants?
International Edition

The Happening, Part III: Do you think it could be plants?

Av Dag Sødtholt

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.

Lady in the Water, Part I: A reappraisal
International Edition

Lady in the Water, Part I: A reappraisal [2]

Av Dag Sødtholt

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. [2]

Split: M. Night Shyamalan goes crazy and tender
Omtale

Split: M. Night Shyamalan goes crazy and tender

Av Dag Sødtholt

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.

The Village, part II: A tapestry of characters

The Village, part II: A tapestry of characters

Av Dag Sødtholt

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.

The Village Part III: Love, murder and monsters

The Village Part III: Love, murder and monsters

Av Dag Sødtholt

Whispered echoes, nightmare logic, high melodrama, relentlessly ingenious staging – this visual analysis of M. Night Shyamalan's pastoral masterpiece preserves the film's own gestures, often rearranged in surprising combinations.

«It has nothing to do with Satan, Mama»

«It has nothing to do with Satan, Mama»

Av Roskva Koritzinsky

Forfatter Roskva Koritzinsky skriver om underkuede ungdommer og overnaturlige krefter i Brian De Palmas Carrie (1976) og Tomas Alfredsons La den rette komme inn (2008).

Split, Part III: Meeting of multiple minds

Split, Part III: Meeting of multiple minds

Av Dag Sødtholt

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.

Lady in the Water, Part II: Self-reflexivity and visual stylisation
International Edition

Lady in the Water, Part II: Self-reflexivity and visual stylisation [4]

Av Dag Sødtholt

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.  [4]

Karriereprofil: John Carpenter

Karriereprofil: John Carpenter [17]

Av Sveinung Wålengen

I en tid hvor John Carpenter er mer kjent for originalfilmene bak en rekke nytolkninger, ser vi tilbake på kultregissørens glansperiode og spør: Hvordan står det til med arven etter Carpenter? [17]

The Sixth Sense, Part III: Motifs and a Funeral
International Edition

The Sixth Sense, Part III: Motifs and a Funeral

Av Dag Sødtholt

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.

Unbreakable, Part II: Motifs and colour
International Edition

Unbreakable, Part II: Motifs and colour

Av Dag Sødtholt

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.

After Earth, Part II: Figure in a landscape

After Earth, Part II: Figure in a landscape

Av Dag Sødtholt

We look at three outstanding scenes in this better-than-you-think M. Night Shyamalan film, along with its pervasive motif of figures in a landscape, visual rhymes and many occasions of elegant staging.

Signs, Part III: Dreams, demons and birds

Signs, Part III: Dreams, demons and birds

Av Dag Sødtholt

Signs offers rich allegorical subtexts of dreams, magic and the aliens as metaphors for the characters' inner demons. We also chart references to The Birds, and analyse the masterful cellar sequence and the film's ending.

Desperate connections: An analysis of Anne Sewitsky’s Homesick (2015)

Desperate connections: An analysis of Anne Sewitsky’s Homesick (2015)

Av Dag Sødtholt

"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."

Festivalmotivet for Montages' alternative Cannes-festival, fra Mohsen Makhmalbafs «Det persiske teppet» (1996), som vises i Un certain regard-seksjonen.
Cannes 2020

Bli med til Cannes 2020 – på trygg avstand: Montages presenterer et alternativt festivalprogram [16]

Hvis vi ikke kan dra til Cannes – hva om Cannes kommer til oss? Her er vår alternative utgave av årets festival. [16]

 Sunshine Superman (2015)
Analysen

Sunshine Superman (2015)

Av Gunnar Iversen

«På samme måte som Ikaros, blir basehopperen Carl Boenish et eksempel på hybris og forfeilede ambisjoner; han møtte en tidlig død fordi han utfordret naturlovene.»

Helhetlig estetikk og David Fincher – vi snakker med House of Cards-fotograf Eigil Bryld

Helhetlig estetikk og David Fincher – vi snakker med House of Cards-fotograf Eigil Bryld [2]

Av Peirik Pettersen

TV-serien House of Cards ble lansert for 33 millioner brukere over hele verden 1. februar i år. Montages har snakket med seriens fotograf Eigil Bryld, om hans samarbeid med David Fincher og det visuelle uttrykket i produksjonen. [2]

The Sixth Sense, Part II: Beginnings and Ends
International Edition

The Sixth Sense, Part II: Beginnings and Ends [1]

Av Dag Sødtholt

A visual analysis of key scenes of M. Night Shyamalan's masterpiece and his virtuoso use of motifs, staging and interconnectedness to achieve coherence and closure. [1]

To norske Cannes-legender og gode venner: Pål Bang-Hansen (1937-2010) og Sigurd Moe Hetland. (Foto: Sigurd Moe Hetland.)
Cannes 2020

Sigurd Moe Hetlands minner fra 40 år i Cannes [3]

Cannes 2020: Vår alternative utgave av Cannes-festivalen 2020 er over, og for å avslutte dette prosjektet har vi invitert selveste Sigurd Moe Hetland til å skrive om sine minner fra imponerende 40 år på festivalen. [3]

The impeachment of Elio: Fruits and echoes in Luca Guadagnino’s Call Me by Your Name
International Edition

The impeachment of Elio: Fruits and echoes in Luca Guadagnino’s Call Me by Your Name

Av Dag Sødtholt

This third and final piece will round up favourite moments, film-formal devices, and a large number of motifs, staging ideas, echoes and other structural properties that enrich this well-thought-out film.

«Parasitt» (Bong Joon-ho).
Topplister

Karsten Meinichs topp 20, 2020

Av Karsten Meinich

Her er redaktør Karsten Meinichs favoritter fra fjoråret, inkludert Parasitt, Lyset fra sjokoladefabrikken og First Cow.

«Requiem fra a Dream» (2001).

Arthaus fyller 25 år – se den komplette listen over filmtitler mellom 1992 og 2017

I dag, fredag 18. august, er det 25 år siden distributøren Arthaus, en stiftelse for formidling av filmkunst på norske kinoer, ble stiftet. Arthaus har vært en premissleverandør for kvalitetsfilm fra hele verden på norske kinoer, og i alt har det blitt nærmere fem hundre titler.

Blade Runner 2049: Cells interlinked (English version)

Blade Runner 2049: Cells interlinked (English version)

Av Dag Sødtholt

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.

Signs, Part II: Motifs and horror shows

Signs, Part II: Motifs and horror shows

Av Dag Sødtholt

M. Night Shyamalan is particularly adept at creating a set of hidden motifs that govern the film. We look at circles, water, doors, houses, the sky and how they operate in two brilliant horror set pieces.

Fra venstre, norske kortfilmer i Cannes-programmet: «Sniffer» (2006, Peers), «Fartsfeber» (1958, Carlsby) og «Naturlige briller» (2001, Lien)
Cannes 2020

Norske kortfilmer i fokus – her er det alternative kortfilmprogrammet for Cannes 2020

Av Karsten Meinich

Cannes 2020: Også kortfilm har sin plass under den alternative Cannes-festivalen, og i kortfilmutvalget har vi valgt et norsk fokus. Her presenterer vi nå alle norske kortfilmer som har vært vist i en offisiell seksjon i Cannes.

Signs, Part IV: Visual style

Signs, Part IV: Visual style [1]

Av Dag Sødtholt

In Signs scenes do not only exist to drive the plot forward. Their formally distinctive staging creates additional layers, encouraging meanings and symbols, often enigmatic. [1]

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