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Søkeresultat for "Don't Look Now":

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12Neste »
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.

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.

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."

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.

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.

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.

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.

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]

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.

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.

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.

M. Night Shyamalan’s Old: Twelve against time
International Edition

M. Night Shyamalan’s Old: Twelve against time

Av Dag Sødtholt

Although the framing story and twist are surprisingly prosaic, for long stretches of the main body M. Night Shyamalan's Old conjures up a combination of tension, absurdity and chaos that few other films have achieved.

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 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.

The Deep Darkies of the Soul: M. Night Shyamalan organically swings in The Visit
International Edition

The Deep Darkies of the Soul: M. Night Shyamalan organically swings in The Visit

Av Dag Sødtholt

"You have to laugh to keep the deep darkies in a cave." Shyamalan's most audacious film presents a bizarre mix of knowing irony, youthful naivete, mental illness, comedic horror and tonal shifts, yet everything seamlessly works.

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.

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.

Intervju med Sebastian Sylwan fra WETA

Intervju med Sebastian Sylwan fra WETA

Av Thor Joachim Haga

I forbindelse med seminaret Digital Storytelling 2012 fikk Montages anledning til å snakke litt med WETA Digitals teknologisjef Sebastian Sylwan.

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.

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 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.

Regissør og filmfotograf Nicolas Roeg er død (1928-2018)

Regissør og filmfotograf Nicolas Roeg er død (1928-2018)

Av Sveinung Wålengen

Som i en erkebritisk utgave av «rags to riches» startet Nicolas Roeg som tekoker i filmbransjen. Deretter klatret han i gradene mot en status som hyllet regissør. Etter syv tiår […]

I remember everything: The many closures of Luca Guadagnino’s Call Me by Your Name
International Edition

I remember everything: The many closures of Luca Guadagnino’s Call Me by Your Name

Av Dag Sødtholt

Through an abundance of visual examples, a guide to the film's final scenes, revealing how not only its characters but the film itself is striving to achieve closure.

48 minutter med Roger Deakins – del 2

48 minutter med Roger Deakins – del 2

Av Peirik Pettersen

Her i del 2 av vårt intervju med Roger Deakins fortsetter vår samtale med mesterfotografen om hans særegne uttrykk, samarbeidet med Coen-brødrene på True Grit, med mer.

Vi har møtt den legendariske filmfotografen Vilmos Zsigmond (Nærkontakt av tredje grad, Blow Out)

Vi har møtt den legendariske filmfotografen Vilmos Zsigmond (Nærkontakt av tredje grad, Blow Out) [3]

Av Thor Joachim Haga

I 2013 møtte vi en av filmhistoriens største filmfotografer, Vilmos Zsigmond. Cinematekene løfter nå frem hans arbeid i Nærkontakt av tredje grad, som er Månedens film i januar. Her er vårt intervju med den nå avdøde legenden. [3]

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]

The Happening, Part I: The twisted face of mankind
International Edition

The Happening, Part I: The twisted face of mankind

Av Dag Sødtholt

Say what you want about M. Night Shyamalan's foray into disaster movie terrain, but its last 25 minutes are excellent, carefully walked through in this screenshot-based analysis.

The Unsparing Judgement of Oneself: the Life and Work of Larisa Shepitko
International Edition

The Unsparing Judgement of Oneself: the Life and Work of Larisa Shepitko

Av Gabrielė Liepa

Today, as we watch in awe her fellow Ukrainians’ bravery and refusal to relent, The Ascent, and Shepitko’s life, may give us a clue as to what is worth fighting for.

«Døden i Venedig» (1971)
Topplister

Topp 5: Filmer i Venezia

I anledning Cinematekenes visninger av den nyrestaurerte digitale kopien av Luchino Viscontis Døden i Venedig (1971), presenterer vi en kåring av fem filmhistoriske høydepunkter med skildringer av Venezia.

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.

War Horse og Spielberg – En samtale med filmfotograf Janusz Kaminski

War Horse og Spielberg – En samtale med filmfotograf Janusz Kaminski

Av Peirik Pettersen

«You don’t want to be surrounded by mediocrity. Then you become a mediocre filmmaker yourself.»

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]

Den ustoppelige Tony Scott

Den ustoppelige Tony Scott [5]

Av Dag Sødtholt

Cinematekene feirer Top Guns 30-årsjubileum, og i denne artikkelen kaster vi et blikk på Tony Scotts karriere. Scott ble ofte anklaget for å dyrke overflate-estetikk og prangende stilgrep, men etterlot en rik og variert filmografi. [5]

Eastwoods Invictus positivt mottatt

Eastwoods Invictus positivt mottatt

Av Trond Johansen

De første reaksjonene på Clint Eastwoods Invictus er positive, men med tydelige forbehold.

Foto: Magnus Roald Strand / Motlys / Norsk Filmdistribusjon

En samtale med Eskil Vogt – del 2

Av Lars Ole Kristiansen

I denne andre delen av vårt omfattende intervju med Blind-regissør Eskil Vogt, snakker han om filmens og tankens frihet, blindhet og fantasi, menneskers behov for visuell bekreftelse, TV-serier og norsk film.

Ridley Scotts "Prometheus" (2012)

Prometheus har ikke landet [16]

Av Lars Ole Kristiansen

Som vanlig klarer ikke Ridley Scott å la filmen sin hvile i fred, og røper at Prometheus kommer i utvidet versjon på video. Selv om kinofilmen visstnok er hans foretrukne Director's Cut. [16]

Is Charlie Chaplin’s The Gold Rush (1925) modern?

Is Charlie Chaplin’s The Gold Rush (1925) modern?

Av P. Stuart Robinson

Tromsø Silent Film Days 2017: Is Charlie Chaplin’s The Gold Rush (1925) modern? Who cares! Like any true masterpiece, it transcends the confines of any epoch.

Motsetningsforhold og doblinger i John Krasinskis A Quiet Place
Omtale

Motsetningsforhold og doblinger i John Krasinskis A Quiet Place

Av Thor Joachim Haga

Med A Quiet Place demonstrerer John Krasinski at han er langt mer enn en sitcom-stjerne. I sin lek med sjangerkonvensjoner fremstiller han et visjonært, sanselig horror-konsept.

From Victor Fleming’s Gone with the Wind to Steve McQueen’s 12 Years a Slave: ‘A Counter-history’

From Victor Fleming’s Gone with the Wind to Steve McQueen’s 12 Years a Slave: ‘A Counter-history’

Av P. Stuart Robinson

Our taste for McQueen’s earnest – and now Oscar-winning – exposé says a lot about our own liberal complacency. In this respect we’d do well to develop a finer appreciation for the not so discrete charms of an earlier classic.

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