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.
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.
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?
Oliver Stones filmatisering av Aleksander den stores liv har vært et work in progress siden produksjonen ble påbegynt. I anledning filmens tiårsjubileum lanseres Alexander: The Ultimate Cut, som ifølge Warner Bros. og regissøren skal være den endelige versjonen. [2]
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.
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.
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?
«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.»
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?
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.
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.
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.
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.
M. Night Shyamalan has created a Signs fiction film about alien invasion, with powerful horror set pieces and comedic touches. An analysis of its dreamlike opening sequence peels away complex layers of motifs and echoes.
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.
Ruminations on sex, narcissism, mirrors, thematic reflections, melodrama and patterns in Black Swan.
A stunning piece of high-precision filmmaking, formally inventive, thematically intelligent, emotionally gripping, a momentous commercial success, an almost perfect film.
