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]

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.

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?

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."

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]

Sciamma's fifth feature film is immediately striking in its gentleness as well as emotional and visual beauty, but what lies beneath the apparent simplicity are rich layers of structural echoes and quiet metaphors.

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.

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.

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.

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. [1]

Kenneth Lonergans Margaret hadde alles øyne og forventninger rettet mot seg da den gikk i opptak i 2005. Så ble det stille, og først seks år senere kom filmen. Dette er historien om hvorfor. [3]