
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.
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 stunning piece of high-precision filmmaking, formally inventive, thematically intelligent, emotionally gripping, a momentous commercial success, an almost perfect film.
Montages har besøkt den 40. utgaven av New Directors/New Films, som viser det beste av ny internasjonal film fra første- og andregangsregissører. I år inkluderte det bl.a. Sykt lykkelig og regissør Anne Sewitsky.
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.
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.
The festival – of film or anything else – is a powerful modern symbol of freedom and, at its best, an astonishing outpouring of human creativity. It depends on a delicate balancing-act between order and spontaneity, however.
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.
Join our probe into the mind of the icon of disco, electronic and film music in this exclusive interview.
Kortklipt har hatt en ukes opphold til fordel for vår festivaldekning fra Karlovy Vary, men er denne uken tilbake i normal modus.
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.
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.
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?
TIFF 2012: «La oss kunngjøre i Cannes at vi skal bli filmnasjon og vinne Gullpalmen innen 10 år, så fallhøyden blir så stor at det går prestisje i det for alle involverte parter,» sier produsent Yngve Sæther i denne kronikken. [43]
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.
Etter den substansløse kritikken mot Brian De Palmas Passion etter premieren i Venezia, er det tilfredsstillende å lese de ferske anmeldelsene fra filmfestivalen i Toronto – der er kritikerne mildt sagt begeistret. [2]
Spenningsskaperen Roman Polanski vender endelig tilbake når den politiske thrilleren The Ghost nå er ferdig innspilt. Vi har sett nærmere på Polanskis mange briljante bidrag innen denne sjangeren. [1]
Just close your eyes and hold your breath and everything will turn real pretty. [3]