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.
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 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.
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.
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.
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.
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.
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.
«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.»
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.
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.