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]

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.

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.

A stunning piece of high-precision filmmaking, formally inventive, thematically intelligent, emotionally gripping, a momentous commercial success, an almost perfect film. [1]

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.

A guide to the many powerful suicide scenes, including the brilliant, icily electrifying opening where normality turns into nightmare. Plus motifs, visual ideas and references to earlier Shyamalan works.

«Her life as a mother dictated what spaces she would film in. Her feminist I takes place in the film, in the frame, behind and within the camera. Her installations are inhabitable, a shed of cinema to walk through and be within.»

An initial response to the narratively complex and structurally beautiful Glass, which concludes the diverse trilogy of the meditative mood piece Unbreakable and the character-oriented suspense film Split.

The new leaner, meaner version of M. Night Shyamalan has made a bizarre but thoroughly gripping film, providing an emotionally deep understanding of why psychological survival mechanisms arise in abuse victims.

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.

«Upon its release, Raymond Bernards Les Croix de bois (1932) was seen as a pacifist march of death.»

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.

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.

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.

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.

M. Night Shyamalan is particularly adept at creating a set of hidden motifs that govern the film. We look at circles, water, doors, houses, the sky and how they operate in two brilliant horror set pieces.

A final look at M. Night Shyamalan's Split, this time its formal approach with a special emphasis on his inventive use of point-of-view shots, stealthy camera movements, overhead and underhead shots, and many other subtleties.

This Disney film is remarkably dark and sophisticated for this company, made during a brief period of a more adult approach to their live action family films. 11-year-old Fairuza Balk is absolutely enchanting as the resourceful heroine.

A visual analysis of key scenes of M. Night Shyamalan's masterpiece and his virtuoso use of motifs, staging and interconnectedness to achieve coherence and closure. [1]

Full dekning er en norsk remake av en italiensk film, men ikke ueffen som sådan – selv om den neppe kan anklages for å være original. Filmen handler om kommunikasjon og hvordan vi snakker sammen, og er kompetent og interessant, i sin lek med våre forventninger. [1]

Ved å se 25-årsjubilanten Funny Games fra start til slutt, må tilskueren i Brechts ånd revurdere sitt forhold til mediert vold og ta innover seg den kritikken han eller hun blir utsatt for. [1]

Hollywood in Vienna 2013: Montages var tilstede da James Horner holdt konsert i Wien Konserthus. Vi fikk også anledning til å slå av noen ord med den legendariske komponisten. [3]