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?
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.
«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.»
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.
The Wrap melder at New Line Cinema forbereder en reboot av Wes Cravens ikoniske suburbia-slasher, A Nightmare On Elm Street. [2]
Once more with feeling! Yes, it took about a century, but silent film is back. [2]
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.
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.
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.
A strange case of parallel universes explored through Declan Clarke’s Geist Trilogy from 2015. Are you ready for film at its absolute weirdest, flouting all cinematic conventions and ‘hung out’ in a gallery?
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.
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.
«Upon its release, Raymond Bernards Les Croix de bois (1932) was seen as a pacifist march of death.»
It is happening again. Variety bekrefter idag ryktene som har svirret en liten stund: Den første tv-serie-adaptasjonen fra J.R.R. Tolkiens Ringenes herre-univers skal gå i produksjon – fullfinansiert av Amazon, i samarbeid med Tolkien-stiftelsen og New Line Cinema.
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.
«Som levende utstillingsobjekter i et vanskjøttet museum stiller mor og datter tillitsfullt ut hverandres historier.»
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.
I natt ble det kjent at Wes Craven, den legendariske horror-regissøren som står bak A Nightmare on Elm Street og Skrik, har gått bort, 76 år gammel.
