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.
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.
«Med så store motsetninger og emosjonelle svingninger kan melodramaet og overspillet være farlig lett å ty til, men i Maria Sødahls Håp balanseres alt på en perfekt måte – i manus, regi og ikke minst skuespill.»
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.
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.
«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.»
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.
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.
Like many of its own films, the Midnight Sun Film Festival remains true to perhaps the greatest cinematic – and human – aspiration of them all: to express an understanding of, and solidarity with, all the others washed up with us here on this strange little planet of ours.
Martin Scorseses komplette filmografi ble presentert på Montages i 2012, og i denne nye saken i artikkelserien fyller vi på med en gjennomgang av regissørens ferskeste filmer, fra 2010-tallet, inkludert Netflix-aktuelle The Irishman.
Vi har snakket med regissør og manusforfatter Eskil Vogt om arbeidet med Blind, årene som registudent på La fémis i Frankrike, møtet med Joachim Trier, filmforståelse, viktige inspirasjonskilder – og mye annet. 
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.