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.

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]

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.

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.

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.

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.

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

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.

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.

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.

Whispered echoes, nightmare logic, high melodrama, relentlessly ingenious staging – this visual analysis of M. Night Shyamalan's pastoral masterpiece preserves the film's own gestures, often rearranged in surprising combinations.

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.

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]

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.

«What gives a work the kind of mark of authenticity that can prompt the sophisticated cinephile to nod with approval and self-satisfaction at being able to appreciate such a difficult but worthwhile film?»

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.

We look at three outstanding scenes in this better-than-you-think M. Night Shyamalan film, along with its pervasive motif of figures in a landscape, visual rhymes and many occasions of elegant staging.

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.

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.

«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.»