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.
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.
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.
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.
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.
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 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.
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.
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.
God sjangerfilm gir en følelse av trygghet og gjenkjennbarhet, men vet samtidig å utnytte disse forventningene for å skape en ny seeropplevelse. Hjelp, vi er russ! forblir repetisjon en masse, pluss russ. 
Anita Killis festivalvinnende storfavoritt figurerer ikke blant Akademiets ti kandidater til nominasjonene for beste kortfilm. Det er et nederlag for norsk filmbransje, og ikke minst for Norsk filminstitutt.