When David Lynch passed away on January 15, 2025, I felt as if I had lost a deformed twin brother whom I admired greatly but also feared.

Montages har møtt Gullpalme-vinneren Ruben Östlund for en prat om The Square.

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. [1]

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

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.

Denne uken feirer Cinematekene 40-årsjubileet for Tony Scotts spillefilmdebut The Hunger, og vi byr her på et gjensyn med Dag Sødtholts hyllest av hele regissørens filmografi. [2]

Cinematekene feirer Top Guns 30-årsjubileum, og i denne artikkelen kaster vi et blikk på Tony Scotts karriere. Scott ble ofte anklaget for å dyrke overflate-estetikk og prangende stilgrep, men etterlot en rik og variert filmografi. [5]

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.

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.

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 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.

Ruben Östlunds The Square er endelig klar for norske kinoer, og i denne podkastepisoden diskuterer vi hva den svenske regissøren har utrettet med sin til nå mest ambisiøse film, som vant Gullpalmen i Cannes. [5]

«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.

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.

Cannes 2017: Hovedkonkurransens jury, ledet av Pedro Almodóvar, delte i kveld ut sine priser – og den aller største utmerkelsen gikk til Ruben Östlunds The Square. [10]

Jeg hadde helt glemt at en amerikansk remake av sørkoreanske A Bittersweet Life (Dalkomhan insaeng) var på trappene, men i dag ble jeg for alvor påminnet om den dårlige ideen. […] [2]

I Ruben Östlunds Triangle of Sadness gis ubehaget en bredere tematisk horisont enn i hans tidligere filmer. Framstillingene av grotesk urettferdighet og dens absurde manifestasjoner skaper ikke bare flauhet hos tilskueren, men også noe som kanskje kan kalles en global skam.

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

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.

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.

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.