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.

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.

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.

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]

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.

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.

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.

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]

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]

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.

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.

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.

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.

Say what you want about M. Night Shyamalan's foray into disaster movie terrain, but its last 25 minutes are excellent, carefully walked through in this screenshot-based analysis.

In Signs scenes do not only exist to drive the plot forward. Their formally distinctive staging creates additional layers, encouraging meanings and symbols, often enigmatic. [1]

OIFF'12: Cosmopolis inviterer ikke til en fornøyelig eller umiddelbart givende opplevelse, men helheten er kunstnerisk konsekvent og alltid interessant. David Cronenbergs siste film mørnes etter flere gjennomsyn. [1]

Cannes 2012: David Cronenbergs Cosmopolis er en dialogtung og seig adapsjon av DeLillos kultroman – en skuffelse for oss som håpet at auteuren var i storform denne gangen.