Lady in the Water, Part I: A reappraisal
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.
Søkeresultat for: "Woodworks Film Company AS"
Vår guide til Film fra sør 2020: Fem filmer du må se
Film fra Sør 2020: Vi anbefaler fem titler fra årets digitale festivalprogram. [1]
Unbreakable, Part I: Characters and relationships
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.
Lady in the Water, Part II: Self-reflexivity and visual stylisation
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.
Louder Than Bombs: Joachim Trier’s play on perspective
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.
Desperate connections: An analysis of Anne Sewitsky’s Homesick (2015)
«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.»
The Happening, Part III: Do you think it could be plants?
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.
En samtale med Eskil Vogt – del 1
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. [2]
Christopher Nolan’s Interstellar, plan A: Caressing across the galaxies
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.
The Village, part I: Motifs and story arc
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.
The Village, part II: A tapestry of characters
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.
Joachim Trier’s Thelma (2017) Part I: What does it all mean?
Zeitgeist is replaced by timelessness, chamber music by a symphony. The systematically unpredictable Thelma is Joachim Trier and his team’s most sonorous, lyrical and adventurous film.
Den største forbrytelsen (2020)
Den største forbrytelsen gir menneskene bak tallene navn og ansikter. Filmen er nærværende og viktig, samtidig som den hviler på konvensjoner for hvordan andre verdenskrig og Holocaust fremstilles.
The Sixth Sense, Part I: Stature and Style
A stunning piece of high-precision filmmaking, formally inventive, thematically intelligent, emotionally gripping, a momentous commercial success, an almost perfect film.
Christopher Nolan’s Interstellar, plan C: The love of gravity
We are unable to let go of Interstellar…! This third article explores the film as an experience and its music, editing and consistency. And perhaps there are more plans in the film than Plan A and B?
En samtale med Eskil Vogt – del 2
I denne andre delen av vårt omfattende intervju med Blind-regissør Eskil Vogt, snakker han om filmens og tankens frihet, blindhet og fantasi, menneskers behov for visuell bekreftelse, TV-serier og norsk film.
Unbreakable, Part II: Motifs and colour
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 Earth, Part I: Much better than you think
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.