The Sixth Sense, Part III: Motifs and a Funeral
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.
Søkeresultat for: "It’s Only the End of the World"
The Village Part III: Love, murder and monsters
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.
Split, Part III: Meeting of multiple minds
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.
The Happening, Part II: Goners with the wind
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.
Fargerik teaser-plakat til Xavier Dolans neste film, It’s Only the End of the World
Xavier Dolans sjette spillefilm, It’s Only the End of the World, gikk i produksjon i juni, og har forventet premiere på Cannes-festivalen i 2016. …
After Earth, Part II: Figure in a landscape
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.
Signs, Part I: Delightful entertainment, with meaning
M. Night Shyamalan has created a Signs fiction film about alien invasion, with powerful horror set pieces and comedic touches. An analysis of its dreamlike opening sequence peels away complex layers of motifs and echoes.
My Sweet, Frigid Little Girl: Some Thoughts on Darren Aronofsky’s Black Swan
Ruminations on sex, narcissism, mirrors, thematic reflections, melodrama and patterns in Black Swan.
Blade Runner 2049: Cells interlinked (English version)
Dette er en engelskspråklig utgave av den norske artikkelen av samme navn, supplert med et nytt vedlegg med innspill fra diverse Facebook-diskusjoner om Denis Villeneuves film.
I remember everything: The many closures of Luca Guadagnino’s Call Me by Your Name
Through an abundance of visual examples, a guide to the film’s final scenes, revealing how not only its characters but the film itself is striving to achieve closure.
Split, Part II: The fine print of M. Night Shyamalan
The apparent simplicity of Split conceals a surprising amount of ideas, refinement and subtlety. This is a moment-by-moment analysis of the brilliant abduction scene, plus a hard look at isolation, corridors, animals and flowers.
Split, Part IV: Creativity in cramped quarters
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.
Joachim Trier’s Thelma, Part II: Handicraft and visuality
I anledning dagens utgivelse av Thelma på Blu-ray og DVD, presenterer vi en engelsk utgave av vår andre artikkel om filmen, som tar for seg dens visualitet, motiver og helhet, forsterket med flere nye analytiske poenger.
Signs, Part II: Motifs and horror shows
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.
Maria by Callas by Volf
Tom Volf’s film Maria by Callas is by no means the first documentary about Maria Callas, by many considered to be the twentieth century’s greatest opera singer. Why, then, make yet another film?
Split: M. Night Shyamalan goes crazy and tender
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.
Les Croix de Bois: An Encounter with War
«Upon its release, Raymond Bernards Les Croix de bois (1932) was seen as a pacifist march of death.»
What makes a film festival truly great? Searching for clues at Karlovy Vary’s 50th Anniversary
The festival – of film or anything else – is a powerful modern symbol of freedom and, at its best, an astonishing outpouring of human creativity. It depends on a delicate balancing-act between order and spontaneity, however.