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.
Med et besnærende filmspråk, preget av intense nærbilder og knivskarpe kontraster mellom lys og mørke, tegner Jules Dassin et pessimistisk bilde av klassestrukturer og kapitalismens forråtnelse av menneskelige verdier. 
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.
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.
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.
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 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.
Det er 9 måneder siden Ben Affleck bekreftet at Live By Night vil bli hans neste regissørprosjekt, men det virker slettes ikke som om det er et hastearbeid. Nå er det kommet frem at filmen ikke vil gå i opptak før september neste år og at det planlegges kinopremiere 25. desember 2015.
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.
«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.»
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.