Midnight Sun 2016: Silent films, old and new mesmerised audiences at this year’s Midnight Sun Film Festival (MSFF). What is the secret of their abiding appeal? William A. Wellman’s Beggars of Life, and Aki Kaurismäki’s homage to the pre-talkie golden age, Juha, provide some clues.
Midnight Sun 2016: Storm-clouds are gathering. Now, more than ever, we need our lantern bearers, our beacons of hope. We need Sodankylä’s Midnight Sun Film Festival! But can it survive the loss of its guru?
Midnight Sun 2016: Sadly, we lost Peter von Bagh, the tireless guardian of this remarkable diamond in the woods. Will the magic of Midnight Sun Film Festival survive his death? I’m worried but hopeful and, one way or another, I mean to find out.
“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.”
TIFF 2016: «Margreth Olins Mannen fra Snåsa offers another view, an impetus to think again. It finds something universal and genuinely moving in a theme we might too quickly have dismissed as no more than banal.»
As so often in films, Louder Than Bombs is not a dissertation of, but a meditation on its themes and motifs. Seen in isolation, words and deeds may seem unexceptional – it is as a whole that writer-director Joachim Trier and co-screenwriter Eskil Vogt’s film takes flight.
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.
During this year’s World Soundtrack Awards in Ghent, Belgium, we had the immense pleasure of sitting down with Alan Silvestri, one of the greatest composers in Hollywood and responsible for so many iconic scores in the last three decades, including Back to the Future.
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 it is expressed through mise-en-scène.
Before The Visit came M. Night Shyamalan’s early masterpiece The Village (2004). Mismarketed and misunderstood as a horror movie, it has gained a following as a mood piece of pastoral beauty, intense emotion and stylised lyricism.