Joachim Trier’s cinematic technique of connecting character psychology with visual environments has a meaningful lineage that can be traced back to one of the pioneers of the French New Wave: Agnès Varda.
Venice 2024: Like going back to a place you cherish, a second trip to Dag Johan Haugerud’s Oslo makes for a reinvigorating, heart-tugging cinema experience, while also bringing his ongoing trilogy into sharp focus for the first time.
It paid off to be ambitious: Shallow Grave has a surprising amount of plates spinning despite being a debut, or a mere crime thriller. It’s a pretty good lesson in what one can achieve with little money but a lot of will to punch above one’s weight.
Pink Flamingos is a curiosity from a truly specific time and place, and it’s not as gratuitous as you might expect.
Great entertainment is provided in an audacious film where a virtuoso, multi-layered performance by Josh Hartnett shall seduce us into accepting Trap as an arena of pure playfulness.
Woody Allen’s work is most often praised for witty dialogues and clever plots but this article might surprise you, as it explores an elegant visual stylist, confidently working with meaningful imagery, echoes and motifs.
KVIFF 2024: Confidenza has a remarkable capacity to challenge spectators to push their own boundaries and rethink their sense of self and social connection.
While waiting for Trap, have a look at the director’s previous film, which powerfully taps into highly topical, online-fuelled phenomena like irreconcilable world views, gaslighting and conspiracy theories.
KVIFF 2024: On the one hand, Lilja Ingolfdottir’s Elskling («Loveable») provides a remarkably vivid case-study of mixed-up, complex and always flawed humanity. On the other, it shows us convincingly how some of the most destructive and self-destructive tendencies might be reined in.
KVIFF 2024: Back to my people, my Brigadoon-style episodic community, my lovely, fragile, tragicomic festival! What follow are the confessions of a diehard festival-head.
«We could do a lot worse than come together with the living cinematic remains of a few notable kindred spirits, here in the ghostly, life-affirming audiovisual exuberance of Tromsø’s Silent Film Days.»
Tewfik Saleh’s The Dupes (1972) serves as a reminder of cinema’s potential to incite social change and foster cross-cultural empathy. By amplifying Palestinian voices and challenging dominant narratives, it advocates for human rights and justice.
The enormously influential film scholar David Bordwell passed away just a few days ago. This massive interview from 2004, never before published in English, makes for a snapshot of his personality and cinematic vision.