Is Charlie Chaplin’s The Gold Rush (1925) modern?
Tromsø Silent Film Days 2017: Is Charlie Chaplin’s The Gold Rush (1925) modern? Who cares! Like any true masterpiece, it transcends the confines of any epoch.
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.
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.
Fancy having your dreams documented?
Karlovy Vary 2017: Fancy having your dreams documented? Or maybe some tall story you made up for a laugh – or to get out of jail? Well, some indie filmmaker with an iPhone might just make you an offer you can’t refuse!
The premise alone will make your spine tingle: Michael Glawogger’s Untitled
Karlovy Vary 2017: «The palpable poetry of Michael Glawogger’s work may distract us form its documentary credentials. Is this the most authentic documentary ever?»
The only answer is to stop othering, and Karlovy Vary can show us how
Karlovy Vary 2017: «Isn’t the real miracle of film the capacity to open up another view and give us a sense – however illusory – of seeing as others do, in a way we never considered, never even imagined?»
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?
Christopher Nolan’s Interstellar, plan B: A modern myth
This second of three analytical articles on Interstellar explores themes: identity, religion, lies and truth, inflexible worldviews, and the difference between the imagined and the experienced.
Christopher Nolan’s Interstellar, plan A: Caressing across the galaxies
This is the first of three analytical articles on Christopher Nolan’s transcendent Interstellar. It has both a newfound emotional maturity and structural complexity, holding an abundance of deeply embedded motifs, patterns and parallels.
The Last Airbender, Part II: Ritualised form
During the monumental, relentlessly hypnotic climax, M. Night Shyamalan succeeds in finding a cinematic equivalent of the effortless unfolding of superhuman powers, in a formal framework also suggesting the hero’s ritualised path to that state.
The Last Airbender, Part I: Harmony of elements
When M. Night Shyamalan’s flawed film starts working, its elements play in unison as in a symphonic work, where the sketchily drawn characters become pieces in a formal game of harmony.
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.