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.
As we say in Britain, there’s more than one way to skin a cat – and there’s more than one way to screen a silent film. The opening night of Tromsø’s Stumfilmdager showed us the way.
Karlovy Vary 2015: The festival – of film or anything else – is a powerful modern symbol of freedom and, at its best, an astonishing outpouring of human creativity.
Karlovy Vary 2015: How to explain the magic and the peril of charismatic DIY filmmaker Mark Cousins? I met the ‘legend’ and watched some of his films at the Karlovy Vary International Film Festival. I’m ready to take a stab at it – the explanation, not the man. No, really!
Karlovy Vary 2015: If you see one sex-film this summer, make it this one.
Karlovy Vary 2015: Norwegians – what are they good for? At the international premiere of Bobbie Peers’s debut feature The Disappearing Illusionist I found the answer and – trust me – it’s not what you think!
David Robert Mitchell’s It Follows inspires awe far outside the ranks of horror film aficionados. This first entry in a series of three articles looks at 10 possible ways into the film, trying to put into words and pictures what makes the film so special.
David Robert Mitchell offers an intelligent and deeply deliberate use of motifs. We reveal how sleep, water and the colour red create an “invisible”, parallel trajectory to the surface story of It Follows.
David Robert Mitchell unites art film and genre movie in It Follows. Its staging and aesthetics is explored in the last of three analytical articles about the film.
Montages is running an analysis project about M. Night Shyamalan entire production, originating from studies of his early works from 1999 to 2006: The Sixth Sense (1999), Unbreakable (2000), Signs (2002), The Village (2004) and Lady in the Water (2006).
Cannes 2015: Louder Than Bombs refuses to dole out easy answers, but is pregnant with an inquisitiveness about existence and human psychology. It’s such a rich film that it’s difficult to amply parse in a single sitting.
«What gives a work the kind of mark of authenticity that can prompt the sophisticated cinephile to nod with approval and self-satisfaction at being able to appreciate such a difficult but worthwhile film?»