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.
This third and final piece will round up favourite moments, film-formal devices, and a large number of motifs, staging ideas, echoes and other structural properties that enrich this well-thought-out film.
What happens as the cyberpunk elements in Blade Runner are adapted and changed in Blade Runner 2049, brought into both the fictional future Los Angeles, as well as the cultural context of 2017?
Continuing our guide to this film, a look at the masterfully staged piazza scene where music and mise-en-scène interact, against a backdrop of motifs and echoes.
An excellent, visually ravishing Australian World War I film with an absolutely electrifying extended climax.
Through an abundance of visual examples, a guide to the film’s final scenes, revealing how not only its characters but the film itself is striving to achieve closure.
«Because The Insult does not pretend to produce a message and only deals with the drama of individuals, it convokes the Lebanese history only through singular lives and makes us to bodily engage with some of its perspectives.»
«Despite the long history of sexism and racism in every aspect of cinema, there are still people who write about film for a living who are only now realizing that representation matters.»
Karlovy Vary 2018: «Is Putin charismatic? On the basis of a cursory appraisal we would surely say ‘No’ but we would just as surely be dead wrong – and quite possibly also dead.»
Karlovy Vary 2018: Tim Robbins used the opportunity of receiving the President’s Award for his ‘contribution to world cinema’ to issue a rousing metaphorical call to arms for artists everywhere.
Midnight Sun 2018: They say ‘out of darkness cometh light,’ but can times of adversity such as ours really breed great films? Let alone change the world? Well, if it can happen anywhere, it will be here, at Sodankylä’s famous Midnight Sun Film Festival (MSFF).
«Critics often confused Ophüls’ decadent sets, pretty belle époque settings and the technical wizardry of his mobile camera with empty style, superficiality, even snobbishness.»