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?
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.
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.
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.
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.
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.
Several Norwegian films and filmmakers have made their way to the inaugural Architecture Film Festival London, 6. – 11. June – including Joachim Trier and Eskil Vogt.
With the artistic, commercial and critical success of his two latest films, it is about time to soberly unearth the very real qualities of M. Night Shyamalan’s disproportionally maligned middle period.
«Upon its release, Raymond Bernard’s Les Croix de bois (1932) was seen as a pacifist march of death.»
«The main character is not guilty of or tempted by murder or theft. She has just been guilty of arrogance without conceiving the consequences to which her vanity might lead.»
The new leaner, meaner version of M. Night Shyamalan has made a bizarre but thoroughly gripping film, providing an emotionally deep understanding of why psychological survival mechanisms arise in abuse victims.
TIFF 2017: For all the monkeying around, Steve Oram’s Aaaaaaaah! from 2015 has given us a mirror – and we may not like what we see!