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!
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?»
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?»
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 The Visit and Split, 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.»