Karlovy Vary 2016: Houston, We Have a Problem! is a minor masterpiece of plausible fabrication, tracking real events with an unwavering satirical eye, and placing them in a perspective that is at once ridiculous and illuminating.
Karlovy Vary 2016: What makes Under the Sun so effective is the way it has managed to capture the beauty of North Korea and juxtapose it with social relationships that provoke, at best, a much more ambivalent response.
Karlovy Vary 2016: Rebecca Figenschau’s short drama-film Elephant Skin (2015) received its international premiere and a warm reception at Karlovy Vary International Film Festival (KVIFF) this week. But why is this the only new Norwegian film being shown here?
Midnight Sun 2016: Silent films, old and new mesmerised audiences at this year’s Midnight Sun Film Festival (MSFF). What is the secret of their abiding appeal? William A. Wellman’s Beggars of Life, and Aki Kaurismäki’s homage to the pre-talkie golden age, Juha, provide some clues.
Midnight Sun 2016: Storm-clouds are gathering. Now, more than ever, we need our lantern bearers, our beacons of hope. We need Sodankylä’s Midnight Sun Film Festival! But can it survive the loss of its guru?
Midnight Sun 2016: Sadly, we lost Peter von Bagh, the tireless guardian of this remarkable diamond in the woods. Will the magic of Midnight Sun Film Festival survive his death? I’m worried but hopeful and, one way or another, I mean to find out.
“Homesick primarily plays on the unspoken. Dialogues are marked by pauses and silent tensions between characters. Most films increase their pace towards a climax, but in Sewitsky the pauses just grow longer and more pregnant.”
TIFF 2016: «Margreth Olins Mannen fra Snåsa offers another view, an impetus to think again. It finds something universal and genuinely moving in a theme we might too quickly have dismissed as no more than banal.»
As so often in films, Louder Than Bombs is not a dissertation of, but a meditation on its themes and motifs. Seen in isolation, words and deeds may seem unexceptional – it is as a whole that writer-director Joachim Trier and co-screenwriter Eskil Vogt’s film takes flight.
Whispered echoes, nightmare logic, high melodrama, relentlessly ingenious staging – this visual analysis of M. Night Shyamalan’s pastoral masterpiece preserves the film’s own gestures, often rearranged in surprising combinations.