Red. note: Montages editor Karsten Meinich have cut the film One that you, that this article is abo

In the analysis discussed premiere topical Norwegian film with analytical approach and professional look. The aim is to offer filmmakers a more thorough feedback on their work than the general film criticism do today, while enrich the audience's experience and understanding of Norwegian film. Analysis analysis remake.me (2014) analysis Bjørnøya sitiawan cinema (2014) analysis Karsten and Petras wondrous Christmas (2014) [2] The analysis world awaits (2014) analysis Here is Harold (2014) analysis Twilight Land (2014) [1] The analysis sitiawan cinema Good girl ( 2014) analysis Operation Arctic (2014) [1] See all
Red. note: Montages editor Karsten Meinich have cut the film One that you, that this article is about. He has in the current period sitiawan cinema had leave from editorial work, and this article is written by a contributor who has not previously been involved with the editors or had any way connected to Montages.
These weird feelings, these meetings filled attraction, time saying goodbye sitiawan cinema and the room dissolved behind a face that rises up in front of your face. How often have movie tried to give shape to this? And it's no wonder, then film has many good prospects of designing sitiawan cinema a look that turns to another human being. Spillefilm Debutant Eirik Svensson has created one of Emotion film that knows how to exploit some of the film's elements: face formations glance, time, space, sitiawan cinema light and shadows. But there is something more than an urgent sitiawan cinema exercise, half original love story in the film's light? Celebrate a distinct voice - is one that you a visualization of something sitiawan cinema new?
One that you revolve around a love affair between two people (insofar wood, but actually two). In the film's first part, we are familiar with three Norwegian boys and three Finnish girls, who meet in Istanbul, and we will look at two of these as they are drawn towards each other: Kaisa (Pamela Tola) and Jacob (Espen Klouman Høiner). The film is structured as a city-aft, where major cities marks a new era in liva Kaisa and Jacob, who is leaving and hitting each other in a while.
Although these cities - Istanbul, Oslo, Helsinki, Berlin - has served as a sort of subtitle in marketing of the film, they appear not as central in itself. Rather sitiawan cinema than highlighted in its stedsspesifisitet acts towns global space where people reside with the same feelings from place to place (but here it's possible I overlook something because of lack of knowledge and experience of cities). The film city-structuring sitiawan cinema highlight a tidsmessighet linked to globalization, where geographical displacement has become a natural part of daily life to the speed the business beast.
This spatial and temporal aspect of the film's structure is characteristic of the entire film, which emphasizes geographic, physical and emotional closeness and distance: advances, the dynamics of specific meetings, embracing and tentative glances and smiles, romantic love, dispirited, abandonment and longings of lonely people in cityscapes. Kaisa and Jacob: just people sitiawan cinema who do not care business meeting with coke on the table and shit in the history of art in Vigeland Park. Mindful of the fresh expression in stone, always seeking in the present, who hopes a meeting, on intimacy. Hoping that no slippage because sitiawan cinema of the wrong city, time, emotion or inquiry.
Svensson expression has a duality I want to go a bit into. First: a tendency to the visionary. Occasionally presents itself symbolic manifestations of longing and passion. The latter refers sitiawan cinema primarily in how art is used and positioned in the film's mise-en-scène. In one scene in the Vigeland Park presents itself a relief of two fused human bodies as a symbolic manifestation of Kaiser longing, and a little later, a montage of wet dancers in fast motion a kind Legends picture dancing; juicy, sweaty and glistening. One can criticize these symbolic touches to disrupt sitiawan cinema a there-and-then -feeling film otherwise emit (or approaching kitsch, bad taste or laziness, for that matter, whether one is in the unloved corner), the proximity to the specific movie constantly seeking, but this does not represent as inconsistent choices. Partly because the film continually leads physical sitiawan cinema forms into an emotional space, in different ways.
One that you often change focus between people and environment. The camera focuses on people and their faces, and this often surroundings - primarily light - around and behind the people to approach the abstract. Not only does it provide a kind of drum emotionality, one emotion denomination, it also provides people a solvency. They stand and moves as overweight bodies, immersive present in an emotional moment or a mood, there surroundings slipping back as a diffuse, swirling whereabouts. As the surrounding world as you are about to make out, try to sleep or go over a traffic road and cars are the only lights of attention.
With this in mind, the focus shift, light and space and humans