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Very low post frequency here, lately. But really, not much to tell. As i promissed someone, though, let's talk about Shyamalan, IMHO, amongst the best movie directors working today. The Village is a beautifully shot film, with near-to-perfection takes and lights and all the elements come together, slowly. Slowly is the world: the village is isolated in the late 1800s (any thoughts about time-space continuum?) so no Tvs or cars and everything happens in a quite different pace. M Shyamalan's keeps on following his tradition of showing the illusion, only this time it's in the myth, a big fat lie that becomes accepted as truth (and then it becomes truth, by itself). By the end of the film, the myth, the story created by the events (the crazy guy is killed by a monster and the girl kills a monster) reinforces and actually delivers stronger evidence to the monster-myth. The journey that would (could) destroy the lie, makes it stronger. Also the journey of the girl is quite true in its motives as she was led to pursue it out of love and the urge to save her loved one. So, in a symbolic way, all the stories are actually true: the monsters do exist (only that they are in the Towns, not in the forest) and as in so many folcloric tales, "love conquers all". Now, direction in itself is extremely well done. Mr. Shyamalan lies to us from the first take, when we see the date on the grave: the young age of the boy is the tragic truth surrounded by the lies of the dates. We see teh tragedy also in the unusually small size of the coffin. There's pratically no violence or action sequences, but fear when a character moves in the shadow. Timing is perfect, specially for the creature's movements on the corners of the screen. The only violent act of the film is on slow motion, as it is an action so feared in the village. Finally, for the desire, he uses the formula of hiding what one loves most. The characters hide their feelings for each other not only in their everyday acts but also as they hide their loved ones from the world, in a desperate way to protect them. Only those who are able to free themselves from fear may have their happiness blossoming but they open themselves to all sort of unhapinness that may be caused to their loved ones. Fear and illusion are the central points of the film and caring for someone is the initial inspiration for having fear and creating illusion.
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