Sentences with phrase «best cinema audiences»

Not exact matches

In 2005, Lindhardt took Danish cinema audience and critics by storm in the lead role of ANGELS IN FAST MOTION, for which he received the Danish Robert / Academy Award, Best Lead Role.

He got rave reviews for his dual performance (and directing duties) on the HBO drama The Deuce and is set to wow audiences with The Disaster Artist, which opens in U.S. cinemas this weekend as well as on selected UK screens (it opens wide here next week).

«Nearly 25 years after Howards End won the hearts of audiences across the country, it returned to New York this weekend and proved classic cinema is alive and well,» said Charles Cohen, chairman and CEO of Cohen Media Group.

Best filmmaker turnout (at screenings I attended): Venice Best fest venue: Sundance Cinemas (Wisconsin) Worst fest venue: Pala Biennale (a tent with port - a-potties)(Venice) Best program notes: Bologna Best fest promo reels: Bologna, TCM, Todos Santos Most charming festival director: Sylvia Perel (Todos Santos) Most beautiful surroundings: Venice, Savannah Most enthusiastic audiences: Todos Santos Best festival volunteers: Sundance, TCM Longest lines: Sundance

It's a loose adaptation of British novelist Sarah Waters» Fingersmith; it's a milestone of LGBT cinema in conservative South Korea; it's an unapologetically kinky slice of erotica Tinto Brass at his most florid would be proud of; it's a Byzantinely structured tale of con and counter-con that makes real demands of its audience to keep up; it's a stirring narrative of women escaping from bastard men; it's a vividly sketched chamber piece; and — most importantly — it's a damn good yarn.

Jackman has done a wonderful job in the role, widening the character's popularity from a comicbook fans to the general cinema - going public: It is only well - earned audience affection that allowed him to survive the execrable X-Men Origins: Wolverine, as idiotic a film as has ever had the misfortune to be screened publicly.

2006 Time Out New York Best Documentary The Radio Times Best Documentary 2007 Rose d'Or Festival, Best of 2007 and Best Arts Documentary (Switzerland) Los Angeles Film, Festival Best International Feature (USA) 2008 Atlanta Film Festival, Audience Award (USA) Bergen International Film Festival, Audience Award (Norway) Warsaw International Film Festival Best Documentary (Poland) Paris Cinema International Film Festival, Jury Prize and Audience Award (France) Nashville Independent Film Festival Impact of Music Award (USA) Sydney Film Festival, Audience Award for Best Documentary (Australia) Los Angeles Film Festival, Humanitas Award for Best Documentary (USA) Ghent Film Festival, Audience Award (Belgium) The International Documentary Awards, Alan Ett Best Music Award (USA) The Festival D'Automne, Audience Award (France) Les Rencontres Cinématographiques de Dijon, Audience Award (France) 2009 Christopher Awards, Christopher Award for Film (USA) The Keswick Film Festival, Audience Award (England) DVD Critics, Best Non-Fiction Title (USA) AG Kino - Gilde German Art House Cinemas, Best Documentary (Germany)

Since his debut film Pi in 1998, director Darren Aronofsky has cultivated a unique brand of esoteric cinema that implants itself into audiences» brains and refuses to nudge, and that's probably the best way to explain his latest film, mother!

Wearing his political views on his sleeve once more, Good Luck, and Good Night offered audiences a thought - provoking and weighty look at America in the 1950s and showed that intelligent cinema could still be made in a time where special effects and pyrotechnics are the norm.

Dedicated to showcasing the finest American and international cinema the world has to offer, its mission is to bridge the gap between independent film audiences and filmmakers, as well as to connect emerging filmmakers with established industry professionals.

His ambition has sometimes exceeded his grasp on the material, but his best films (Atonement, Hanna) and most interesting efforts (Anna Karenina) have had more than enough going on to project his take of cinema out to an audience.

«We are looking forward to sharing Lover For a Day with arthouse crowds, fans of Garrel and French cinema, as well as younger audiences / students who can relate to the two protagonists — especially Esther Garrel's growing fan base given the break - out year she has had, with an impressive performance in Luca Guadagnino's Call Me By Your Name in addition to her leading role in Lover For a Day,» commented Kasman.

They may have done well by the novelist but they didn't do well by the cinema audience.

In the 91 years since Keaton made his love letter to cinema, no one has crafted a better examination of the relationship between the audience and the silver screen.

Producer - director Sydney Pollack makes the mistake his best peers in the decade's American cinema dodged: he mistrusts the audience, believing we can't absorb backstory through performance and suggestion.

Via year - round programming and discussions; its annual New York Film Festival; and its publications, including Film Comment, the U.S.'s premier magazine about films and film culture, the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as well as to ensure that it will remain an essential art form for years to come.

There's no better time of year for fans of classic cinema, no better place to watch classic films than movie palaces like the Chinese and Egyptian Theatres in the heart of Hollywood, and no better audiences to watch films with hundreds of people who love the classics as much as you do.

He may well plagiarise but his knowledge of world cinema and the heavy influence it has on his films, in some ways, allows a wider audience to access some wonderful cinematic ideas they normally wouldn't.

The Sundance winning documentary that wowed cinema audiences last November and December is also up for another IFTA as Crowded House musician Nick Seymour has been nominated in the Best Original Score category for his work on the film.

Not to say this summer didn't give cinema - goers plenty of nice alternatives, from rare summer studio fare that pleased audiences and some critics («The Conjuring,» «Star Trek Into Darkness,» «Iron Man 3») to a good dozen excellent arthouse films («Fruitvale Station,» «Blue Jasmine,» «Before Midnight,» and «Frances Ha,» to name a few).

Returning to the capital's cinemas this November for the 6th year, the Irish Film Festival London (IFFL) will bring an exciting line - up of the very best in contemporary Irish cinema to London audiences.

Ten years ago, Joe Wright took audiences to Dunkirk in a five - minute tracking shot that ranks with the best of cinema's long takes.

The movie won accolades from critics and has performed well with audiences, and its big win tonight ensures its place in cinema history.

The script is well paced, offering its audience precious little opportunity to relent from the action and the performances (even though they're dubbed, as was the norm for Italian cinema back then) are naturalistic and believable.

Best of all, Brother Bear manages to thrill and amuse audiences with an effectiveness that surpasses most of today's cinema.

It's the Star Wars movie we deserve, not because it's some perfect piece of cinema, but because it's as good as a movie could possibly be with this many obligations — to fans and newcomers, old markets and new ones, with every variety of expectation laid at its feet by eager audiences worldwide — and then some.

Although its formalism is rigid, the film rises well above gimmickry to become a truly great, unique piece of cinema (and a very fine crime movie to boot), conjuring its own world, commenting on our own and giving the audience something that's palpably new.

Gong Li - she has majorly contributed to global cinema and honoring her would help introduce a new audience to her work as well as Asian cinema.

Lee himself had hopes of a theatrical release, particularly as audience figures were slightly disappointing — it looks and sounds so much better in cinemas.

I'm thankful for Danny Boyle's energetic perspective on the cinema and his obsession with filling his frame with that passion, as well as for Christopher Nolan's determination to take studio goodwill and prove that there is an audience and payoff for pricey originality.

It's what silent cinema does at its best: delve into the depth of the moment, drawing out action to explore the dramatic textures and letting the actors reveal the emotions of the characters, to show the audience rather than explain in intertitles.

The American cinema owes the French cinema — which is to say French critics and audiences as well as French filmmakers — an enormous debt.