Sentences with phrase «between fiction films»

In his growing years as a feature filmmaker, Arcand would alternate between fiction films and documentaries, at times combining the two in such efforts as 1975's Gina.

Honorable mentions: A tie between fiction film «The Attack» and documentary «Stories We Tell.»

Not exact matches

The result is a movie that blurs the lines between fact and fiction, documentary and feature film, telling the story of childhood elation and adult struggle, in a motel where this happens every day and featuring dozens of extras who live within miles of the set.

Ultimately, the film exists in the same gray area between fact and fiction as its source material.

Reality and fiction as complementary propellers in cinema and the distance between the world of ideas and the crudeness of reality are some of the themes that develops this unique film.

Neither a documentary nor a fiction film, it charts the discovery of an odd relationship between a Nazi and a Zionist by their descendants.

I Happen to know the fine line between fact and fantasy, or fiction, yet this film is just a

The Waldo Salt Screenwriting Award: U.S. Dramatic was presented to: Christina Choe, for her film Nancy (Director & Screenwriter: Christina Choe, Producers: Amy Lo, Michelle Cameron, Andrea Riseborough)-- Blurring lines between fact and fiction, Nancy becomes increasingly convinced she was kidnapped as a child.

Journals Elliott Stein reports from the 5th Miami film festival on the excitement surrounding Nestor Almendros» Nobody Listened, and Pat Aufderheide discusses the emerging aesthetic gene - splicing between fiction and documentary praxis, thrown into sharp relief the San Francisco film festival.

Visually stunning with impressive special effects Ender's Game is one of the better science fiction adventure films to come along in 2013, next to «Oblivion,» which also had at its heart a war between humans and otherworldly creatures.

Resnais constantly blurs the line between fantasy and reality shifting the actors from the couch where they watch the filmed play so that they take an active role within stylized dreamlike scenes, where the fiction of the play becomes their reality.

While cult films range from campy science fiction to highly graphic horror movies and just about everything in between, there are a few characteristics that most cult films share:

At a lunch Wednesday in Manhattan, this year's Heterodox Award, given to films that provocatively expand the blurry line between fiction and nonfiction, was presented to Sean Baker's The Florida Project and the Legacy Award was given to Leon Gast for his classic film, When We Were Kings.

The biggest difference between Carver's fiction and Altman's film is that while the sexual and ethical tensions that are rife throughout the stories rarely come to the surface, they find collective and catastrophic catharsis in Short Cuts's earthshaking finale.

Looking over the impressive crop of nonfiction films this year, it seems like the most noteworthy ones were those that collapsed the boundaries between reality and fiction, or passive documentation and active storytelling, or cinema and television.

Although the film's controversial nature depends in part on the explicitness of some of the unsimulated sex scenes — an ejaculation shot, for instance, and images of cunnilingus in which the labia are clearly visible — the crux of the problem for many critics has been the slender division between fiction and documentary.

There's a palpable fit between progressive festivals and their progressive cinema, and, inversely, it's also noticeable when a festival that separates fiction and nonfiction selects a film that's an in - betweener: at LAFF, Kevin Jerome Everson's The Island of St. Matthews only serves to underline the retrograde nature of such a programming structure.

Where was the line between fact and fiction on the film?

As a director of science fiction films Ridley Scott falls somewhere between Stanley Kubrick and James Cameron...

The line between the real and the manufactured blurs within the film even as the film itself, an anime of unusual beauty and skill, is a palimpsest of representations: a fiction, a drawing, a voice performance, a choreography, and so on.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

Yet in the last few years an increasing number of films have questioned the dichotomy between documentary and fiction and integrated such questions into the films themselves.

Ex Machina is a science - fiction horror film that, like so many others, plays on fears of the future: of artificial intelligence, of the blurred line between human life and its imitations, of online surveillance shaping our experiences.

Similar in approach to Robert Greene's Kate Plays Christine (which has so far only screened locally at festivals) Green blurs the line between documentary and fiction, to make a film about the making of a film.

Though a more rigorous investigation would not necessarily have improved the film (the trampling roughshod over the thin scrim between documentary and fiction is too irritating when undertaken with what seems a cavalier disregard for both), it might have taken some of the weight off its broken, load - bearing metaphor leg, and maybe not left room for an essentially stupid, interminable, out - of - place dream sequence in the process.

Here's our rundown of our favourite films to have blurred the line between reality and fiction.

But the film tries to split the difference between thoughtful science fiction and action - driven horror, and blows the chance to truly succeed at either.

Director Sean Baker, fresh - faced stars Bria Vinaite and Brooklynn Prince, and Dafoe sat down with the L.A. Times at the Toronto International Film Festival to discuss the unique dynamic of pairing seasoned and non-professional actors, and how filming blurred the lines between fiction and reality.

Pimp turned successful urban fiction author Robert Beck gets a loving, burnished treatment in the new documentary «Iceberg Slim: Portrait of a Pimp,» a film which awkwardly straddles the line between amiable hagiography and a more discerning sociological study of the constricted economic opportunities for African - Americans in the pre-Civil Rights era.

A landmark collaboration between writer H. G. Wells, producer Alexander Korda, and designer and director William Cameron Menzies, Things to Come is a science fiction film like no other, a prescient political work that predicts a century of turmoil and progress.

The Shape of Water is a cross between a dark fairy tale, historical fiction, and an epic romance (between a mute woman and a fish - man), and with its occasional gore and imaginative monster stylings, it's very much a del Toro film.

The film becomes increasingly non-lineal and subjective as the boundaries between the truth and fiction collapse for Gilderoy.

Back in 1997, Michael Douglas and Sean Penn starred in a film called The Game, where Douglas was put through his paces in a live - action role - play that intentionally blurred the line between fiction and reality.

One can not help but notice odd similarities between fiction and real life when watching Wonder Boys, the new film based on Michael Chabon's novel.

He wrote the original screenplay and the Tony Scott - directed film hit the scene between «Reservoir Dogs» and «Pulp Fiction.»

The film that left Sundance shell - shocked blurs the lines between fiction and nonfiction, past and present, victim and hero.

There was still plenty of room at this festival for films that adhered more to the True / False mission statement of exploring the porous borders between fiction and non-fiction.

The flagship of the Festival, section Oficial Fantàstic, presents some of the most eagerly awaited movies of the year, such as Only God Forgives by Nicolas Winding Refn - director of Valhalla Rising and Drive; Jim Jarmusch's latest film Only Lovers Left Alive, an eternal love story between two vampires; A Glimpse Inside the Mind of Charles Swann III, a surrealist comedy by the hand of Roman Coppola; The Congress, a spectacular adaptation of Stanislaw Lem directed by Ari Folman - responsible for Vals with Bashir -, that combines animation with a science - fiction story starring Robin Wright and Harvey Keitel; Sitges 2013 will also represent the return of Kiyoshi Kurosawa to the fantastique genre with Real.

Ever since John Cassavetes started directing movies, indie films have wrestled with the tension between fiction and nonfiction.

Christina Choe, for her film NANCY / U.S.A. (Director and screenwriter: Christina Choe, Producers: Amy Lo, Michelle Cameron, Andrea Riseborough)-- Blurring lines between fact and fiction, Nancy becomes increasingly convinced she was kidnapped as a child.

But the film tries to split the difference between thoughtful science fiction and action - driven horror, blowing the chance to truly succeed at either.

Redford has said in the past, «Cinema, both fiction and non-fiction, has shown over and over that as human beings, we share values beyond any border, real or imagined,» and he founded Sundance Institute on the belief that art, and in particular film, has a unique power to nurture understanding between diverse cultures and people — to foster tolerance in an often intolerant world.

From «Pulp Fiction» to «Kill Bill,» his films positively drip with everything that makes the man who he is — the music, the framing, the tack - sharp dialogue, and everything in between.

The history of cinema is littered with films plumbing the depths of personal identity and the moving line between reality and fiction.

«[Shirley] Temple must be approached as an intermediary and complicating presence poised between the adult originated film fiction and the viewer.»

Sarah Polley invents a genre of film that is somewhere between fiction and non-fiction autobiography.

Pierre Huyghe (Paris, France) creates films, installations, and public events that blur the traditional distinction between fiction and reality, revealing the experience of fiction to be as palpable as anything in daily life.

Her works move between film and theatre, fact and fiction, historical models and subjective adaptations.

He often starts with an existing building, producing models, films, ruins, installations or alternative histories, blurring fact and fiction, smoothing out the borders between the real and the virtual.

PLAKOOKEE is a collaboration between artists Rachel Debuque and Justin Plakas which explores the aesthetic history of science fiction films through an installation titled Cosmic Modules.