Sentences with phrase «camerawork in»

Ledare would train his lens on particular pedestrians and follow them until they exited the range of his view... Like Ledare's film, Pope.L's work begins with surreptitious camerawork in public space, but the rigid ordering and smell of rotting lunchmeat suggest something less exploratory and more sinister.

Other acquisitions mark stages in the careers of artists whose retrospectives SFMOMA has originated or hosted, among them Richard Tuttle, Jeff Koons, Anselm Kiefer, Diane Arbus, Brice Marden, Matthew Barney, Olafur Eliasson and Eva Hesse.Significant gifts of photography include works by Daido Moriyama and Shomei Tomatsu, reflecting SFMOMA's distinctive investment in post-war camerawork in Japan.

New York — based Adam Fuss departs from traditional camerawork in his photomechanical rendering of photograms.

Hailed by the New York Times on its Paris release as «one of the great films in motion picture history,» Raymond Bernard's Wooden Crosses, France's answer to All Quiet on the Western Front, still stuns with its depiction of the travails of one French regiment during World War I. Using a masterful arsenal of film techniques, from haunting matte paintings to jarring documentary - like camerawork in the film's battle sequences, Bernard created a pacifist work of enormous empathy and chilling despair.

The camerawork in Peril is not nearly as inspired, and some of the shots are downright blurry.

There is a great deal of spectacle, though, that makes The Death Cure an enjoyable enough experience for fans or those with low expectations - but perhaps a bit too much handheld camerawork in certain sequences to see this film in 3D or IMAX.

The camerawork in It Happened in L.A. captures the essence of Los Angeles as well as the subtle dread of relationships.

Dod Mantle's vigorous, intuitive camerawork in Danny Boyle's Mumbai - set

I've always stayed back from doing too much inflective camerawork in my earlier films.

His work is firmly rooted in technique, his awe - inspired response to Max Ophüls's camerawork in The Earrings of Madame de... showing his awareness of the integral connection of form to story.

If less than its outsized reputation, this Western is still a fun view, particularly in Joe MacDonald's austere camerawork in Monument Valley.

Not exact matches

Such problems are exacerbated by Berg's uniformly questionable directorial choices, with his relentless and thoroughly distracting use of shaky camerawork easily the film's most egregious failing (the needlessly overlapping dialogue comes in at a close second, however).

The editing and camerawork are excellent in capturing the urban landscape of Miami but it's not enough.

It's immediately clear that Berg's penchant for incoherent, relentlessly shaky camerawork is in full effect here, with the filmmaker's aggressively unpleasant visual sensibilities holding the viewer at arms length right from the get - go - although, unlike most of Berg's previous endeavors, Patriots Day at least benefits from an interesting storyline that generally compensates for its inept cinematography.

The latter describes a single shot in the film as a «55 - minute tour de force of sustained mobile camerawork to rival such one - take wonders as Russian Ark — and in 3 - D, to boot.

(Sadly, the mood of the fight is jarringly altered when Black Widow enters the fray and suddenly the camerawork is too close and edited in a blender.

Steven Soderbergh, at the top of his game, handles directing, editing, scoring, camerawork and the lead role in this comedic oddity.

Aided by the warmly shadowed intimacy of Agnes Godard's camerawork, Denis identifies fleeting joys and hormonal highs in the dating chase: be it the tactile thrill of one lonely hand meeting another, or the tense pause that comes just after a conversation runs dry, and just before silent lips find something else to do.

This was Justin Lin's first time directing a feature alone, and I must say, «Better Luck Tomorrow» has some of the most genius camerawork and editing techniques that I have seen in a long time.

Critics Consensus: Employing gritty camerawork and evocative sound effects, Invasion of the Body Snatchers is a powerful remake that expands upon themes and ideas only lightly explored in the original.

This serious - minded, ambitious oddity shoots for the moon of a far - off planet, but it really only finds the grace it's looking for in its magnificent supple camerawork.

In the early going, the camerawork and the score, the latter by the director's siblings, Brooke and Will Blair, play up the unease and even the menace that Ruth feels after the burglary, though already there's room for some moments of off - color humor as well, notably involving a foul - mouthed lady's last words at Ruth's workplace.

Such unforgettable specifics — which range from Jo's half - shut right eye to an opening - night run - in with sketchy cops — bring this crazy milieu to life, while the restless handheld camerawork and giddy jump - cut style give things the renegade twist van Groeningen is looking for.

Likewise, such emotion also propels the tinted, stunning camerawork by Affonso Beato — which in its prime when it focuses on the geometric shapes of the film's sublime setting of Roosevelt Island, New York — allowing it to ooze of a creepy feel.

If you can overcome issues associated with the hand - held camerawork, Public Enemies is solid in both its storytelling and the way in which the narrative is represented on screen.

In the end, there is just about enough narrative to hold interest, while the lyrical camerawork, constantly in motion, blurred images and all, offers a single emotion that is impossible to stretch over a feature - length filIn the end, there is just about enough narrative to hold interest, while the lyrical camerawork, constantly in motion, blurred images and all, offers a single emotion that is impossible to stretch over a feature - length filin motion, blurred images and all, offers a single emotion that is impossible to stretch over a feature - length film.

There's tension in the action sequences, but it's all robbed of any impact when the dull talkie moments with equally - dull camerawork pulls the pacing to the side of the road.

The camerawork by New Hollywood DP John A. Alonzo (Chinatown), who shot documentaries with Friedkin when they both worked for David Wolper in the mid-1960s, is a sterling example of late -»80s cinematography (for better and worse), featuring lots of blue and an aggressive use of shadows to add expressionist texture to interiors, along with appropriately bizarre lighting effects in the wooded scenery outdoors.

The 3D 48 fps edition looks amazing in steady close - ups of faces, for example, but has the negative effect of accentuating the worst of Jackson's decisions: the use of rapid - fire editing and unsteady camerawork for his action sequences.

Gillespie's direction is lacking in general and the camerawork leaves much to be desired.

From its opening scene slowly falling down Violet's closet in a continuous panning shot that makes her hat boxes and skin - tight dresses seem more like a modern city than a wardrobe, Bound quickly proves itself as a tightly constructed (and unexpectedly funny) lesbian noir with incredible camerawork, solid acting by the entire cast and tight pacing that'll keep you feeling empathizing with Violet, Corky and Caesar as their high - stakes game take several reversals of fortune.

The action — filmed in the Western style that favours quick cuts and too - close camerawork over the clarity of an Eastern approach — is perhaps the film's weakest element, but then it's just the bridge to the movie's greater concerns, anyway.

Yet Dargis goes on to say that something must have gotten lost in the translation from noble idea to low - budget reality: «the entire [opening] scene, from the camerawork to the stilted, stop - and - go dialogue, can be read as a Brechtian enterprise, but mostly it feels like Mr. Schrader isn't in control of his material.»

In any case, A Bigger Splash comes across as vintage in its clever camerawork, its moral ambiguity, and its deceptively romantic set decoration and fashioIn any case, A Bigger Splash comes across as vintage in its clever camerawork, its moral ambiguity, and its deceptively romantic set decoration and fashioin its clever camerawork, its moral ambiguity, and its deceptively romantic set decoration and fashion.

«The Black Stallion» inspired plenty of kiddie animal movies, but it's deeper impression is in films that try to recreate that feeling of being a child through intimate camerawork and editing that simulates how the mind takes in information.

Combining Hitchcockian camerawork, lush, over-saturated colors, rollercoaster - like thrills, and at times surreal situations, Argento could overcome the sadism and misogyny in his gallery of sliced and diced beauties with the sheer cinematic bravura and beauty of the sequences.

Slow West, however, abandons in large part the grittiness of the Western in favour of a more dreamlike quality embodied in the narrative and the camerawork.

Writer - director Paul Greengrass's frenetic handheld camerawork, aspiring in its blue / green - tinged slickness to doc - like immediacy, and the faceless cast of unknowns, all of whom appear to be attending an actors seminar held on a Universal Studios theme park roller coaster, are in service of an ideologically muddled house of cards, which crashes to earth long before the plane does.

Of course, the whole movie bears Scorsese's unique visual stamp, but the agitated, disjointed camerawork suggests an otherworldly quality particularly in those final scenes.

It's actually astonishing that we not only have great actors nailing tricky scenes, and really some stunning, winding camerawork to go with it, but such things as the weaving in of special effects and the utter lack of capturing any of the off - screen crew members who surely must have been around helping with the shoot (that we never see anything we shouldn't in any of the many on - screen mirrors is quite astonishing) only makes this one of the more brilliant efforts at shooting a seamless film since the first in Alfred Hitchcock's Rope.

It's like a heightened version of a Robert Altman project, with its many - layered approach to themes and conversations, roving camerawork, seemingly loose approach to pacing, and its incisive slicing up of populist entertainment in favor of the old fashioned.

Frequently dynamic camerawork helps to elevate this feature above its contemporaries in the genre.

It's an impressive piece of camerawork and seems to imply that the film will takes us into the lives of all the characters we see in passing, rich, poor, young, old alike.

Director Peter Berg licks the story along at an efficient pace, imparts a powerful sense of a city under siege in the overhead camerawork, and wrings tears in a final reveal involving the actual participants.

Hoffman, who helmed the production, doesn't do much to revolutionise the art of filmmaking, but he undoubtedly succeeds in telling the story in a seamless fashion, allowing the characters and narrative to take precedence over fancy camerawork.

It wouldn't be a Robert Zemeckis movie, though, without some degree of ostentation in his camerawork, and those moments all feel like major distractions, hindrances preventing audiences from connecting with the regrettably thin characters on hand.

Henry Fonda and Walter Matthau are fantastic in their roles and Lumet's camerawork and editing beautifully pounds home the escalating tension.

In some places, Doremus's taste for hand - held camerawork and extreme close - ups works well, such as in the sex scenes with Jonas and Nia, or scenes of the two of them simply being together, but in other places — pretty much every other place — it's out of synch with the setting of this worlIn some places, Doremus's taste for hand - held camerawork and extreme close - ups works well, such as in the sex scenes with Jonas and Nia, or scenes of the two of them simply being together, but in other places — pretty much every other place — it's out of synch with the setting of this worlin the sex scenes with Jonas and Nia, or scenes of the two of them simply being together, but in other places — pretty much every other place — it's out of synch with the setting of this worlin other places — pretty much every other place — it's out of synch with the setting of this world.

Eschewing impartial reportage for visceral on - the - ground sensation, the Damascus - born Derki drops the viewer in media res with handheld camerawork, covering (among other things) shootouts that are as adrenaline - pumping as any Hollywood action movie.

Using cinematographer Hossein Jafarian's crisp images, Farhadi develops the mode of camerawork that would characterize his subsequent films, a technique that involves constant movement and reframing (especially in the apartment's beautifully designed interiors) in order to follow the shifting of perspectives among characters as well as the story's emotional twists.