Sentences with phrase «central idea of the film»

The blurring of the line between dreams and reality is only presented at the end as a mind bender, not a central idea of the film.

Not exact matches

The idea of women's sexual emancipation in this film, the «independent woman» moment, is when Ana (while looking at a sexual contract that is central to the film) says «no» to one particularly violent sexual act.

Because there's no central mechanism pulling us along, the film often feels like a grab bag of ideas.

While there are hints of humor, given the film's absurd, near - implausible scenario of a fugitive who plays daddy in a broken family home, Reitman is refreshingly not aiming for cheap laughs here, instead opting for the kind of sincerity required to sell the film's central idea about the visceral necessity of family love.

From that, the rest of the film follows, for there is no broadly, easily villainous type present in the film at all, whether student, faculty, administrator, or even parent; thus the focus more clearly and cleanly zeroes in on the central idea at hand: that the two are their own worst enemies, and they need to get over themselves to be awakened to what's truly worthwhile in their lives and in life as a whole.

The idea of the lost or broken film is central to cinephilia, but its implications are ambiguous.

despite the seismic changes in critical fashion during the past half century, auteurism — at its most basic, the idea that there is an author to a film — has been central to the historical development of both popular film and serious film criticism and theory... aspects of auteurism have overlapped with virtually every subsequent critical theory and paradigm.

That's the central idea behind Snowpiercer, the new film from South Korean filmmaker Bong Joon - ho and a strong contender for the most exciting, visually striking and smartest action movie of the season.

The film's central ideas — the nature of true leadership and whether or not leadership is innate or trained — get a skin - deep treatment and, what's worse, manage to both mystify and glamorize the notion of heroism.

It's a deeply affecting film that touches on race and international politics in a way that's far more interesting and insightful than any of its predecessors by far, as one of its central themes is the idea of Wakanda's isolationist policy — it exists for its people, and it protects its people, but what of the people outside its borders?

Outside of the central idea of Conan swearing revenge on the warlord who slaughtered his people, the film has none of the supporting characters, themes, events, plot or settings of the 1982 film.

Keira Knightley's brave performance came in for criticism in some quarters for being «mannered» but I think she's the heart of the film; I can't imagine a better physical embodiment of Cronenberg's central idea of sexuality as a disruptive force.

Whilst many have already given credit to the originality of the central plot about a curse being passed on by having sex, let us not forget the works of directors such as David Cronenberg and, if you want to go even more bizarre, Frank Henenlotter, who have both made films involving the distortion of sex and the idea of sex being the conduit for bad things to happen, And granted, the actual threat in It Follows is a supernatural one rather than one of the body turning on itself, but how many curse movies have there been since Ringu convinced us all that video tapes were credible vessels for evil beings from other dimensions to cross over and kill us?

Unlike his monumental film installations, this retrospective overview rather explores the idea of a private video archive showing central subjects and formal strategies of Gordon's works.

Combining narrative films like «Body Double» and «A Short Film About Love» with experimental films, documentaries, and video art, the series demonstrates how the ideas of voyeurism, surveillance, and identity have been central throughout the history of cinema.