Sentences with phrase «cinematic narratives in»

Berg, making her fiction debut, and her director of photography, Rob Hardy, push Every Secret Thing into the overcast dimness that has become a color - palette requirement for cinematic narratives in which loved ones get murdered or go missing.

If you're not working the room like a Hollywood head - turner on the red carpet, you're probably writing a cinematic narrative in your head about all the ups and downs of your romantic life.

In his upcoming exhibition «Strange Math» at Roq La Rue Gallery in Seattle, Viner offers a cinematic narrative in a series of new allegorical paintings.

Not exact matches

Director Andrew Kuehn has excerpted brief segments of terror and suspense in a wide variety of horror movies and strung them together with added commentary, as well as some enacted narrative, to create a compilation of cinematic, fright - inducing effects.

King Kong is a lightweight compared to the trio of mutant creatures who climb atop Chicago's famed Willis Tower in Rampage, a cinematic adaptation of the classic arcade game that emphasizes big - budget spectacle over narrative substance.

The cinematic language in which Gomes is working is immersive rather than strictly narrative.

The story is told in great part by cinematic video sequences and ingame narrative sequences, and while these are fantastic in many ways they can also become a bit tedious.

Imagine a cinematic equivalent of a Picasso cubist portrait, but instead of showing multiple perspectives of an object in an image, it presents experiences from different periods in a life in a single narrative.

It might arguably succeed in teeing up the cinematic narrative that would change movies forever.

And though I'm often reticent to watch movies more than once or twice, Tully is the kind of cinematic treat — a cult classic well in the making — that you'll want to rewatch again the second it's over, not just to help piece together various narrative clues but to revisit the rib - tickling jokes and hang out with these characters for a little longer.

And though that may limit the willingness of some to embark upon Park's vision, those willing to invest in the various threads of his ouroboros narrative and allow themselves to become an author in Park's craning whirligig of Shakespearean tragedy and sardonic sexual exasperation will find the The Handmaiden is filled with sick pleasures many and makes for a rather rewarding cinematic experience.

For now, with Atwell already heading up a new series Conviction and Peggy Carter's cinematic narrative laid to rest, it seems we may have seen the last of our intrepid agent, but with Sharon Carter poised to take a bigger role in the MCU, her legacy is sure to live on.

While never the most conventional screenwriter to begin with («Pulp Fiction» is a sprawling, ambitious jigsaw puzzle, for one), in recent years Tarantino's screenplays have pushed the envelope further, eschewing most cinematic narrative conventions, with his movies becoming more like filmed novels that don't bother with traditional structure.

Unless you've been living in a cave for the better part of 2009, you've already heard the buzz surrounding Inglourious Basterds, an ultimate cinematic package filled with enigmatic performances, ultra-violent imagery, and a revisionist World War II narrative created over the course of a decade by director Quentin Tarantino.

-LSB-...] In this sense, cinematic modular narratives occupy a middle ground between traditional narrative and experimentation.

The music - driven feature film combines a bold narrative and spectacular live - performance footage of one of the most popular and influential rock bands in history to produce a bracing, raw andvisceral cinematic experience.

Directed by Brad Peyton, who has wreaked cinematic havoc around Johnson in «San Andreas» and «Journey 2: The Mysterious Island,» «Rampage» expands the narrative of the retro game, which involved a giant gorilla, wolf and crocodile crunching skyscrapers into dust.

Final Verdict: Gibson and Glover shine as one of the greatest cop pairings in cinematic history, almost hiding a weak narrative with their sheer charisma.

Using traditional research methods (reading old books) and non-traditional film processes (boiling old books) Gatten's films trace the contours of private lives and public histories, combining philosophy, biography, and poetry with experiments in cinematic forms and narrative structures.

This intriguing experiment in cinematic disorientation is so well - made that it can't help but pull us into its perplexing narrative.

But when it comes to their narratives, they are both sorely lacking in the type of blow - you - away cinematic audaciousness exemplified by both «12 Years a Slave» and «Birdman.»

Filmmaker Sally Potter combines the experimental tools and feminist approach of her earlier films with art - house style and more conventional narrative storytelling to find the cinematic counterpart to Virginia Woolf's writing in this 1992 adaptation of Woolf's novel «Orlando: A Biography.»

Sang - soo is a filmmaker who has long been interested in rebuking cinematic traditions of time, viewpoint and narrative structure.

But while Cronenberg's dry wit is on partial display here, the satirical tone feels off - key and the narrative is disappointingly disjointed but seemingly aware of it, as if it's playfully reveling in its lack of cinematic coherence.

The Tribe / Ukraine (Director and screenwriter: Myroslav Slaboshpytskiy)-- Set at a Ukrainian boarding school for the deaf, the film's narrative unfolds purely through sign language without the need for employing subtitles or voiceover, resulting in a unique, never - before - seen cinematic experience that engages the audience on a new level.

It's true that Ritchie has pinched a good number of cinematic styles from Tarantino, but unlike Tarantino's customary nonlinear narrative, Ritchie presents his clever tale with «Seinfeld» - esque coincidences that haphazardly bring all of his characters together in the end.

Ford's cinematic influences are overtly placed — everything from the iconography and satire of DR. STRANGELOVE (as shown in the war room scene), to the narrative drive of STRAW DOGS (as shown in the grippingly tense scenes with fictional Tony's harassers, led by a perfectly - cast Aaron Taylor - Johnson), to the tangible feel of David Lynch's oeuvre, to the cunning bite of Michael Haneke's FUNNY GAMES.

The music - driven feature film combines a bold narrative and spectacular live - performance footage of one of the most popular and influential rock bands in history to produce a bracing, raw and visceral cinematic experience.

Reichardt deserves props for making films that are so singular in their narrative methodologies as well their cinematic construction.

«It's not surprising that Blue Ruin is winning raves, for Saulnier's second feature has certain cinematic and narrative values that one doesn't often see in American movies, particularly action movies — and it does belong to this category, however distantly removed it is from what the words» action movie» have come to promise (i.e., fireballs, robots, robots throwing fireballs).

That is not to say that the director compromised his style in any way; many will still find his glacial pacing, aversion to traditional narrative and the film's almost total lack of action an agonising ordeal, but for those willing to open themselves up to Hou's cinematic majesty, the results are intoxicating and mesmerising in a way no other film could accomplish in 2015.

A summer movie event that has literally been a decade in the making, Avengers: Infinity War is the new capstone of Marvel Studios» ambitious master plan to bring the majority of their comic book heroes to cinematic life — not in separate, stand - alone films, but rather in an intricate web of interlocking narratives, each of which features various plot points and isolated moments (some buried within or after the closing credits) that have laid the groundwork for the events depicted here.

Further, in Marvel Studios» case, there's been an overarching narrative strategy to its cinematic universe that culminates with Thanos (Josh Brolin) and Infinity War.

In fact, it's a better DC Comics narrative than anything the DC Cinematic Universe has thrown our way.

Directors Peter Middleton and James Spinney have adapted these recordings to visual cinematic form, with actors lip syncing the words in filmed vignettes that feel like a narrative film, especially with fine performances from Simone Kirby playing Marilyn and Dan Renton Skinner bringing John's experience to the screen.

While there are hiccups within its narrative, you can't help to be drawn back in with a charming and graceful cinematic beat.

In order to force the spectator to be aware of the cinematic apparatus, Haneke creates a new route, differing at the same time from the classical narrative cinema, which suspends the spectator's awareness, the first - generation modernism of benign reflexivity, characterised by Chantal Akerman's cinema, and the second - generation modernism of aggressive reflexivity, exemplified by Jean - Luc Godard's Le Vent d'Est (1970).

And while the cinematic phantasmagoria is more interesting than any psychological reading or narrative understanding, it's like mainlining decades of giallo highlights in a single screening.

That knowledge makes the already graceful cinematic language of Lynne Ramsay's film adaptation (the Scottish director's third feature, and her first in a regrettable period of nine years) all the more remarkable: altering not a jot of narrative detail, Ramsay and co-writer Rory Kinnear have ingeniously hollowed out Shriver's wordy text into a largely tacit, imagistic memory collage that substitutes sound and vision for dialogue as extensively as possible.

Although untitled Avengers 4 movie will not be the last Marvel Cinematic Universe movie, it will be the end of the narrative that began with Iron Man in 2008.

Both films possess only the most meagre thread of what you might term a narrative, but Green has reached a point in his career where he sees that examining the interplay between people and landscapes is more cinematic that focusing on just the people or just the landscapes.

A plausible, cinematic parable presuming to fill in gaps in the Biblical narrative of the Lord's early life.

Christopher Nolan is a singular talent, and although his latest strays far from the epic and character driven narratives he is known for, the director proves once again that he can master almost any coda in the cinematic language.

Chilean - born Ruiz is a director whose love of storytelling and narrative play is often more engaging than the films themselves but with Mysteries of Lisbon, an epic based on a classic Portuguese novel (one yet untranslated into English), his engagement with the characters and their defining stories guides his direction, and his graceful camerawork and unerring eye for images both classical (like paintings in a cinematic frame) and fluid (his camera moves with purpose and grace) are in the service of the trajectories of the characters.

He'd done similar, equally compelling work prior to his breakthrough (2009's About Elly stands as arguably his strongest film), but with an increased eye on Middle Eastern cinema in the wake of Kiarostami's Certified Copy and the jailing of the more radical, uncompromising Jafar Panahi, coupled with the film's heart - tugging narrative, A Separation arrived at an opportune time for his country's rise to international cinematic prominence.

Apart from the strong performances — that do keep the movie afloat despite from the narrative breaks in your emotional suspension of disbelief — other cinematic elements help support the movie.

This is a Marvel Studios movie after all, and the primary objective of each tale in the Marvel Cinematic Universe is to continue the ongoing, connected narrative.

Narrative strain is hardly the most egregious cinematic sin, however, especially in a world with so much cookie - cutter movie product.

Reflecting on the selection process, Iranian - born independent filmmaker and producer Shahin Yazdani, said: «As jurors we are obviously looking for films which have absorbing narratives, are engaging in their cinematic articulation and unique in their tone, but given the nature of SICFF, we are equally concerned about how artfully a film can convey some strong moral values to our target audience.»

Now that very same location has been turned in to «007 ELEMENTS `, a cinematic installation telling the narrative of the Bond story.