Sentences with phrase «class people in his films»

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A lovely film about a group of people who enroll in an adult swim class at the local recreation center.

Whereas in «Deliverance», the person of perceived lower class asserts his dominance by violating Bobby («squeal like a pig») in the woods, therefore transforming class struggle into class warfare: Gina (Kiele Sanchez), a Georgian just like the hicks in the Boorman film, intimidates Cliff and Cydney when the country woman processes a goat into food, where she violates the animal (that Nick, played by Timothy Olyphant, had slain) with her hands for its innards.

First, there's dishy Prime Minister David (Grant), who instantly falls in love with Natalie (Martine McCutcheon), the film's token working class person.

But once Max meets his own Annie Hall in the person of Julie (Sara Downing), the stylistic flourishes fall by the wayside, and the film becomes a more pedestrian look at the rocky road to commitment here, Julie and Max's class differences sub for Annie and Woody's Alvy's religious differences.

Plastic houses for plastic people: rediscovering Leslie Stevens's long - lost film of sexual repression, class, and murderous intent in the «burbs

While the film is overlong at just under two hours, several episodes show great originality with a satiric bite reminiscent of the equally surreal films of Luis Buñuel, whose almost plotless «The Discreet Charm of the Bourgeoisie» finds six upper - middle - class people regularly interrupted in their attempt to share a meal.

This absence takes on a more instructive shape in subsequent films where the documentary filmmaker as objective observer begins to imply more forcefully that «we» (filmmaker / audience) are not the same (ethnicity, culture, class) as «them» (homeless person / child, unemployed, marginal «other»).

Funny Games U.S. is Austrian director Michael Haneke's shot - for - shot American remake of his 1996 film of the same title, in which a middle - class family are terrorised in their holiday home by two effete, creepy young men (played by Michael Pitt and Brady Corbet), who occasionally break the fourth wall for Brechtian asides intended to point out that we're watching people suffering for our entertainment.

Jia's films often deal with politics in China, specifically the country's newfound materialism after the Cultural Revolution, as well as the threat that government and giant corporations pose to the lifestyles of regular, working - class people.

The pair met at acting classes in San Francisco in 1998, which gives the film a great opening: Sestero is stricken and sweating on stage, hopelessly self - conscious, and then sits back in awe of this bizarre ogre of a person, who writhes around screaming «Stellaaa!»

«Born Into Brothels,» the story of children in the red - light district of Calcutta, is probably the favorite, because of the emotional subject matter, although the filmmakers were handicapped by the impossibility of filming most of the people in the area, and ended up with a film about bright kids taking photography classes.

In 1998 in San Francisco, the film starts off in an acting class (headed by Melanie Griffiths of all people) and we see Greg Sestero (Dave Franco) an aspiring actor who's having stage frighIn 1998 in San Francisco, the film starts off in an acting class (headed by Melanie Griffiths of all people) and we see Greg Sestero (Dave Franco) an aspiring actor who's having stage frighin San Francisco, the film starts off in an acting class (headed by Melanie Griffiths of all people) and we see Greg Sestero (Dave Franco) an aspiring actor who's having stage frighin an acting class (headed by Melanie Griffiths of all people) and we see Greg Sestero (Dave Franco) an aspiring actor who's having stage fright.

Those for whom space travel is a strong interest, or a study in science class, are the people most likely to have caught the film in its long, limited large - format release.

It's a very entertaining film, people get swept up in the ride of it, but there is also a bigger conversation there, about class in America, and the disenfranchised and media and how we consume it without question.

«So many people stepped up: tributee Catherine Hardwicke offered an incredible master class on directing; Pamela Gray and Tom Schlesinger launched their «Heroine's Journey» seminar; and there was a great only - in - Mill - Valley moment when Sir Ian McKellen, here to receive a lifetime achievement award, created an exclusive presentation for MVFF on «Women I Have Filmed With.»

Edinburgh International Film Festival There's a slightly condescending tendency among many critics to brand almost any British film set on a working - class council estate as «miserablist» simply by virtue of the aesthetics of its setting, despite the fact that many thousands of people live functional, three - dimensional lives in precisely such conditions.

It marks something of a departure for director Mike Leigh; his films typically chronicle the lives of ordinary, working - class people in the present day, although he has visited the past on two occasions before, 1999's Gilbert and Sullivan biopic Topsy - Turvy and 2004's Vera Drake, the fictional story of an abortionist in 1950s London.

Combining the wisdom of the young people in the film with world - class thought leaders in positive psychology, neuroscience and mindfulness, the book is a synthesis of best practices in all these areas.

«Professional learning is very important and I think one of the things that's helped us is flipping the classroom so we've done a lot of work in that area, developed a teacher film studio, recruited a digital coach who's very skilled in it and doing continuous work in teacher learning communities of three people to support each other, to learn how to film those lessons that are the lower order skills of remembering and understanding to allow more time in class with the teacher to do the higher order skills of analysis, synthesis and evaluation.

It offers people all over the city the chance to participate in discussions, debates, master classes, parties and special film showings in a range of venues.

Alternately intimate and epic, Kahlil Joseph's dual - screen film installation m.A.A.d. brings together a range of source materials to create a prismatic portrait of the people and streets of Compton, a working class and largely African - American neighbourhood in Los Angeles.