Sentences with phrase «contemporary movies shot»

Not exact matches

Close - up shots in contemporary movies can be up to three seconds shorter than ones in which a small face appears at a distance.

What makes After Midnight more than just another ménage à trois (in homage to Truffaut) is the way Ferrario, who also writes about movies, weaves the allure of early film into a contemporary story, shot with the latest high - definition technology.

The movie also, offers an unpleasant glimpse of contemporary South Africa outside the commission: At the beginning of the film, a Black South African attempts to raid Anna's home; at the end, one Black South African settles a longstanding score with another by shooting him in cold blood in an alley.

Gray's wide shots are among the saddest in contemporary film, and as a result the movie is pervaded by loneliness and resignation — intervals of space, sometimes akin to the ma of Japanese landscape painting.

It's easy to see how such a cinema might seem alien to fans of contemporary Hollywood, which seems to have forsaken the notion of consequences or responsibility (the lack of reaction shots in recent movies is a phenomenon worthy of study) in favor of pyrotechnics and virtual games in which digital effects, unlike the tracking shots of yore, are divorced from ethics.

Shot by Academy Award - winning cinematographer Robert Elswit, who has worked with Anderson ever since Hard Eight, scored by singer - songwriter Michael Penn, edited by the great Dylan Tichenor, who started as an apprentice on Robert Altman's movies and went on to do great films such as Magnolia, There Will Be Blood, Brokeback Mountain and The Assassination of Jesse James by the Coward Robert Ford, Paul Thomas Anderson's epic drama went on to garner three Academy Award nominations, did reasonably well at the box office by tripling its initial investment and, more importantly, showcased the surprising talent and determination of one of the few brilliant filmmakers of American contemporary cinema.

If Lady Bird is, as Gerwig asserts, a «love letter to Sacramento,» then this montage of everyday, easy - to - take - for - granted sights is the big S.W.A.K. on the envelope, an unmistakable declaration of affection; the static shots throughout the movie of old neon signs from Gunther's, the Tower Theatre and Club Raven could be considered the missive's heart - shaped punctuation marks; and the purposeful use of light, about which Gerwig was particularly exacting (she dutifully studied the Sacramento landscapes of renowned contemporary painters Gregory Kondos and Wayne Thiebaud to make sure the color and intensity were just right), is suitably analogous to the fine mist of perfume that will linger after the pages have been folded away.

Few contemporary movies rely so heavily on a single ongoing reaction shot to tell their stories.

One at least has to appreciate that the movie uses its setting as a fact and not as fodder for lazy jokes about outdated technology and contemporary fads (More technical - minded folks, though, will wonder why television broadcasts of the era are shot in scope).