Sentences with phrase «documentary dark horse»

The British documentary Dark Horse is a delightful story well told — and, like so many good stories, it begins with a dream.

Not exact matches

Laura Poitras — «Citizenfour» Easily the most talked - about non-fiction film of the year, a front - runner for the Documentary Oscar (and even, some suggest, a dark horse for a Best Picture nomination), «Citizenfour» looks to make director Laura Poitras, if she wasn't already, one of the best known documentarians working today.

U.S. DOCUMENTARY Grand Jury Prize: The Wolfpack, Crystal Moselle Directing Award: Cartel Land, Matthew Heineman Special Jury Award — Social Impact: 3 1/2 Minutes, Marc Silver Special Jury Award — Verite Filmmaking: Western, Bill Ross, Turner Ross Special Jury Award — Break Out First Feature: (T) ERROR, Lyric R. Cabral, David Felix Sutcliffe Special Jury Award — Cinematography: Cartel Land, Matthew Heineman, Matt Porwoll Audience Award — U.S. Documentary: Meru, Jimmy Chin, E. Chai Vasarhelyi Audience Award — World Cinema Dramatic: Umrika, Prashant Nair Audience Award — World Cinema Documentary: Dark Horse, Louise Osmond Audience Award — NEXT: James WhiteDOCUMENTARY Grand Jury Prize: The Wolfpack, Crystal Moselle Directing Award: Cartel Land, Matthew Heineman Special Jury Award — Social Impact: 3 1/2 Minutes, Marc Silver Special Jury Award — Verite Filmmaking: Western, Bill Ross, Turner Ross Special Jury Award — Break Out First Feature: (T) ERROR, Lyric R. Cabral, David Felix Sutcliffe Special Jury Award — Cinematography: Cartel Land, Matthew Heineman, Matt Porwoll Audience Award — U.S. Documentary: Meru, Jimmy Chin, E. Chai Vasarhelyi Audience Award — World Cinema Dramatic: Umrika, Prashant Nair Audience Award — World Cinema Documentary: Dark Horse, Louise Osmond Audience Award — NEXT: James WhiteDocumentary: Meru, Jimmy Chin, E. Chai Vasarhelyi Audience Award — World Cinema Dramatic: Umrika, Prashant Nair Audience Award — World Cinema Documentary: Dark Horse, Louise Osmond Audience Award — NEXT: James WhiteDocumentary: Dark Horse, Louise Osmond Audience Award — NEXT: James White, Josh Mond

Dark Horse (PG for mature themes and mild epithets) Inspirational, rags - to - riches documentary recounting how a group of working - class Welshmen successfully pooled their resources to raise a great racehorse.

Emblematic of the festival's initiative to spotlight films on a global scale is its «Global Visions» section, which boasts an array of narrative and documentary films from Japan (Wonderful World End), Brazil (The Second Mother), Germany (Stations of the Cross), China (Red Amnesia), the United Kingdom (Luna), South Korea (A Hard Day), France (Fidelio: Alice's Odyssey), New Zealand (The Dark Horse), and many more countries with exciting, emerging filmmakers and films worthy of our undivided attention.

The Audience Award: World Cinema Documentary was presented to: Dark Horse / United Kingdom (Director: Louise Osmond)-- Dark Horse is the inspirational true story of a group of friends from a workingman's club who decide to take on the elite «sport of kings» and breed themselves a racehorse.

Best Documentary «Amy» «Dark Horse: The Incredible True Story of Dream Alliance» «How to Change the World» «Palio» «A Syrian Love Story»

That's not all though, as the Definitive version will also have six new outfits for Lara, digital copies of the Dark Horse comic Tomb Raider: The Beginning, Brady Games» art book Tomb Raider: The Art of Survival and The Final Hours of Tomb Raider documentary series.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.