Sentences with phrase «documentary style of film»

This is of course helped by the shaky, documentary style of film making that Peter Landesman has employed to bring this fifty year old tale to life (again).

Not exact matches

The darkly realistic cinematography of Michael Simmonds gives the film a near - documentary style in its depiction of the endless, physically draining work.

Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona among others as interview subjects for a documentary of sorts that frames the film, but also has the characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least make sure you have a better idea about all of her story and life coming out and you did going in.

The cast is made up of an actual family, including his father Tim Jandreau and his sister Lilly Jandreau, which is perhaps why their performances feel so authentic and why this film seems like an intimate, verité - style documentary at times.

It is largely filmed in the form of Billie's video diary and as a result has a documentary - style feel.

This was filmed on the Isle of Man, with documentary - style camerawork plus input from military advisor Chris Byrne.

Structured in a documentary style, the film focuses on the life of a woman (Kidman) obsessed with the dream of becoming a media personality.

This time, the story of the notorious punk band's self - immolation is told in relatively orthodox documentary style, pockmarked with film clips of the economic unrest that lit the punk fuse in England.

Among the extras is a making - of documentary filmed in the distracted observational style of the movie itself.

This documentary about the life of the famous Evil Knievel was a perfectly - made film that was as a flashy in its style as Knievel was in his stunts.

Directed by Peter Berg, «Friday Night Lights» is a remarkable depiction of an economically depressed town that looks to football for excitement and inspiration, and his decision to shoot the film in a raw and gritty documentary style only further helps in achieving that realism.

Those documentary - styled scenes of that iconic 1999 hit have not been copied much, as self - documentation has moved from the domain of film students to anyone with a smart phone.

Forman took full advantage of this by creating a series of films, beginning with «Black Peter» (1964), which commented on the lives of ordinary people with a filmmaking that combined a documentary - like style (including the use of improvisation and non-professional actors) with a biting and deeply anti-establishment sense of humor.

The film is shot in Greengrass» signature documentary - like style that puts the audience right in the middle of the action, and he brings shades of grey to a story that could have — in the hands of a lesser director — been a straight good guys / bad guys /» hooray USA» story.

The movie was made in documentary style, not dissimilar to Paranormal Activity, which I was not looking forward to initially because I'm not a fan of the documentary - styled film, but in the end it worked in the film's favour.

This film takes the instructional as its starting point; it comprises 32 distinct instructional lessons (including classes for expectant parents and educational role plays) filmed by Farocki in the style of a fly - on - the - wall documentary.

Two subjects most discussed are the voice actors» improvisations and the film's documentary - style cinematography, the latter of which the trio admits to using infrequently.

A new documentary explores the life and encroaching death of the famed film critic in a spirited style that's always moving yet never overly mournful.

Very much a kitchen - sink drama — the family kitchen is the dramatic hub for much of the film — shot in a more or less documentary style and featuring terrific performances by nonprofessionals, the film takes a no - frills dramatic approach that could be roughly located on a Cassavetes - Dardennes spectrum, and uses it to intensely revealing and moving effect.

Amy is a powerful documentary style film by Asif Kapadia detailing the life of the powerful legend Amy Winehouse who sadly joined the 27 club not that long ago.

As I say in my video review above, Gillespie and Rogers bracket their film with documentary - style interviews with the principal subjects, who all seem to be telling a completely different story of what happened.

is a powerful documentary style film by Asif Kapadia detailing the life of the powerful legend Amy Winehouse who sadly joined the 27 club not that long ago.

What's especially interesting here is that, due to the extremely tight schedule, Yates decided to use even the scenes with Mitchum's less - than - perfect deliveries, which ultimately gave the film an obvious rawness and imperfection that accentuated the desired feel of authenticity and gritty, unpolished documentary - style filmmaking that Yates and the crew were going for.

The film opens with an ingenious British Pathé - style archive documentary that airdrops us into deepest darkest Peru in the company of handlebar -» tached explorer Montgomery Clyde (Tim Downie), whose lost expedition succinctly establishes a young bear's motives for stowing away on a cargo ship bound for present - day London with little more than a literal hatful of marmalade sandwiches for sustenance.

Terry Zwigoff's landmark 1995 film is an intimate documentary portrait of the underground artist Robert Crumb, whose unique drawing style and sexually and racially provocative subject matter have made him a household name in popular American art.

Instead of making this film a documentary, McKay mixes documentary style filmmaking with everyday filmmaking.

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.

There was a variety of guerilla - style close - ups that made the film feel like a documentary rather than a feature.

At the film's recent press day, Shyamalan and Blum discussed their creative partnership and the most surprising aspect of working with each other, why the scares in this film are deceptively simple yet terrifying and original, how the mock documentary style format gave Shyamalan new cinematic tools for keeping the audience guessing, his directing style, what he was looking for in his young actors, why he cast experienced stage actors for the grandparents» roles, his collaboration with award - winning DP Maryse Alberti, how he recruited Oxenbould to shoot the chase sequence underneath the house, why he likes treating B genre movies like they're A dramas, and more.

The film is structured in a faux documentary style, where a group of town folks give the audience information directly to the camera.

Filmmaker Rodney Ascher seems to enjoy subverting the tropes of both horror films and documentaries by blending the two styles together.

The documentary - style film isn't the kind of project that usually commands a nine - figure budget, but the 2010 oil rig disaster had elements straight out of a movie.

The style has also changed, seeing the zombie outbreak in a faux documentary captured by a group of film students.

Cocote (Nelson Carlo de Los Santos Arias, 2017) A creative blend of fiction and documentary which effortlessly mixes different film stocks (colour, black and white) and contains different camera styles, including an immersive 360 - degree pan.

Topics discussed include Brolin's goatee continuity, the challenges of recreating such a recent period, the time it took to get the movie going, the films researched for look and feel (Body Heat for sweat, Stand by Me for nostalgia, Terrence Malick movies for editing), shooting things quickly documentary - style, and bits that were lost (including a Budweiser print ad meticulously recreated

Release date: June 1 Cast: Evan Peters, Barry Keoghan, Blake Jenner, Jared Abrahamson Directed by: Bart Layton (The Imposter) Why we're excited: This ripped - from - the - headlines heist film mixes narrative storytelling with documentary - style interviews of the actual young men who plotted to steal valuable rare books from the special collection of a Kentucky university's library.

I've got a brief preview of some of the films we're looking forward to over this first week, including Paul Schrader's First Reformed, documentaries on Freaks & Geeks, MIA, and John McEnroe (that's three separate films, though now I'm imagining a Fast, Cheap & Out of Control - style doc about the three of them all together and that would be really cool), and archival presentations of classics by Derek Jarman (Edward II) and Kenji Mizoguchi (Sansho the Bailiff).

The confessional documentary style works in this film to enrich the characters and deepen our understanding of the story behind Tonya Harding.

The contrast between such a believable and well - presented lead character amidst the others, makes for a confusing dash of documentary - style in this otherwise narrative film.

À propos de Nice — Jean Vigo» first film is a documentary short along the lines of Dziga Vertov's Man With A Movie Camera (1, 29), but in miniature and without that film Soviet montage style.

The studio and producers weren't keen on Soderbergh's grand vision for the film — which was to shoot it in the style of a documentary and include interviews with real - life pros.

The reason why it hasn't is simple: Emmet is a completely fictional character, and the documentary - style talking head introductions to the film's individual vignettes (by jazz historians and enthusiasts, including Allen himself) go a long way in convincing the audience of the film's truth.

Anchored by a quartet of terrific performances and shot with a grainy, handheld style that give it a documentary feel, it's the latest in a niche of true crime horror titles that are more brutal and nightmare inducing than the latest monster of the week film.

Minecraft: The Story of Mojang is charming fluff, a sweet tribute to a popular game, and its piecemeal «best of» style makes for a pleasant enough affirmation for fans who want nothing more than a brief glimpse behind the scenes, but for a documentary about a game in which players are compelled to dig ever deeper in search of raw material, it's disappointingly ironic how many blocks of narrative ore the film fails to unearth.

Starting things off, there's an audio commentary from director Mark Hartley, joined by «Ozploitation Auteurs» Brian Trenchard - Smith, Antony I. Ginnane, John D. Lamond, David Hannay, Richard Brennan, Alan Finney, Vincent Monton, Grant Page, and Roger Ward; a set of 26 deleted and extended scenes, now with optional audio commentary from Hartley and editors Sara Edwards and Jamie Blanks; The Lost NQH Interview: Chris Lofven, the director of the film Oz; A Word with Bob Ellis (which was formerly an Easter Egg on DVD); a Quentin Tarantino and Brian Trenchard - Smith interview outtake; a Melbourne International Film Festival Ozploitation Panel discussion; Melbourne International Film Festival Red Carpet footage; 34 minutes of low tech behind the scenes moments which were shot mostly by Hartley; a UK interview with Hartley; The Bazura Project interview with Hartley; The Monthly Conversation interview with Hartley; The Business audio interview with Hartley; an extended Ozploitation trailer reel (3 hours worth), with an opening title card telling us that Brian Trenchard - Smith cut together most of the trailers (Outback, Walkabout, The Naked Bunyip, Stork, The Adventures of Barry McKenzie, three for Barry McKenzie Holds His Own, Libido, Alvin Purple, Alvin Rides Again, Petersen, The Box, The True Story of Eskimo Nell, Plugg, The Love Epidemic, The Great MacArthy, Don's Party, Oz, Eliza Fraser, Fantasm, Fantasm Comes Again, The FJ Holden, High Rolling, The ABC of Love and Sex: Australia Style, Felicity, Dimboola, The Last of the Knucklemen, Pacific Banana, Centrespread, Breakfast in Paris, Melvin, Son of Alvin, Night of Fear, The Cars That Ate Paris, Inn of the Damned, End Play, The Last Wave, Summerfield, Long Weekend, Patrick, The Night, The Prowler, Snapshot, Thirst, Harlequin, Nightmares (aka Stage Fright), The Survivor, Road Games, Dead Kids (aka Strange Behavior), Strange Behavior, A Dangerous Summer, Next of Kin, Heatwave, Razorback, Frog Dreaming, Dark Age, Howling III: The Marsupials, Bloodmoon, Stone, The Man from Hong Kong, Mad Dog Morgan, Raw Deal, Journey Among Women, Money Movers, Stunt Rock, Mad Max, The Chain Reaction, Race for the Yankee Zephyr, Attack Force Z, Freedom, Turkey Shoot, Midnite Spares, The Return of Captain Invincible, Fair Game, Sky Pirates, Dead End Drive - In, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical trailer.

Known for his documentary - style Iranian films using themes from poetry, Kiarostami uses the eye of an Iranian filmmaker with the restrictions imposed by the Islamic regime in this film.

Written and created by Christopher Guest and Jim Piddock, the new comedy series FAMILY TREE is a single - camera, documentary - style show in the manner of Guest's acclaimed feature films (such as «Best in Show,» «Waiting for Guffman» and «A Mighty Wind»).

Reteaming with Emma Stone on the project, Sandgren brought a documentary feel to the drama, with gorgeously soft film grain and an interesting goal in mind: To create a film that not only depicted the»70s, but was shot in the style of movies made in that period, a pivotal and still influential moment in American cinema.

Very effective use of the neo - realist / cinema verité style to create a real documentary feel to the film.

The new comedy series is a single - camera, documentary - style show in the manner of Guest's acclaimed feature films (such as «Best in Show,» «Waiting for Guffman» and «A Mighty Wind»).