Sentences with phrase «dramatic shots of the film»

Not exact matches

I could not find any indication whether this series was shot on film or digital, but it at least keeps the film - like look of most current dramatic TV productions.

Shot down over the Soviet Union presents previously undisclosed documents, film footage and contemporary witnesses reports that provide us with an authentic image of the dramatic events of the 50s.

While the films marks Olsen's screen debut and is certainly the most anticipated of her upcoming features, it's hardly the only place she'll appear: The 22 - year - old has already shot four other films, including the dramatic comedy «Peace, Love and Misunderstanding» opposite Jane Fonda and Catherine Keener, and she plays Josh Radnor's younger friend and love interest in the college - set «Liberal Arts.»

Variety reports that Anchorman «s Adam McKay will direct his first dramatic film with The Big Shot, based on the book written by Michael Lewis of Moneyball fame.

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.

With over a hundred films in his C.V. (including silents), King remained one of the studio's leading directors for decades, and though he worked with superb cinematographers, his films consistently show a dramatic visual style that maximizes elements within a single shot, plus a knack for crafting kinetic action scenes — particularly the storming of the fortress at the end of the film.

Then there is the unobtrusive cinematography by Sam Levy, which also has moments of fancy in overhead shots but can also keep a distance in movingly dramatic scenes that allow the actors all the space they need to perform, which may be a bonus about having an actress at the helm of the film.

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

, which also has moments of fancy in overhead shots but can also keep a distance in movingly dramatic scenes that allow the actors all the space they need to perform, which may be a bonus about having an actress at the helm of the film.

Typifying the film's dramatic inflation is Daniels» choice to shoot the riot scenes in slow - motion and making the flames of the Ku Klux Klan look like hellfire.

Craig Gillespie's rollicking retelling of infamous figure skater Tonya Harding's rise and fall might take several dramatic liberties (peep the new trailer for a bloody - faced Margot Robbie mugging for the camera in one shot while brandishing a shotgun in pursuit of Harding's ex-husband, Jeff Gillooly, in another), but, at its core, I, Tonya is a film rooted in the rich, real - life story of a deeply troubled athlete fighting for her place in the world.

Little of the music is heard, but the centrepiece is a film in which Rosemary Lee, shot from a dramatic overhead view, battles her way out from under a bed of wet clay to the internalised sound of Stravinsky's score, expiring after 14 minutes of dancing herself into birth and then, as in the ballet, to death.

Bokaer's Platform project will feature a two - channel projection of a new choreographic work for film, shot within the dramatic vistas of the Parrish Art Museum.

The former VP's film shows dramatic shots of massive chunks of ice breaking off glaciers, but this «calving» of icebergs is a normal, natural process, which has been creating our valleys for millions of years.