Sentences with phrase «early cinema with»

For Frieze magazine, Morton reviewed Story's 2011 show, «Angeles», at Carl Freedman Gallery where she explored the world of early cinema with paintings of cameras in a subdued colour palette of off - whites and terracotta.

Not exact matches

The building's elegantly restrained colonial architecture, the gray sky, the stately camera movement and music all convey an austere gravity, which, together with Schrader's use of Academy ratio (inspired, he has said, by Pawel Pawlikowski's «Ida»), point us back not only to an earlier era of American religion but also to such European cinema models as Bergman's «Winter Light» and Bresson's «Diary of a Country Priest.»

He studied art and cinema as a young adult, often spending a considerable amount of time on his father's movie sets, and honed his skills in his early twenties not in the arena of directing (as might be expected), but in that of painting.Danny Huston's directorial assignments began inconspicuously, at the age of 24, with the 1987 made - for - television comic fantasies Bigfoot and Mr. Corbett's Ghost (the second of which featured John Huston in the cast).

Mexican filmmaker Guillermo del Toro returns to the phantasmagorical cinema that defined such early fare as Cronos and The Devil's Backbone with this haunting fantasy - drama set in the aftermath of the Spanish Civil War and detailing the strange journeys of an imaginative young girl who may be the mythical princess of an underground kingdom.

A kind of low - level trickster god of indie cinema himself, Waititi lets his film go a little crazy: He's outfitted it with garish colors and costumes and set designs, some not - entirely - perfect special effects, and a synthesized Mark Mothersbaugh score that sounds like it was lifted from an early period Jean - Claude Van Damme flick.

Calvary was a box - office phenomenon when released in Irish cinemas earlier this year, with a gross of almost $ 1.6 million.

A startlingly intelligent, incandescent thriller topped off by one of the great endings in recent cinema, Christian Petzold's Phoenix has been granted early canonization by the Criterion Collection, which releases the film in a deluxe Blu - ray edition featuring interviews with the director and his star Nina Hoss.

British cinema in the early 1960's pulsed with the ambitious energy, on the screen and off, of young men — not angry, necessarily, but certainly restless.

The producer added that filming could begin in 2013 at the earliest, with the movie not in cinemas until at least 2014.

Steven Spielberg's Raiders of the Lost Ark (1981) was an affectionate return and tribute to the early days of Saturday morning matinees and cinema, with comic - book archaeology hero Indiana Jones (Harrison Ford) battling the Nazis while searching for the sacred Ark of the Covenant - the first in a very successful trilogy of films.

His existent early films are filled with gags and posters directly referencing Hollywood cinema.

After a series of so - called «nudie cuties» in the early 1960s, Lewis paved a bloody road of exploitation cinema, connecting the age of the drive - ins with the later advent of the blaxploitation era.

He explored adventure and horror cinema early in his career and created the popular Indiana Jones franchise and the film Poltergeist with George Lucas.

Ultimately, he said earlier today, the mix of fantasy, romance, thriller and old - style Hollywood is a movie that's «in love with love and in love with cinema.»

Those distortions are given a life of their own with his digital tools and even become cinematic devices of their own, morphing from one image to another as if released by the ghosts of early cinema.

Boasting a bigger cast with a slew of newcomers who will supposedly be pivotal in the franchise's future, the upcoming comic book flick teases a crazy good time at the cinema, and based on the early reviews from the critics, it appears to fulfill its promises.

Known as an inventive poet of early sound cinema in France, thanks to such sharp, creative films as Under the Roofs of Paris (1930), Le million (1931), and À nous la liberté (1931), Clair had a reputation that preceded him to Hollywood, and I Married a Witch overflows with the same comic irreverence and fleet storytelling as his earlier films.

While at the Toronto International Film Festival for the North American premiere of Happy End, which opens this week in New York, Haneke sat down with me to talk about his early experiences falling in love with cinema and the films that have shaped his singular aesthetic.

The great Austrian filmmaker spoke with us about his early experiences falling in love with cinema and the films that have shaped his singular aesthetic.

Stronger was a film I initially had no interest in seeing (the subject matter seemed too gruesome and intense) that stunned me with how uniquely it approached the semiotics of pain, therapy, and healing, processes that cinema has tried to depict since the earliest days of the form.

The Safdie Brothers match Pattinson and Duress» individual and collective performances with visual pyrotechnics of their own, swapping out an early reliance on claustrophobic close - ups, beginning with the notably disorientating scene between Nick and the social worker that opens Good Time, for a cinema vérité - inspired, often exhilarating mix of location shooting, hyper - active editing, and dense, propulsive plotting.

Man With a Movie Camera Year: 1929 Director: Dziga Vertov Some groundbreaking movies from cinema's earliest days now seem merely quaint, their innovations fully absorbed into the DNA of modern filmmaking.

: Heaven Knows What played extremely well with the IONCINEMA team — our Jordan M. Smith called the film an «open - hearted, rawly bellicose realization of addiction has only been graced on celluloid but a handful of times, making the Safdie's film a new exemplar of narcotic cinema for the ages,» the directing team plus regular contributor Bronstein are undoubtedly at the top of their game early into their filmography.

Being an early career researcher who focuses on queer cinema, I have a keen interest in films with LGBTI themes.

The Last Dog's debut of # 252,000 from 279 cinemas (and # 276,000 including previews) compares unfavourably with the opening salvo for Vega's own Women of Mafia back in early March (# 552,000 and # 571,000 including previews).

In his output from early in that decade, with its elements of fatalism and compositional sophistication, one can see the seeds of the poetic realist tendency in French cinema, a style whose popularization Duvivier would have a fundamental hand in a few years later (along with the likes of Marcel Carné, René Clair, and Jean Renoir, all of whose work has come to overshadow Duvivier's).

ARRIVING IN CINEMAS 2018 A.D. Set at the dawn of time, when prehistoric creatures and woolly mammoths roamed the earth, EARLY MAN tells the story of how plucky caveman Dug (voiced by Eddie Redmayne), along with sidekick Hognob, unites his tribe against the mighty Bronze Age in a battle to beat them at their own game.

Guy Maddin is a Canadian filmmaker known for his contemporary use of film styles associated with silent and early sound cinema.

In this moment, Campion finds one of her earliest platforms for experimenting with expressionistic conventions of cinema like the chiaroscuro - style lighting of Ingmar Bergman, the inky suburban subconscious of David Lynch and Peter Weir's haunting images of lost girls.3 With this scene, Campion also perfectly encapsulates the isolating, confusing and ultimately frightening mood around adolescent, female sexuality in pre-feminist Australian suburbia of the «with expressionistic conventions of cinema like the chiaroscuro - style lighting of Ingmar Bergman, the inky suburban subconscious of David Lynch and Peter Weir's haunting images of lost girls.3 With this scene, Campion also perfectly encapsulates the isolating, confusing and ultimately frightening mood around adolescent, female sexuality in pre-feminist Australian suburbia of the «With this scene, Campion also perfectly encapsulates the isolating, confusing and ultimately frightening mood around adolescent, female sexuality in pre-feminist Australian suburbia of the «60s.

In this moment, Campion finds one of her earliest platforms for experimenting with expressionistic conventions of cinema like the chiaroscuro - style lighting of Ingmar Bergman, the inky suburban subconscious of David Lynch and Peter Weir's haunting images of lost girls.

Chapter 2 is an analysis of the soundtrack of Sauve qui peut (la vie) made with Anne - Marie Miéville — a film which «looks back to the problematic status of the human body and voice in early sound cinema» (Fox, 34).

As the undisputed king of Spanish cinema returns with his sumptuous low - key melodrama, Julieta, we've decided to leaf through the Almodóvar archives to celebrate his early, funny work.

Lovelace charts Boreman's rise and ultimate fall, from her early meetings with eventual husband Chuck Traynor (Peter Sarsgaard), to her lusty dive into the world of X-rated cinema with Deep Throat and the problems that followed.

Written and directed by the godfather of «mumblecore» cinema - a genre known for nonprofessional actors and naturalistic dialogue - Andrew Bujalski's latest film is practically a Hollywood blockbuster compared with his no - budget early films.

After celebrating Christmas with one of cinema's bleakest — and funniest — depictions of religion, MUBI prepares to ring in the new year with a look back at some of the earlier works of the best modern and upcoming filmmakers, from Yorgos Lanthimos to (coming soon) The Safdie Brothers.

This weekend, MUBI explores a decade in the life of the acclaimed Berlin School, an exhilarating movement of German cinema spearheaded in the early 1990s by directors like Christian Petzold and Angela Schanelec, and attracting new attention with Maren Ade's Toni Erdmann.

Revisiting the location and themes of Abel Ferrara's earlier film China Girl (1987), the king of New York cinema crafts a portrait of his home with this neighbourhood film about a community and its many vibrant souls at war with gentrification.

It's as if the stoic / pragmatic spirit of that earlier time, also to be found in English literature (think of Ford Madox Ford's World War I — era Parade's End), had survived the transposition to modern cinema, specifically the strain initiated by Alain Resnais with the somber uncertainties and temporal splintering of Hiroshima mon amour (1959).

That would be Ismael Vuillard (Mathieu Amalric), a genial, shambling man of cinema who's on a beachside retreat with his astrophysicist girlfriend, Sylvia (Charlotte Gainsbourg), when the two are suddenly paid a visit by his wife, Carlotta (Marion Cotillard), who vanished mysteriously 21 years earlier.

He is so established for thinking outside the box, directing his film's themes and tones back to earlier styles of cinema and consistently delivering entertaining works that audiences have far more patience with him than most other directors.

Thanks to our friends at ArcLight Cinemas we're showing «War For The Planet Of The Apes» in early November with a Q&A with senior visual effects supervisor Joe Letteri, composer Michael Giacchino, production designer James Chinlund, and editor Stan Salfas!

She was even thrown into a film that felt like it was ripped from cinema screens sixty years earlier — the musical dramedy Miss Pettigrew Lives for a Day, where she plays a scatterbrained American actress attempting to break into the business, as well as navigate relationships with three very different men.

With iffy prosthethics in the early days of cinema who can blame filmmaker F.W. Murnau for utilizing the ever - creepy image cast by the night - dwelling creature?

While not as well - known perhaps as some of Roeg's earlier films — Performance (1970) Walkabout (1971), Don't Look Now (1973) and The Man Who Fell to Earth (1976)-- Fashionista arguably recalls most immediately his comparatively underrated Bad Timing (1980), a film that pits passive - aggressive dickhead Alex (Art Garfunkel in one of the most brilliant performances of early»80s British cinema) against Theresa Russell's Milena, a woman living with mental health issues that he becomes sexually obsessed with.

This volume on black actors in American cinema begins with the «Toms» found in early silent films and goes all the way up to recent Oscar winners Jamie Foxx and Morgan Freeman.

With the likes of Gladiator and Spartacus lighting up cinemas and television screens, a game that deals with swords and sandals was always likely, and in Ryse: Son of Rome the Xbox One has an exclusive title that has won early admiring glanWith the likes of Gladiator and Spartacus lighting up cinemas and television screens, a game that deals with swords and sandals was always likely, and in Ryse: Son of Rome the Xbox One has an exclusive title that has won early admiring glanwith swords and sandals was always likely, and in Ryse: Son of Rome the Xbox One has an exclusive title that has won early admiring glances.

With great visuals inspired by the early days of cinema, Guns of Icarus Online is shaping up to be an incredibly promising title.

Featuring his multimedia, cinematic installations, with playful animation and tricksy, theatrical filming evocative of early cinema, Kentridge's work tackles themes ranging from revolution and colonialism to loneliness and comic tragedy.

The photographer — who rose to fame in the early 1990s with a modern style characterised by the merging of digital manipulation and darkroom techniques — has since started «composing» his images by integrating an interest in the natural world with concepts typically associated with painting and cinema.

Building on this process, how do you describe your current interactions with cinema / film / video, the stuff animals, and the audio manipulations in relationship to your earlier exploitations of pristine (virgin) objects and materials?