Sentences with phrase «family film class»

Not exact matches

«Middle - class Christian families in America have every right to have their lives reflected on film,» Astin said.

While the film makes the point that the children are exposed to advertising, the scenes of these families seem to say that working - class people just can't make good food choices or get exercise.

Directed by Rees and adapted, with Virgil Williams, from the 2008 novel by Hillary Jordan, Mudbound is a true ensemble piece; the film explores race and class in the South through the story of two fated families, narrated by several divergent characters.

«Prey at Night» continues the first film's tradition of casting secluded rural enclaves as key locations, moving the action from the first film's oddly empty middle class neighborhood to a cleared - out trailer park that caters to families on holiday at the local lake.

Though it's evident that Marina comes from a different class than most of the film's other characters, A Fantastic Woman is withholding about her background and family — and this would be less of a problem if Lelio and co-screenwriter Gonzalo Maza offered her much in the way of motivation or aspirations.

The film's prologue touts the British village home to average middle class families, but it's quite clear the Miniver family are part of the modern upper class; with a substantial disposable income, a housemaid, and a cook, they also maintain British reserve to sometimes irrational, and rather precious degrees.

The subtext of the (mediocre) first film has become text in the (far better) sequels: the Purge is the authoritarian government's excuse to declare war on the lower class, as the privileged have the resources to survive the night while low - income families get wiped out.

The film concerns a seemingly normal, middle class Austrian family, husband and wife Georg and Anna, and daughter Eva, going about their mundane, daily activities, until one day, Georg quits his job and declares the family is moving to Australia (hence the film's title).

Obviously, there are comedies beyond hard R - rated types (and I'm not disparaging that class, as Bridesmaids and the first Hangover are fine films), but most of the visible ones are either animated family films or romantic comedies.

In the film, «the heroine, Liz Bennett (James), is pressured by her family to marry into a wealthy upper - class home but chafes at the stiff social mores of Victorian England.

He'll drop names from Elia Kazan to Roger Corman, do a mean Hitchcock imitation (he appeared in the director's final film, «Family Plot») and talk about meeting Marilyn Monroe when she sat in on classes at Lee Strasberg's Actors Studio — and being stunned when she suddenly began crying as the two of them were passed by an older woman on a New York street in the early 1960s.

The film teases the audience with clues and foreboding hints at the causes of the malaise, but never offers anything concrete or literal, instead creating a rich allegorical framework from which an endless array of fascinating questions are raised as to how power may be intermingled with issues such as history, education, class, family, gender, sexuality and ultimately the impossibility of human communication and understanding.

Funny Games U.S. is Austrian director Michael Haneke's shot - for - shot American remake of his 1996 film of the same title, in which a middle - class family are terrorised in their holiday home by two effete, creepy young men (played by Michael Pitt and Brady Corbet), who occasionally break the fourth wall for Brechtian asides intended to point out that we're watching people suffering for our entertainment.

In the film, the middle - class Jardine family move into a Brooklyn building they've inherited.

In many ways, the notion of truth was what drew both Cruz and Bardem to Farhadi, the Iranian director whose last three films include two Oscar winners in the Best Foreign Language Film category: 2011's «A Separation» and 2015's «The Salesman,» both studies of families stretched to the breaking point by secrets and class and societal tensions.

8:00 pm — TCM — Radio Days This essentially plotless Woody Allen film consists of a series of nostalgic vignettes about a 1940s working class New York family.

Tokyo Twilight — As dark and as epic as director Yasujiro Ozu gets, this brilliant film follows the melodramatic lives of a middle class Tokyo family.

Black Panther the film is truly a cultural milestone, presenting an Afro - centric viewpoint — while highlighting current world issues of race, class, broken families, and gender inequality.

The character of Leslie's father, Jack (Frank Langella) who initially appears to be the film's antagonist, a wealthy, upper class fat - cat hell bent on sinking his claws into Ben's family, but we soon come to hear him as a voice of reason.

In the film based on Amy Koppelman's 2008 novel, the Emmy - winning actress plays an upper - middle - class mother and wife who is destroying herself and her family in a losing battle with mental illness and addiction.

The film opens as the interracial couple are getting ready to travel up to her family home in a lily - white, upper - middle - class enclave.

The eye on the family's details is as superficial as the film claims the family to be — fitness classes serving sex over wellness, dad loving guns and cars, dimwitted parents against scheming youngsters.

These three add a level of class to a film about four mental patients — a child molester, a deranged war vet, a psycho preacher and someone known only as «The Bleeder» — who escape their asylum and attack the family of a new psychiatrist, whom they mistakenly believe killed their old doctor.

Thematically, the film deals with separate classes in Brazil and how families may...

Dramatic films which have portrayed the «homefront» during times of war, and the subsequent problems of peacetime adjustment include William Wyler's Mrs. Miniver (1942) about a separated middle - class family couple (Greer Garson and Walter Pidgeon) during the Blitz, Clarence Brown's The Human Comedy (1943) with telegram delivery boy Mickey Rooney bringing news from the front to small - town GI families back home, John Cromwell's Since You Went Away (1944) with head of family Claudette Colbert during her husband's absence, and another William Wyler poignant classic The Best Years of Our Lives (1946) with couples awkwardly brought back together forever changed after the war: Dana Andrews and Virginia Mayo, Fredric March and Myrna Loy, and Harold Russell and Cathy O'Donnell.

The new setting revivifies the harsh forces of class and gender at work in the story, as the sweet but inscrutable title character (Freida Pinto) falls under the spell of a wealthy young man (Riz Ahmed) and leaves her family in dusty Rajasthan for better wages in Mumbai and glamor at the margins of the film industry.

Coming from radically different childhoods and backgrounds (Truffaut came from an unhappy working class home and stints in juvenile detention, Godard from an affluent, educated, supportive family), the directors were close friends and colleagues, sharing many of the same cinematic fathers (Rossellini, Bergman, Renoir), celebrating neglected directors of the past (Truffaut interviewed Hitchcock in a celebrated book, Godard interviewed Fritz Lang in a documentary and cast him in Contempt) and preaching the gospel of a cinema dedicated to presenting the real, the honest and the authentic, first in the pages of film magazines and then on the screen.

SNEAKERS should really be classed with films like THE ADDAMS FAMILY and STAR TREK — THE MOTION PICTURE, as a full - length feature which grew out of a TV series.

In the film, Liz is pressured by her family to marry into a wealthy, upper - class home but instead wants to fight a horrifying zombie plague.

The smash - hit London musical, «Billy Elliot» (opening Nov. 13), is based on the hit 2000 film about a working - class lad from England's coal mining north who'd rather learn ballet than kick a soccer ball — much to the dismay of his family, especially his macho father.

Based on the novel of the same name, this film is the story of the Burpos; a middle - class family from a small town in Nebraska.

The film observes various middle - class families fighting tooth and nail to hold onto their family homes, only to be physically torn from their residences as they're informed by cops, the government and real - estate agents that the property is no longer theirs.

After its first screening, Andrew Jarecki's Capturing the Friedmans, the Documentary Grand Prize winner, became as hot a ticket as any fiction film, the result of its sensational subject (a middle - class, Long Island, Jewish family is destroyed when the father and one of the sons are arrested, tried, and imprisoned for multiple counts of child sexual molestation).

The Hollywood Reporter calls Burning «a beautifully crafted film loaded with glancing insights and observations into an understated triangular relationship, one rife with subtle perceptions about class privilege, reverberating family legacies, creative confidence, self - invention, sexual jealousy, justice and revenge.»

At the risk of providing ad copy for Fox Searchlight, the film, which concerns a teenage girl's passion to play soccer, much to the dismay of her middle - class Indian family, plays like a combo of Love and Basketball and a much better My Big Fat Greek Wedding.

Filming Working - class family man Christopher Robin encounters his childhood friend Winnie - the - Pooh, who helps him to rediscover the joys of life.

Imagine trying to leave the house at seven in the morning, participate in extracurricular activities, complete homework, study, spend time with your family all while trying to fit in time for auditions, filming or acting classes.

Year - round education activities include school and teacher programs, student and public tours, TAP audio tour and Great Chain Game, lectures, gallery talks, Second Saturdays for Families, Community Days, studio classes, artist residencies, concerts, and films.

With photographs, sculpture, film, installation, and performance, his works recontextualize and rework these quotations, often infusing them with Monk's personal history and working - class family upbringing.

Ellick's piece describes the six months he spent videotaping her and her family in 2009 for his film, «Class Dismissed: The Death of Female Education in Swat, Pakistan»:

I can see this film being used in family courts across the country as an orientation video for separating and divorcing parents prior to beginning mediation, and as an orientation to the reality of divorce for judges taking on a family law calendar, and in law schools» family law classes.

Building off the best practices in LGBTQ foster care and adoption developed by the Human Rights Campaign Foundation's All Children — All Families initiative, the film and accompanying materials are excellent resources for use in adoption preparation classes for LGBTQ families, adoption support groups, academic classes and LGBTQ cultural competency training for social Families initiative, the film and accompanying materials are excellent resources for use in adoption preparation classes for LGBTQ families, adoption support groups, academic classes and LGBTQ cultural competency training for social families, adoption support groups, academic classes and LGBTQ cultural competency training for social workers.