Sentences with phrase «fiction films often»

Not exact matches

Questions which the body politic or the academic world are unwilling to confront head - on are often dealt with through the medium of, say, science fiction: think of the Matrix films, or a novel such as Kazuo Ishiguro's Never Let Me Go.

Counselors in rehab often warned me of watching films like Pulp Fiction or Requiem for a Dream, which have a reputation for glorifying drug use and could have led me to a relapse.

In fiction, pneumatic technology is often associated with a creaking bureaucratic dystopia, such as George Orwell's 1984 or the satirical film Brazil, but it was once widely lauded.

Before 1968's Planet of the Apes Science Fiction films had been middling performers at best, and more often than not slightly juvenile in appeal.

The moderately successful artistic pursuits of this sculptor and retired Bard College professor, coupled with the short story structure of the film, lay the foundation for its exploration of the way in which history and perception become intertwined with identity and how people often cling to an idea of themselves, be it objective fact or socially constructed fiction.

Not likely to appeal to a wide range audience (this is not a film dependent on special effects or action sequences), the international thriller is the type of science fiction film we don't see often enough.

At once epic and intimate, director Denis Villeneuve's film accomplishes what science fiction cinema often strives for but rarely achieves: It makes us think and feel in equal measure.

Where so many docs are content to fit into simple categories, often attempting to mimic the narrative formulas of fiction films, Stories We Tell embraces the form and then reaches beyond its usual confines.

Sean Baker directs fiction films like a documentarian hesitant to work within a journalistic framework, often casting nonprofessional actors in roles that draw upon marginalized experience.

Writer - director Shane Black knows detective movies and pulp fiction inside out, and in this film he takes elements and scenes that have become staples of those genres and changes them slightly, often to hilarious effect.

Liquid Sky is an obscure cult - film that's often been described as «trippy low - budget science fiction»,...

Almost Famous is a mostly fictional tale, but it's often fiction that can reveal the greatest truths: and Cameron Crowe's film is one of the most honest and warm - hearted coming - of - age tales around.

That forms the basis for this film, but as is often the case, real life proves much more interesting than fiction.

Doug Jones (born May 24, 1960) is an American film and television actor best known to science fiction, fantasy, and horror fans for his various roles playing non-human characters, often in heavy makeup, in films and television series such as Buffy the Vampire Slayer, Hellboy, Pan's Labyrinth and Fantastic Four: Rise of the Silver Surfer.

Perhaps more notable, however, was a non-win: the mere nomination of Sigourney Weaver for Best Actress, an extreme rarity for a film that combined three genres often viewed as pariahs to major awards programs: horror, science fiction, and action.

Big - ticket characters like franchise mascot Iron Man are represented, but Infinity War often plays more like a Guardians of the Galaxy story because they're more at home with the overt science - fiction themes of the film, and Gamora (Zoe Saldana, I Kill Giants) has had a multi-movie arc directly related to Thanos.

It's no wonder, then, that science fiction and fantasy films often felt more resonant and important than so - called «realistic» fiction.

As often happens, documentary tendencies ran through some of the festival's best fictions, notably The Florida Project by Sean Baker (whose previous film was the astonishing Tangerine) and The Rider by Chloé Zhao: the first an excursion into the candy - colored stucco dilapidation of the residence motels and junk shops clustered a few streets away from Disney World, the second a trip into the ranches and rodeo arenas of South Dakota's High Plains.

Pulp Fiction is a solid, often troubling film.

Often regarded as one of the greatest and most thoughtful science fiction films ever, Solaris won the Grand Jury prize and esteemed Palm d'or at the 1972 Cannes Film Festival.

Redford has said in the past, «Cinema, both fiction and non-fiction, has shown over and over that as human beings, we share values beyond any border, real or imagined,» and he founded Sundance Institute on the belief that art, and in particular film, has a unique power to nurture understanding between diverse cultures and people — to foster tolerance in an often intolerant world.

Too often big screen science fiction movies finesse such complicated matters with the recent Her being a good example of a film that ultimately avoids facing the full implications of its premise.

On the surface, the choice to go about this exfiltration (the lingo of «exfil» doing a bang up job of making it sound cool and James Bond - y) by fabricating a cheap knock - off science fiction movie that would seek to shoot their scenes in Iran in order to cut costs does manage to easily fall into the «so dumb it has to be true» camp, and of course it is true, the sort of conceit tailor - made for the infamous «based on a true story» tag that can often lead to a film sinking or swimming.

The spectacle is so otherworldly that after it appeared in 2012 science fiction film Prometheus, Dettifoss is just as often referred to as the Prometheus waterfall in name.

They often frame their 16 mm films through performance, as a way to heighten the embodiment of characters who are often brought together across different historical moments, facts, and fictions.

Julia Riddiough is a Margate based artist creating vivid film & photographic essays that combine fact & fiction using found imagery often from the archive.

He often starts with an existing building, producing models, films, ruins, installations or alternative histories, blurring fact and fiction, smoothing out the borders between the real and the virtual.

Often inspired by dystopian and science fiction films, I combine recognizable architectural forms and impossible buildings to make diorama-esque works.

Clark's still photography, which is filled with narrative tension has led him on to producing film and directing cult classics such as Kids (1995), Bully (2001) and Wassup Rockers (2006), films which blur the boundaries of documentary and fiction, often using untrained actors playing scenes which could be from their own lives.