Sentences with phrase «fiction films where»

Science fiction films where technology and special effects are used to explore human behaviour and make sociopolitical comments about the present and the future are becoming increasingly scarce.

Recommendation: A science fiction film where logic and entertainment disappear and are replaced by silly science and endlessly confusing exposition.

Not exact matches

«Ready Player One,» director Steven Spielberg's science - fiction thriller about a grim world where people seek escape through virtual reality, opened as the top film in North American theaters, delivering the first No. 1 debut this year for Warner Bros..

The result is a movie that blurs the lines between fact and fiction, documentary and feature film, telling the story of childhood elation and adult struggle, in a motel where this happens every day and featuring dozens of extras who live within miles of the set.

In the recent science fiction film Passengers, a huge spaceship flies at half the speed of light on a 120 - year - long journey toward the distant planet Homestead II, where its 5000 passengers are to set up a new home.

But John's command does push the film further into the old science - fiction, doomsday territory of films like Five; The World, the Flesh and the Devil; and Night of the Living Dead, where the only way in the world the races could commingle was at its end.

Released in theatres on August 24,1966, «Fantastic Voyage» was not only a film of authentic wonder but a science fiction masterpiece with amazing special effects... the team enters the body of a man where they see first hand the oceans of life within the human body that contains the «corpuscles», «the heart», «the lungs» and other features of the human body through which the crew move through are exquisitely designed in great detail with artistic quality.

Resnais constantly blurs the line between fantasy and reality shifting the actors from the couch where they watch the filmed play so that they take an active role within stylized dreamlike scenes, where the fiction of the play becomes their reality.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

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.

Where was the line between fact and fiction on the film?

Creating a space where dreams, reality, fantasy, politics, fiction, non-fiction and other seemingly disparate concepts intermingle with one another, the film is a serene, meditative experience where anything feels possible.

Amped - Up Scope And Scale In the first film, the arena where the games are held seemed like a magically science fiction - y realm, where it seemed like the godlike architects of the games (alongside the nefarious President Snow) could reconfigure land, sea, and air, almost on a whim.

A unique blend of film noir, horror, and science fiction, Alex Proyas» underrated film about a man accused of murder in a mysterious city where the sun never seems to shine is beloved by those who've seen it, which isn't as many people as it should be.

For me, where the film frequently excels is in its visual interpretation of science not - quite - fiction.

The problem with the film isn't in its placement in the realm of science fiction films as much as its placement in the real world, where the plot necessitates a triple - jump for every leap in logic to get us from point A to Z. For instance, the film pushes forward the notion that scientists don't give any thought or research whatsoever to the ramifications of their inventions before unleashing them on the world at large.

Where Djorjevic's fiction film explores the most extreme underbelly of adult films, MiS chronicles the relatively mundane practices of hardcore - but - legal porn.

Back in 1997, Michael Douglas and Sean Penn starred in a film called The Game, where Douglas was put through his paces in a live - action role - play that intentionally blurred the line between fiction and reality.

One doesn't need to dig deep into his body of work to see that the late novelist and essayist David Foster Wallace had sincere ambivalence about mass media — his much - heralded 1,079 - page novel, Infinite Jest, features a science fiction conceit where a lethal videotape known as «The Entertainment» is so addictive, its viewers lose interest in anything other than endless repeat viewings of the film.

The Sundance Institute Producers Awards are $ 10,000 grants awarded to producers with films premiering at the Sundance Film Festival in both fiction and non-fiction categories.The awards are presented annually during the festival at the Producers Brunch where a keynote speech is given by a prominent member of the independent producing community.

Shot in Northern Minnesota, and taking advantage of both the Snowbate and IRRRB film rebate incentives, BLOOD STRIPE had its world premiere at the 2016 Los Angeles Film Festival, where it won the US Fiction Award.

In an age where the science fiction film genre has been dumbed down to a mere spectacle of loud explosions and special effects (like in Independence Day), Dark City stands out head and shoulders above the rest.

A SOW focusing on some key scenes from Shakespeare's A Midsummer Night's Dream, including activities where students reimagine part of the film as a science fiction.

After years of amateur film - making and writing short fiction, he journeyed to Hollywood in 1976 where he quickly found work writing scripts for such major television series as Hill Street Blues, Cagney & Lacey, and Miami Vice, as well as numerous series pilots and Movies - of - the - Week for the major networks.

Eiji Ishida: I decided to make Antarctica the stage for this game to pay respects to the vaunted tradition in science - fiction disaster films where the majority of the «unprecedented danger» starts in Antarctica.

«It has been a unique and uncanny pleasure to recreate an iconic film concerned with authenticity in the very location of Vertigo, and to learn about the «ghosts» haunting both museums, providing ample material for a project questioning identity and representation, in this era where fiction and reality have become increasingly blurred», states Lynn Hershman Leeson.

In 2014, Markiewicz was invited to spend two months residing at the Biermans - Lapôtre Foundation in Paris where he prepared his solo exhibition «Le Retour du Plombier Polonais,» presented at Centre d'art Nei Liicht in Dudelange and produced the first part of his docu - fiction film project Low Cost Symphony with the actors Luc Schiltz and Laure Roldan.

Byrne represented Ireland at the 2007 Venice Biennale, where he showed 1984 & Beyond, a film that takes as its point of departure a Playboy article that featured a roundtable discussion with twelve science fiction writers.

A documentary, work of fiction and essay film, Facs of Life maps several trajectories of life and thought, beginning from a series of encounters: with video footage of Gilles Deleuze's courses at Vincennes (1975 - 76), with a number of students who attended the seminar and who appear in these images, with the woods where the university buildings once stood, and with students of the new university at St Denis; The eight plateaus that compose the film each fall under a key concept - word that defines the territory of each student's relationship to Deleuze's thought and the nature of the filmmakers» encounter with them.

While Part I: Dreams addressed film's ability to transport viewers out of their everyday lives and into the darker recesses of the imagination, Realisms explores the irony that in an age where documenting «real life» is made ever easier, the line between fact and fiction becomes increasingly complicated.