Sentences with phrase «film about memory»

It's a film about memory and how a person is defined by their memories.

The last time McKellen and director Bill Condon worked together, the result was the Oscar - winning Gods And Monsters — another film about memory, legacy, and the august years of a famous man.

It never flashes back, as you might expect in a film about memories, but instead lingers on the faces of actors as they process emotions or focuses on simple items that hold intense meaning, like keychains.

There were a few gentle sci - fi films about memory at this year's Sundance, but Marjorie Prime is the most effective, not least because it's as much a small story about family and loss as it a grand discourse on human recollection.

Not exact matches

Furthermore, they can easily parody the whole position so that (as one critic, a friend of mine who is not unsympathetic to the wider process conceptuality, has phrased it) talk about divine memory may be taken as nothing more than indicating God's continually re-playing some old film or continually listening to some old soundtrack.

While there are many, many compelling things about the film, I found myself gravitating toward a teeny - tiny subplot: when both Joel (Jim Carrey) and Clementine (Kate Winslet) accidentally hear the tapes each recorded of the other in their attempts to erase each other from their memory, they get a glimpse of what their former romantic partner was thinking of them at the time things went south.

About ten years ago, after ferroelectric properties were demonstrated in ultra-thin single - crystal films of perovskites, an alternative concept for memory devices was proposed — based on the use of the tunnel effect.

Instead of watching old films or picking up a new book, consider this dating advice to improve your relationship and love: Bond with your partner by snuggling up by the fire, cherishing old memories, celebrating how far you've come, and talking about where you'd like to be in the future.

Colin Farrell stars as Doug Quaid — the role originally played by Arnold Schwarzenegger — while Kate Beckinsale and Jessica Biel are also along for a sci - fi story about implanted memories that says earthbound, rather than venturing to Mars as in the first film.

Stories We Tell explores the elusive nature of truth and memory, but at its core is a deeply personal film about how our narratives shape and define us as individuals and families, all interconnecting to paint a profound, funny and poignant picture of the larger human story.

He did several suspense films, including Johnny Allegro and Dangerous Profession, but it was his work on The Window that earned Tetzlaff a permanent place in the memories of filmgoers — a dark, chilling, and suspenseful thriller, based on the fable of the boy - who - cried - wolf, this film, about a young boy (Bobby Driscoll) known for telling tall tales, who witnesses a murder in his tenement building and can't get anyone to believe him, was an instant hit.

A fascinating projection of Guy Maddin's memories and personal mythologies about the city where he was born and raised, juxtaposed upon a fantastical recount of historical facts and urban legends with his trademark silent film aesthetic, grainy and ethereal.

But here's Twilight Time to revive that memory: Ms. Kelly plays the female lead in the film adaptation of the Off Broadway show The Fantasticks, a movie about a carnival and a scheme two get two «bickering» neighbors» kids married off to one another.

was surprised just how good this film is.The humour and pathos of this film is quite moving.There is no - one remotely attractive in the cast, it is full of strange looking redneck Americans living in semi wilderness.Everyone is poverty stricken.The sadness of old age is there, as is the regrets of past memories, and the desperation of the son to heal the wounds of his father's past life.The acting is brilliant even with the bit part actors with the sunburnt aged faces.The fathers grumpy reticence is counters by his truculent wife, who never has a good word for anybody with her vicious put downs, which is at times laugh out loud funny.A funny sad and moving film about the sheer desperate meanderings of life and old age.

Despite the credentials, Silberling's pet project is about as insubstantial a film as I've seen in recent memory, though not without its modest enjoyment.

Besides that, it's actually a pretty sweet video of some of the cast talking about their memories of the original animated film as well as their impressions of the live - action version.

Is it because those films were exceptionally precise about growing up in New York during a certain period, or because Montiel's memories have been reconfigured by the movies?

«A street - racing blockbuster about traffic cops» is one of the more endearing action - film premises in recent memory, and in terms of conceptual scale alone it seems a refreshing rejoinder to the genre's rather exhausting penchant for maximalism.

Best films about mortality, memory, human connection: «Personal Shopper» (Olivier Assayas), «Marjorie Prime,» elevated by the magnificent Lois Smith (Michael Almereyda), and most especially, «A Ghost Story» (David Lowery) 3.

The challenges in adapting a novel about the romance between two people where one of them is dead from the outset is obvious, but the film never skirts this fact, instead embracing it and using flashbacks and Justin's memories as a recurring them to show the evolving love affair between him and Tessa.

Criterion has also added «Strange Magic,» a 13 - minute featurette focused around writer and Rookie editor - in - chief Tavi Gevinson, who explores the film through the lens of adolescence, suicide, and memory via her own writing and imagery from a fanzine she made about the film in 2012.

When we did manage to stay on topic, they talked about the great cast, their memories of National Lampoon, how Emmy Rossum got cast at the last minute, Mr. Robot, memorable moments from filming, what it was like for McHale to play Chevy Chase after working with him on Community, the way they like to work on set, and so much more.

These are films that mark people's memories: if you saw either when you were a teenager, they will have lingered in how you think about the passions and persecutions of your schooldays.

I thought more about this film, upon leaving the theater, than any I've seen in recent memory.

For a documentary about (visual) memory the dominant theme resonating is strangely that of absence: Mick's trips away from the family, Mick's family not at his wedding, Mick's self isolation later in life, and, most, poignantly, the absence of the elusive Mick in his own films, a constant elided «other» as the filmmaker behind the camera.

The second section of the film feels very much like a talky Richard Linklater picture (think «Waking Life,» or moments of «Slacker «-RRB- and essentially boils down to a big table of friends eating and conversing about life — intellectual, philosophical and social ideas revolving around technology, sex, romance, memory, perception and more.

So decided to go off my memories of those films instead and as much as I love them, instead of deliberately quoting them I'd try to go by my childhood impressions of what I'd loved about them, the anamorphic framing, the lens flares, the dolly shots on faces, the way they mixed awe and moments of danger or heartbreak.

Other titles in this section include: Naomi Kawase's sweet, light and leisurely AN; Tom Geens» COUPLE IN A HOLE, about a couple living in an underground forest dwelling to be left alone to deal with their mysterious grief; DEPARTURE, Andrew Steggall's delicate first feature about longing, loneliness and nostalgia for a sense of family that may have never existed; Jacques Audiard's Palme d'Or - winner about a makeshift family trying to cement their bonds, DHEEPAN; the World Premiere of Biyi Bandele's FIFTY, a riveting exploration of love and lust, power and rivalry and seduction and infidelity in Lagos; the European Premiere of Maya Newell's documentary GAYBY BABY, following the lives of four Australian children whose parents all happen to be gay; Mark Cousins returns to LFF with his metaphysical essay film I AM BELFAST, Stig Björkman's documentary INGRID BERGMAN — IN HER OWN WORDS, a treasure trove of Bergman's never - before - seen home movies, personal letters and diary extracts alongside archive footage; Hirokazu Kore - eda's beautiful OUR LITTLE SISTER, focusing on the lives of four young women related through their late father in provincial Japan; the European Premiere of Mabel Cheung's sweeping Chinese epic based on the true story of Jackie Chan's parents A TALE OF THREE CITIES and Guillaume Nicloux's VALLEY OF LOVE starring Isabelle Huppert and Gérard Depardieu in a tale of love, loss, memory and the mystical.

Aasif Mandvi hits his (very odd, in fairness) role at about twice the volume and pace of anyone else, Justin Bartha barely figures, Mia Farrow is sweet enough, but doesn't make much of an impact, and Christopher Walken is interestingly restrained, adhering to normal human punctuation for the first time in recent memory, but at the same time, hiring Walken to play an average suburban dad is about like hiring Jason Statham for a film where he doesn't punch someone in the face.

It fits in with this year's glut of pictures about memory in that way, unravelling the truth behind Steve's knowledge of Ned's birth in conversations — probably equally spaced — throughout the film.

This leaves us feeling warm and thoughtful, even if the film ultimately fades from memory in about the time it takes for the lights to come up in the cinema.

Troell give the color photography a burnished palette to evoke the quality of faded photos and the idealization of memory and creates a beautiful film about hard lives and resilient people and the power of photography to bring hope and beauty to both.

Yance Ford's debut feature is a deeply moving, complex film about a family murder, memory, injustice and the institutional racism that continues to pervade America's legal, social and economic systems.

Laura Dern: «The film is about memory and the stories we tell ourselves to survive.»

After the usual rigamarole about shooting challenges and directorial perfectionism, someone asked Zhang Yimou what he thought the film was about, which he either answered honestly or deftly dodged by asserting that what he wanted people to take from the film, long after they've forgotten the plot, are the memories of certain images: two women in red fighting among swirling yellow leaves, two sorrowful men flying and dueling on a lake as still as a mirror, a sky of black arrows, a desert moonscape haunted by lonely figures in white.

With the program premiering on the Channel today, I chatted with Green over email about his love for Gulager's film and his memories of studying and working in North Carolina.

Scott J. Davis got to chat to new recruit Jessie Usher about the film, his memories of the first film -LSB-...]

Lisa Skapinker has the review of Barney's Version, a film about a difficult, thrice - divorced, aging man, played by Paul Giamatti, who struggles with memory and mortality.

The most beautiful use of cinema in recent memory... a film about being truly alive!

Film journalist Katherine Tulich sat down with Bahrani and stars Andrew Garfield and Laura Dern to talk about the film and their memories of Roger.

The only place where the movie really falters is in the final minutes, which is a little too nice for the events that precede it, because even though the subject matter may be bleak, «Starred Up» is a truly captivating film about the ineffectiveness of the penal system and hands - down one of the best prison dramas in recent memory.

Professional jackass Johnny Knoxville and Patton Oswalt, widely regarded as one of the best and most transgressive stand - up comedians of the last decade, have signed on to co-star in The Catechism Cataclysm director Todd Rohal's latest film, an outlandish yet poignant comedy about a pair of battling brothers who attempt to honor the memory of their ailing father by taking a troop of boys on a camping trip that goes wildly wrong.

45 YEARS A beautifully quiet and restrained film about the pain of missed opportunities, the potency of memory and nostalgia, and the true nature of marriage.

This is a possibility considering Polley's accomplished 2006 narrative film Away from Her, about how a marriage is redefined when the wife begins to lose her memory as a result of Alzheimer's disease.

The inimitable Terence Davies has an animated chat about time and memory, T.S. Eliot and Alec Guinness, the terror of being alive and the special magic of American musicals on the occasion of the U.S. release of his latest film, The Deep Blue Sea.

But as you say, Alissa, fashion ultimately exists in this film as a way to give us information about Reynolds — about his fastidiousness, about his pride, about the way he's haunted by the memory of his mother — and his relationship with Alma, rather than to tell us anything about fashion.

But it's so winningly authentic in its depiction of early adolescent hormones, friendship, love and rock «n» roll, and so genuinely punk in spirit (there's something especially defiant in making a film about a punk band set in the 1980s, when it was deeply out of fashion) that it lingers in the memory long past the end credits (which are also glorious).

From the description: «Going beyond the byline and into the minds of those chronicling life after death on the freshly inked front lines of history, the film invites some of the most essential questions we ask ourselves about life, memory, and the inevitable passage of time.

My list of didn't - see - yet shame includes: Eskil Vogt's Blind that everyone raved about, Brendan Gleeson's Calvary which Fox Searchlight picked up, German drama Wetlands, Jake Paltrow's sci - fi western Young Ones, Jim Mickle's Cold in July, bedtime horror The Babadook that some said is the best of the fest, Mark Duplass & Elisabeth Moss in The One I Love, Jenny Slate in Obvious Child, A.J. Edwards» Lincoln film The Better Angels, plus the highly praised closing night film They Came Together, not to mention the Audience Award winning doc Alive Inside: A Story of Music & Memory.

The two men have warm memories about these films worthy of public admiration.