Sentences with phrase «film class at»

Not exact matches

Dissident shareholders of Twenty - First Century Fox Inc. (formerly part of the News Corp. media empire) are pushing Chairman and Chief Executive Officer Rupert Murdoch to give up the dual - class structure at the film and television company.

1989 was the same summer that Spike Lee's race - relations film, DO THE RIGHT THING came out, I had just read Malcolm X's Autobiography for a class, my IVCF chapter was more and more seeking to explore the implications of «multi-ethnicity» for campus ministry, and as a college radio DJ I had been exposed to more of the best rap than most white suburbanites — that is, a number of threads came together for me at that time to allow me to be a right - on - the - sidelines spectator of the rap youth culture phenomenon.

There's a little less film on Jackson than most of his peers at the top of the class, but his play in 2017 was so good that there shouldn't be many questions about him.

Battinelli started his photo journey in 1995 when his father, an amateur hobbyist photographer, bought him a Pentax P30T 35 mm black and white film camera for Christmas so that he could take photography classes in high school at Peru Central School.

In the film the wife of Pompeii's mayor takes part in business negotiations; Yeomans says that aside from «very exceptional circumstances» upper - class women at that time «were very sheltered» and would not have participated in politics or business deals.

The video was filmed as part of the «Five Minutes to Funny» class, held at comedy club DC Improv in Washington DC.

telugu nude short films ~ telugu porn vijayawada ~ telugu roja sex fucking images ~ telugu s 10th class students with teacher s sex videos ~ telugu Onew was discovered at the 2006.

Following the lead of 2012's underrated «At Any Price» in matching the socially conscious topicality of Bahrani's early films to the demands of broader - brush melodrama, this dynamically acted, unapologetically contrived pic reps the filmmaker's best chance to date of connecting with a wider audience — one likely to share the helmer's bristling anger over corruptly maintained class divides in modern - day America.

He can barely hide his anger at Ira & Christine's presence, as well as Ira's apparent wealth (unfortunately this is the beginning and end of the film exploring class tensions between the two couples), making his presence add a slight amount of unease to some scenes.

A lovely film about a group of people who enroll in an adult swim class at the local recreation center.

When written out as a list like this, one might expect the film to go through these problems like a tick - box of «working - class misery», or for the inhabitants of Bradford to be manipulated by a director wanting to take pot shots at modern Britain.

The film also delves into the theme of letting go of one's past, as Brian is continually struggling between finding his true identity at Bristol and being dragged back to his working - class roots by his best friend and part - time criminal Spencer (Dominic Cooper).

Tara tries to drop her Abnormal Psychology class but instead receives an intriguing pitch from her instructor, Dr. Hattaras; Charmaine and Neil find parenthood a struggle but still refuse Tara's help; Max finds himself at odds with his boss at his new job; Kate prepares for flight attendant training; Lionel catches Marshall with Noah, jeopardizing their student film project.

Even if one agrees with the disgust they feel at this privileged, entitled class» complacency and complicity, a little more subtlety and a more nuanced approach to the dynamics of this culture clash would have made the film that little bit more effective.

Because she's already been on the run since the last film, and because at the very beginning of this one she offers up a very funny everybody - stay - away - from - me - because - I'm - bad - news speech to her new school's homeroom class, she seems to know very well who she is and, more importantly, seems to lack not one ounce of determination or fortitude on her spooky mission into the most stylized depths of the pointless occult, only trading it in for helpless fear when the script arbitrarily decides she must.

After dropping out of a drama class at the University of Hawaii, she took a tiny role in the 1966 film Hawaii, playing a seasick boat passenger (though it's hard to see her when viewing the film).

«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.

360 is a beautifully made film that oozes class and tells us something about where we are at as human beings in the 21st century.

Husband and wife Tim (Jake Johnson) and Lee (Rosemarie DeWitt) are housesitting at a well - off home, which offers ample opportunity for snooping and class comparisons (their conversations about whether to send their son to private school ground the film in issues not often part of the indie milieu).

Last year's Jackie was a psychologically devastating look at the widowed Jackie Kennedy boasting one of the absolute best performances of the year by Natalie Portman, whereas in comparison LBJ is a film that will be thrown on in American History classes only for teenagers to fall asleep.

There is a brief stop at an art fair in France, where the beautiful Monique (Cecile De France) insists on joining their expedition and can not be dissuaded; we think at first she has a nefarious motive, but no, she's probably taken a class in screenplay construction and knows that the film requires a sexy female lead.

After a stellar career in student drama at Oxford, he had joined the BBC, but he was soon also writing film criticism and, in 1956, was one of the founders, along with Karel Reisz and Lindsay Anderson, of the Free Cinema movement, espousing a cinema free of commercial and political constraints and using a personal style to capture working - class life and popular culture, which had been ignored by traditional British cinema.

Of course it was no picnic for the lower classes, but the film takes a good stab at showing that a life of privilege is not all it is cracked up to be.

But once Max meets his own Annie Hall in the person of Julie (Sara Downing), the stylistic flourishes fall by the wayside, and the film becomes a more pedestrian look at the rocky road to commitment here, Julie and Max's class differences sub for Annie and Woody's Alvy's religious differences.

Both deal with class — particularly the underclass — a topic that has been running through prestige films a lot recently, as it did at Cannes this year.

And perhaps it's that lack of a clearly defined protagonist that has kept Alice Sweet Alice at an arms distance to many a film lover: there's nobody to really root for in this movie, just a joyless bunch of terrified, damaged, working class hypocrites who offer up their children to the alter of Christ without conscience... and suffer gravely for it.

It makes for a pleasing metaphysical subtext to a film with spectacular action sequences, pointed references to the political economics of the class struggle, and a character in Benicio Del Toro whose nihilism carries with it a whiff of Zen philosophy at its purest.

Mike Leigh's 1990 comedy Life Is Sweet, showing at the Trylon microcinema as part of a monthlong retrospective of the director's early films, presents an intimate portrait of working - class life in Thatcher - era north London.

Set in the Pacific Northwest mining town of Presbyterian Church at the dawn of the twentieth century, Altman's film centers on the relationship between wayward gambler John McCabe (Beatty) and cockney brothel madam Constance Miller (Christie), who partner up to provide the town with a high - class whorehouse.

It's a moving evocation of the class struggle that's at the heart of the film.

My love - hate relationship with Noah Baumbach's films lurched firmly into love when Greta Gerwig became his collaborator: as star, as muse, and most importantly as screenwriter, Gerwig's contribution appeared — from the outside, at least — to help push Baumbach's works into a new class, with 2012's Frances Ha and 2015's Mistress America both perfectly - executed chronicles of the modern millennial.

At NVFF, each year's most outstanding new independent films are washed down with world - class food and wine, tucked into bed each night with sublime hospitality, and greeted each gorgeous morning with opportunities to deepen the bonds between artists and audience.

The visual joke about Daniel's gleaming phallus going flaccid under seismic stress is so obvious the film doesn't even bother to make it, although it spares the time to follow him after he abandons Blake in a parking garage and beats a solo retreat through the wreckage, establishing his credentials as a world - class dickhole at every opportunity.

«I am a Flatbush girl», first - time feature director Eliza Hittman said proudly at the world premiere of It Felt Like Love in the Next section (it later went to Competition in Rotterdam), and, while not entirely autobiographical, the film draws from her experience of growing up in this largely working - class neighbourhood of New York City's most populous borough, of these endless summers where you have to escape to the sea with your friends for fear of melting like the asphalt under your feet.

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.

There seem a multitude of avenues through which to deconstruct the picture, if not class then gender, if not from a film geek perspective then through a technical appreciation — but at its heart, the film is a visceral experience.

I have all sorts of guests in my weekly film symposium class at the USC School of Visual Arts: directors, writers, producers, composers, production designers, etc..

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.

Moreover, theories about sociological, hidden and subliminal messages in Disney films and characters are so prevailing that I have enjoyed intriguing classes on the very subject in junior high (for free) and at university (for a repossessed Porsche).

«Tommy Wiseau doesn't just make some mistakes; he makes every mistake,» says Amanda Klein, a professor of film studies at East Carolina University who kicks off her class on «Trash Cinema and Taste» by showing the film.

While the film is overlong at just under two hours, several episodes show great originality with a satiric bite reminiscent of the equally surreal films of Luis Buñuel, whose almost plotless «The Discreet Charm of the Bourgeoisie» finds six upper - middle - class people regularly interrupted in their attempt to share a meal.

You're not going to find Bad Teacher or X-Men: First Class marketed in such a way — there's simply too much at stake for such a marketing method that is hardly aimed at blockbuster crowds — but they are often the sorts of trailers that spark intense discussion and admiration amongst film fans.

The pair met at acting classes in San Francisco in 1998, which gives the film a great opening: Sestero is stricken and sweating on stage, hopelessly self - conscious, and then sits back in awe of this bizarre ogre of a person, who writhes around screaming «Stellaaa!»

Among the four major dramas to center on working class Boston types at the end of 2010 and into 2011, I'd rank The Company Men alongside the Hilary Swank lawyer film Conviction, both a far cry from the appealing heights of The Fighter and Affleck's acclaimed hit The Town.

McConaughey and Ross, a four - time Oscar nominee known most recently for his work on «The Hunger Games,» will provide guidance through a series of videos presented to the class (which is capped at 30 film production students), but the stars are expected to appear on campus at least once.

(Disclaimer: I teach at CalArts, Antadze took classes with me and I made possible the international premiere of the film in Vienna.)

The screenplay by Bruce Wagner (Scenes from the Class Struggle in Beverly Hills) takes a deeply satirical look at the inner workings of the LA film industry.

The 2017 film updates the plot for a post-Great Recession America, using the unlikely robbery at the heart of the story as a commentary on the outrage felt by the majority of middle - class Americans burned by the 2008 / ’09 economic crisis.

This is partly to keep in training, which is also the reason I teach a film class; a mind that considers movies only at review length will atrophy.