Sentences with phrase «film language so»

Not exact matches

Of course, there is pleasure in talky scenes à la Tarantino, but this Korean film, directed by Kim Ki - Duk, driven by body language and nuance, does so well without them.

Brought to life by sign language so fluent that Koko could follow the film without subtitles, the friendship between Davis and his primate pal is the closest thing this story has to an emotional core.

One gets the sense that some of the monotony is purposeful, but that can also make it easy to drift from the words — especially when the visual language of the film is so fascinating.

There are so many complexities to the levels of understanding of the future and the way in which it is represented, that this film, for all its dullard sensibilities and lewd language, is as thought provoking as any film about dystopias and the erosion of our societal standards.

The story of a young girl (voiced by The BFG's Ruby Barnhill) who discovers that she has been born into a long traditional of witchcraft, the film — adapted by Yonebayashi and Riko Sakaguchi, with an English - language script by David Freedman and Lynda Freedman — is predicated on a sense of wonder, but so much of its world feels familiar, if comfortably so, like a favorite band playing their old hits.

At least in his English language films he is so devoid of personality and charisma that he stops the picture dead in it's tracks whenever he is on screen.

Though my family is not Spanish (Costa Rican, so they do speak the language), this film explores sexual abuse, death, and loneliness.

Director Jose Padiha (a Brazilian film veteran making his English language debut) has no trouble delivering the frenetic action and impressive visuals, so much so that any motion - sensitive viewers might want to skip the IMAX print.

As a sci - fi film, Winterbottomâ $ ™ s works because of the ideas that get transmitted through the dialogue â $ «a feasible anti-virus chatter about not so distant future epidemics combined with a curious use of the English language that minces word with other foreign languages.

I've worked with him [on films set] in the»20s,»30s,»40s,»50s and now the»70s, and so we're referencing those cinematic language of the time.

So, those first sessions were extremely important to developing the language of the film.»

(There's a specific cinematic language these films speak; when you hear a certain kind of music cue, or see a shot framed in just such a way, or when a character expresses anything approaching contentment, you'll know it's coming, so gird your loins.)

It's a great film steeped in the language of other great films, so for the second installment of our ongoing Origin Stories series, we've invited Schrader to select a roster of titles that have had an impact on his life and art and influenced his new film.

So, while his new film, his first English - language film since «Alien: Resurrection,» and his first 3D picture, would be a big get, it's probably not in the cards, especially as the film isn't expected to be delivered until the end of the summer, making TIFF or NYFF more likely possibilities.

He's making his second English - language film with based - in - fact tale «Jimmy Picard,» and is bringing some star power with him in the shape of Benicio Del Toro and Mathieu Amalric, so this seems like an obvious one for inclusion.

It shot last August, so it should be ready in time, and it's certainly one of the most eagerly anticipated foreign - language films of the year.

(Note: Because so much of the impact of foreign comedies relies on language, we've only included English language films on this list.)

Bad Moms is one of the more pushy raunchy comedies you'll likely come across, a film so reliant on using vulgarity as a crutch it has characters drop F - bombs at their children's schools and during PTA meetings because without them, the makers of this film feel like they won't get a laugh from audiences prone to guffaw just because they heard harsh language.

While not as ground - breaking as the first film, both in the language (toned down) and the characters (inevitable, since we already know these two people so well), it is a step forward in filmmaking for Pang.

Marking Joon - ho's English - language debut, Snowpiercer still ranks in the top 10 South Korean films of all time, so hype is high surrounding the series.

Once she's in class, and John hands her a blonde wig straight out of a Wong Kar - wai film and has her pick a new «American» name out of a hat like so many Asians navigating the English - language world before her, the mute and guarded Setsuko discovers she likes being «Lucy,» who can go places and do things her real - life counterpart never could.

The Japanese - language version of «The Wind Rises» was released in July and has been a major hit in Japan, where it has grossed $ 120 million and is the highest - grossing film of the year so far.

There are clearly defined Chinese characters who are allowed to speak in their own language for once (I can't remember the last film of this scale with so many subtitles) and, in particular, Tian Jing makes a striking impression.

And that gives you a shared history, language, a shorthand, so when you're writing for them, when you're acting, it makes all of those directors who work with the same people, makes their films so rich.

Undoubtedly an undersung highlight of the festival this year, and at the very least one has to love a film that can transform a song (a Spanish - language version of «Gloria,» sung by Umberto Tozzi) into a glorious ode so magnificent it's like you're hearing it for the very first time.

Ade's film brilliantly lays bare so much about communication, about language (verbal and nonverbal) and its uses and abuses.

So in a year with four of the most - acclaimed Chinese - language films of all - time (the two that appear on Sight & Sound - type lists, the one that is the only Chinese film to ever get any real Oscar consideration and a favorite among the critical intelligentsia), I'm going with a four hour documentary about a leftist revolt in 19th Century France.

So we've put together a list of 20 off - the - beaten - path films coming out between now and the end of August that will satisfy your alternative - viewing needs — the documentaries, indies, foreign - language flicks and a few straight - up unclassifiable projects that will also be coming to a theater near you soon.

Despite Thomas Pynchon's knack for vivid, cinematic language and his own avowed love of film, his novels haven't exactly proved easy to adapt for the big screen, primarily because they're so densely constructed that any adaptation would be, by its very nature, a dumbing down — and even then you'd still run the risk of ending up with something completely incomprehensible.

Born without memory of his past life (the title is the film's first puzzle, as it is really not so much a search for «Bourne's» identity as it is an examination of an identity at birth), Bourne finds himself oddly proficient in self - defence, preternaturally aware of his surroundings, and possessed of a Swiss bank account number (via the laser projector) leading to a safety deposit box full of enough passports and foreign currency to match his ability to speak several languages.

One of the reasons, in fact, that I, Daniel Blake is so eloquent is because it's so much a film about language — about how imposed official codes dehumanize as they process people, fitting them into fixed, sanctioned slots.

But the director's recent films like «Beauties At War» and «The Suicide Shop» have struggled to find audiences at home or abroad, and so Leconte seems to have made another ploy for a bigger crowd: at the age of 66, he's made his English - language debut.

It's the kind of addled farce that lies at the heart of so much of Roth's fiction, and Perry's formal chops — he and cinematographer Sean Price Williams use 16 mm black - and - white film over cheap DV, and they favor piercing deep - focus shots over hazy, foregrounded compositions — visually approximate the careful construction of the author's language.

Niccol twists the language to startling effect — rebellious Hawke is dubbed a «de-generate» — but the film succeeds so well because it's not content simply to bask in its own ideas, escalating tension when an unrelated murder investigation threatens to unmask the protagonist's existential masquerade.

BEST FOREIGN - LANGUAGE FILM: «Let the Right One In» Runners - up: «A Christmas Tale»; «The Class»; «I've Loved You So Long»

It was so beautiful the way he speaks in film language.

As so often seems to be the case, my favorite foreign language film of 2017 isn't going to be in contention for the Best Foreign Language Film category at the upcoming Oscars.

That's the big problem: everything in the film is so solid, so real - seeming (partly as a result of Gondry's brilliant way with analog as well as digital illusion, and techniques like stop - motion), whereas the novel is by nature light, a construct of weightless, casually handled language from which images emerge as if by magic.

The first English - language film from the director of «Mommy» includes an impressive cast of Kit Harington, Natalie Portman, Jacob Tremblay, Jessica Chastain, Thandie Newton, Susan Sarandon and so many more.

The film opens with a title card that reads «Day 89,» where we meet the Abbott family; pillaging the remains of the drugstore ever so carefully so as not to disturb any pill bottles, communicating in sign language, and teaching the children the life or death ways of silence, no matter what.

Like the best coming - of - age films, in Lady Bird, what is far more essential than relating to the references is understanding that they do not exist for the sake of throwbacking - the language of so many nostalgia cash cows these days.

Still riding the success of last year's «The Social Network,» David Fincher was probably the only director who could claim the English - language adaptation of the first film with so much authority.

So again, why has the Academy never recognized South Korea in its best foreign language film category?

So did Robin Campillo for BPM, a searing portrait of the 1980s AIDS epidemic in France that actually is, hands down, the year's best foreign - language film.

A final note: As is too often the case, I was not able to see enough documentaries or foreign - language films to feel comfortable second - guessing the Academy's choices, so on those fronts you'll have to look elsewhere.

So when you hear Wakandan in the film, know it's not a made - up language in the vein of Klingon or Dothraki.

The last foreign language film to do so with Chicago was Crouching Tiger Hidden Dragon back in 2000.

So the probability arises that Mamet wishes his films to be seen as a kind of populist avant - garde cinema, full of ideas about the role of language in visual text and in the interim disdaining the menial task of telling a story that has some semblance of respect for internal coherence.

Comedy film «In Bruges» won the award for Best Original Screenplay, while «I've Loved You So Long» was awarded the prize for Best Non-English language film.

The English dubbing of the version I saw, complete with Brooklyn accents, was so horrendous that the movie seemed to mutate into a Victor Mature opus every time someone opened his or her mouth; as a result the film went undiscovered in the U.S. until a German - language version with subtitles became available a year or so later.