Sentences with phrase «films about their perspective»

They were just told to make films about their perspective on two men cheating on their wives and why they do it.

Not exact matches

It's also a film that works because there are lots of stories from the perspectives of heroic soldiers and Jewish survivors of WWII, but far fewer about those living in occupied countries who did what they could, with what they had to pursue justice.

From a Christian perspective, one of the striking things about the film and the book series is the absence of explicit religion or references to God.

As someone who saw The Room, I can only truly speak from one perspective, and there's certainly an aware layer of recognition and expectation that is experienced from seeing a film you know so much about come together before you.

I'm just so annoyed with both Scott and Crowe for talking shit about the original script's premise for a film told from the Sheriff of Nottingham's perspective, and how this wouldn't work because it played like a medieval police procedural.

Yet Werwie also opened up about the framing device of the film, which he believes allows Kloepfer's perspective and beliefs to actually rule the story.

The perspective I'm coming from is one where I know who all of the major characters are, but I wouldn't bet money that I could fill in their backstories or how they're connected or give you details about what exactly they did in past films.

The camera generally stays on her or at her level / perspective too creating a film that is all about Maisie and the effects her parents» pettiness and selfishness is having on her.

Warren Buckland, by contrast, picks up exactly these aspects which do not fit and argues that these films do indeed represent something new, something that is not classical at all; his edited collection, Puzzle Films: Complex Storytelling in Contemporary Cinema, offers a number of interesting perspectives on just what is new about these films (2).

They really are about, from what I've seen so far, supporting up and coming artists, artists who have a strong vision and voice and perspective, and they really wan na permeate the films with those kinds of voices.

From the beginning, Roger was inspired to see Coppola's films with a unique perspective — to focus on the young boys on the fringes of the story, and to talk about the idea of adolescence.

Monsters And Men writer / director Reinaldo Marcus Green stopped by Deadline's Sundance Studio, along with cast members John David Washington, Kelvin Harrison Jr. and Anthony Ramos to speak about the film's perspective on the racial aftermath when a white police officer wrongfully shoots a neighborhood street hustler.

Clegg wrote about his struggles in a memoir that came out several years ago, and now Sachs has made a film that shows their tumultuous relationship from his perspective.

Andie Redwine was honored with The Hoosier Award for her work on «Paradise Recovered,» a film about a woman from a cloistered religious sect forced to view her community from a new perspective, which was partially shot in southern Indiana.

During his visit, we went to the premiere of the movie and spoke to some of Mexico's key journalists about the film's local impact and how its altered their perspective on the complexity of citizen's taking matters into their own hands.

But most action films do have something of a right wing perspective (especially the super hero genre) in that they are about re-inforcing rather than challenging the status quo.

Beautifully filmed and acted, but lacking a central perspective, this gentle comedy - drama has some nice points to make about freeing ourselves from the things in the past that weigh us down (the hint is in...

Last time I checked, a lot of the Jews in the concentration camps were German... But the movies you recommend are good films about WWII from the German perspective.

On Wednesday, November 1st, nestled in the midst of this twelve day celebration of Israeli filmmaking, sits the 6th Annual Films By & About Women, showcasing the work of female filmmakers and films with a narrative focus on the female perspective.

In a real sense, it's a film about perceptual reality, and as the plague inevitably breaks out again in an American - run, Ellis Island-esque NATO outpost, Fresnadillo's escalation of the events from an observation room to a subway tunnel to an open air carnival (with a brief stop in - between for an American helicopter to one - up Robert Rodriguez amidst a horde of zombies) demonstrates a firm handle on how to intersperse God's - eye perspective with impossible - to - assimilate ground - level chaos.

The flashbacks are shot conventionally, and about halfway through the film opens up to shoot scenes from both perspectives.

Those aforementioned films offered us fresh perspectives on the man: his insecurities, his desire to communicate his sense of wonder about the world through his art, his wild mood swings.

Nevertheless, similarities can be drawn between this film and Amor idiota in particular; they are both tales about foolish human behaviour, Amor idiota being additionally narrated from a first - person perspective.

This work is about globally dispersed high budget film and television production, but it is not told from the perspective of the motives and strategies of the major studios.

Kurosawa's story about a sexual assault and murder — told from the perspective of people who either participated in the events or stumbled onto them — is a «poem... that changed my perception of what is possible in film,» Altman says.

From the perspective of the caretakers, writer / director Destin Cretton offered a wonderfully authentic film about the families built from the fragments of broken homes.

It is a film that plays on forced perspective, keeping you in the dark about what exactly is going on.

Some give you perspective about what it's like to make a movie from the creative directors and artists, while others discuss the positive and negative fan reaction to the films they love.

While it's clear that Olive loves Bill (she wouldn't have so much sex with him, live with him, or bear his children if she didn't), the focus of the film is the love between the women, and it is so refreshing — and so true to the spirit of these early feminists — that the film has this perspective, despite it ostensibly being about «the Creator of Wonder Woman.»

As an intriguing counterpoint, at the New York Times, Vanessa Friedman wrote about the film and its lead character from the perspective of the contemporary fashion industry.

Expectations may veer towards a film about the aftermath of JFK's assassination told from the perspective of his widow, Jacqueline Kennedy Onassis, to be based around tubthumping emotional climaxes.

«s 2003 bestselling novel, about a high school massacre told from the perspective of the killer's mother, has been adapted into a film.

Summary: The film is about conflicting perspectives of the truth but also transnational and cultural relations.

Unlike his past films about strong female characters, like Philomena and The Queen, Frears forces Florence Foster Jenkins» perspective to emphasize how she affected the men in her life rather than focusing more on her personal struggle.

The film's perspective changes over the course of the film, where at first it's all about Cathleen and her relationship with her mother.

Before I start talking about «Cartel Land,» the film, I have to disclose that given the fact that I was born in Mexico, grew up there, and left before the outbursts of cartel - related violence started, I have a personal, if divided, perspective on the issue this film discusses.

My favorite piece of the film happens to be the last, directed by Alexander Payne (Sideways, About Schmidt), which features a middle - aged American woman traveling alone, with a voiceover done entirely in French with a thick American accent, commenting from her humble - but - naive American perspective on Parisian life.

Written and directed by Maggie Carey, the film can easily be compared to American Pie or Super Bad, but from the female perspective and set in 1993, an interesting choice considering much of the language or concepts discussed are significantly more recent than 20 years ago, but let's not quibble about such issues.

It's not a bad piece, and it is very eye - catching, but, while it does manage to tie in to the love aspect, it's not really about Paris, or even about anything remotely close to reality, so I am not sure it fits the theme of the film from my perspective.

Everything that was false about the tsunami sequence in the recent Clint Eastwood film «Hereafter» — the bland overview perspectives, the lack of human immediacy — is corrected, terrifyingly, by the first half - hour of director J.A. Bayona's...

As AWFJ member Nell Minow puts it, «What's important about our EDA Awards is that we bring a unique perspective in honoring the wonderful work that's done by women in film and that we weigh in on sexism that arises from ongoing male dominance in the film industry, especially as it pertains to women's images on film.»

He pivots here to a feminine perspective but only abstractly: This is a film about objectification that mainly sees its characters as objects, to be dressed and undressed, plastered in glitter and gore, and arranged like furniture against vast expanses of negative space.

AWFJ is dedicated to raising awareness about women's perspectives on film and to supporting work by and about women — both in front of and behind the cameras — through intra-group promotional activities, outreach programs, and by presenting the annual EDA Awards in recognition of outstanding accomplishments (the best and worst) by and about women in the movies.

This is a fight about the perspective from which our universal stories emerge,» notes Maria Giese, a film director who in 2015 instigated an industry - wide federal investigation into discrimination against female directors in Hollywood.

There's more sex in this film than just about any film we saw at Sundance, but it's told completely from the perspective of a woman and that makes such a difference.

The film, a Cannes favorite that rebooted for awards season at TIFF, is everything that the Academy is chasing after both from the optics perspective — it's a film about equality on all fronts, from racial to gender to marriage — and from an overall logistics perspective, since it's an earnest and straightforward true story with social relevance that will be an undeniable across - the - board hit with viewers of all stripes.

That drove me to Baldwin's movie essays in The Devil Finds Work, which in turn inspired me to rewatch some of the films he wrote about, from You Only Live Once to Lawrence of Arabia, with a new (or borrowed) perspective.

Star Schumer and her sister / producer Kim Caramele talk about how real - life situations (including their perspective on their father) made it into the film.

Much has been made about the vast number of cuts in the film, but these are no superficial exercises in style; they immerse the viewer in the perspective and mindset of the characters.

While Sanderson assumes the position of the film's lead villain from the moment he steps on screen, at one point, Kemp talks about sticking it to Lotterman, something that doesn't really have any grounds, or at least from the audience's perspective.