Sentences with phrase «focus of the film deals»

While the main focus of the film deals with the infamous bailout that took place late last year, he also finds a huge amount of sins committed against those with less by those with more.

Not exact matches

Though Leifer casts her net broadly, she focuses particularly on television and film, and she functions within the constraints of the psychological research, which itself deals largely with cause and effect questions and with carefully selected variables, one or two at a time.

This film avoids dealing with politics and the validity of war, and instead focuses on the people.

Unlike many films dealing with the pending Apocalypse, which are often told in the horror genre with the visual horrors of the end of days, «Seeking a Friend for the End of the World» rightfully took a different perspective by focusing on people's natural reactions.

While Ponsoldt said at the Q&A that this wasn't on purpose or even the focus of the story, The Spectacular Now is his third feature film that deals with alcoholism.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

Although the title suggests the possibility of an exercise in the pre-digested, pre-fab cynicism which seems to be a staple of contemporary American cinema, this action film focuses on its people as much as its action, and a good deal of its power comes from the way its sharply etched characters develop in various convincingly observed milieux.

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 mysticaof 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 mysticaof 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 mysticaof 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 mysticaof 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 mysticaof 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 mysticaof 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 mysticaof 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 mysticaof 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 mysticaof 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 mysticaOF THREE CITIES and Guillaume Nicloux's VALLEY OF LOVE starring Isabelle Huppert and Gérard Depardieu in a tale of love, loss, memory and the mysticaOF LOVE starring Isabelle Huppert and Gérard Depardieu in a tale of love, loss, memory and the mysticaof love, loss, memory and the mystical.

The film focuses instead on the ways the two sisters deal with their relationship — which they both desperately need to do — and the way the sons learn something, however haphazardly, about the difference between true unhappiness and the complaints of childhood.

Rosalyn is the focus of the film's most memorable scenes, from her confrontation with Sydney (Adams) in a bathroom, to the house microwave on fire and the dramatic «I don't like change» scene that sealed the deal.

I know it's called Scott Pilgrim vs. the World, but still, that kind of focus on the hero seems unnecessarily myopic, especially since his own exes, which dominant the periphery of the film, are basically dealt with by acknowledging that they exist.

The film is dated to modern eyes, and the struggles each of the men deal with are certainly subdued and edited for family viewing (and therefore, not very realistic), but the simple fact that a film focused on these problems before any other film had done so is something quite extraordinary.

Examines some of the important programs of the Roosevelt's New Deal of the 1930s and the subsequent response of the Hollywood film community with a focus on three European directors in particular — Billy Wilder, Ernst Lubitsch, and Fritz Lang, whose works are compared and contrasted with the products of mainstream Hollywood.

It's too bad that none of the debate around the film wants to try to deal with those questions, instead choosing to focus on what the film, and the Coens, are not.

While highly charming and very funny, the film feels simultaneously stuffed due to the many characters, and wispy due to the lack of focus in dealing with their story arcs.

The deal rivals the biggest ever made at a film festival: the $ 20 million Focus Features paid for world rights to the Tom Ford - directed Nocturnal Animals at the last Cannes, which matched the $ 20 million Paramount paid for the Denis Villenueve - directed Story Of Your Life at Cannes 2014.

As long as Nick remains the observer - reporter, the film retains the kind of distance and focus Fitzgerald achieved in dealing with his characters.

The film focuses so much on the last 12 hours of his life that much of the stuff that went on before simply isn't dealt with.

The film focuses on Ana and Anny, two sisters whom have been raised in isolation under the atrocity of drug dealing and the incestuous obsession of their grim father.

Both films deal with deep emotions and contain some outstanding performances, yet both are marred by self - conscious mannerisms that divert our focus away from the personal struggles of the characters.

It focussed on the female vampire in films such as Countess Dracula, and struck a two picture co-production deal with Shaw Brothers producing the Karate / Horror crossover The Legend of the Seven Golden Vampires and action - thriller Shatter.

Adapted by Kassell from Steven Fechter's play of the same name, «The Woodsman» is at heart a film about the throes of recovery, but its studious avoidance of 12 - step therapy - speak, and its focus on a compulsive disorder that is morally inexcusable and universally repugnant, ensure that it has a far greater dramatic impact than similar films dealing with, say, alcoholism or drug addiction.

Of course, when you're dealing with a film by Shyamalan, the performances are never really the focus of criticism, but rather the stories surrounding theOf course, when you're dealing with a film by Shyamalan, the performances are never really the focus of criticism, but rather the stories surrounding theof criticism, but rather the stories surrounding them.

His mise en scène is very sober, with deliberate pacing, no music, and muted cinematography in blue and gray hues, with things moving in and out of frame, in and out of focus... In a not so specific way, this made me think of M. Night Shyamalan's visual style; the fact that the film is about how people deal with grief, like many of the «Sixth Sense» director's films, only furthered this impression.

When he does focus on the film, he gives a good deal of information about the actors and the production.

By focusing on the artist's books and the film / video collection, the exhibition intends to deal with notions of display, creating an apparatus that articulates the specificities of each artwork and its relations to the audience.

Developing her artistic practice across drawing, film and performance, presents works dealing with the snake handling in Egypt, focusing on the relationship between the practices of the Rifâ» iyya (one of the main Sufi orders in Egypt associated with snake handling) and the aspects of everyday life.

The film looks at the privatization of the prison system, «exposing the conflict between for - profit corporations focused on pleasing investors and the communities which must deal with the consequences of high incarceration rates.»

According to AdAge, which first reported the news of the RPO deal, HQ will host a $ 250,000 game this Wednesday that will feature questions related to the film adaptation of Ernest Cline's VR - focused pop culture love letter.