Sentences with phrase «for narrative films»

BFCA / BTJA also presents the Critics Choice Awards for narrative films that are released during that year and television programming.

SY: What's the process of creating the stunts for narrative films like «The Diabolical,» particularly since you shoot them independently?

The EDA Awards jury for narrative films includes Marina Antunes, Katherine Brodsky (Chair), Giulia D'Agnolo Vallan, Laura Emerick and Julide Tanriverdi.

Andrew O'Hehir, Salon: Debra Granik's blend of low - budget regional realism and crime thriller (adapted from the novel by Daniel Woodrell) is an absolute knockout, for me the narrative film of the festival so far.

Actor Michael Shannon at a press conference for the narrative film «Midnight Special,» co-starring Kirsten Dunst and Joel Edgerton.

I've started working on a treatment for a narrative film about a Nepalese immigrant who runs a store in a town that I lived in.

Not exact matches

One example would be Aimee Dorr Leifer's essay entitled «Teaching with Television and Film,» (TTF) published in N. L. Gage's The Psychology of Teaching Methods, a widely read Yearbook of the National Society for the Study of Education.1 Even in this essay, however, Leifer reviews what has been learned from various psychological studies of television and film narratives, and the limited range of the studies limits the vision of narrative teaching that she puts forth.

The album is available for pre-order beginning today and arrives everywhere Friday, April 27th - release date for the accompanying narrative film to be announced soon.

«Through villainizing and trivializing biological parents, or through erasing them from the narrative altogether, such as in Anne of Green Gables, the film industry has a reputation for missing the mark on the importance of biology to adoptees.

For my own short film, Many Worlds, algorithms use brainwaves, muscle tension, perspiration and heart rate in a selection of the audience to adjust the story in real time, choosing the most appropriate of the film's four narratives to maximise intensity.

There is a lot to learn from Alfred Hitchcock's work, his narrative was close to perfect and the skill to create suspense by depriving us of the payoff and restricting our view forcing us to imagine how bad the situation was, for the longest time just to deliver it at the peek of our attention, and that my friends, that is a gift for the film fanatic as for the filmmaker.

This is almost surprising given that the narrative film takes place exclusively in a large prison in the Dominican Republic, alternating machismo with romance in a wholly believable way and with the two principal lovebirds exuding quite a bit of chemistry for inmates with little physical contact.

The film was obviously shot in one day, but the cast and crew rehearsed for months to time their movements precisely with the flow of the camera while capturing the complex narrative, with elaborate costumes from different periods, and several trips out to the exterior of the museum.

Let's set the film in the eighties for no real aesthetic or narrative purpose!

The film might feel aimless in spots, but as more layers of the narrative are peeled off, you understand just exactly how things came to be and how Wyeth, John and Dee might want revenge for what was done to their parents.

The film, whose disparate narrative threads unsurprisingly never connect, drowns in weirdness for its own sake.

Many of the scenes throughout the film contribute little to the overall narrative, but were obviously kept in for a reason, and a commentary or two could well have been a fascinating supplement to the movie proper.

Even as it entertains increasingly far - fetched detours, the film's folkloric narrative offers an ideal vehicle for this pictorial play.

A typical example of the mid -»80s «Rat Pack» film, Oxford Blues featured a soundtrack with several forgettable rock songs written expressly for the movie, interjected at intervals into the narrative through music video - style sequences.

There is a numbness of loss that resonates throughout the film's subsequent revenge narrative that deepens and heightens the material to depict a portrait of a person who literally has nothing to live for.

One has to question just how formulaic this epic Roman drama is, because the formula was still fresh by the time this film came along, establishing certain tropes that would be shamelessly slammed into by future epics of this type time and again, and yet, outside of what would go on to become conventions, this film does most of what you'd expect, with a predictable narrative, storytelling style, dialogue, and, for that matter, portrayal of Ancient Rome.

It's a lot like watching a movie and having someone interrupt you to tell you about something else that's happening in the film's world, without thought for pacing or narrative flow or whether you should even care.

The trick for a movie of this type, at least one that is aspiring to be more than just a simple - minded exploitation film (such as the original Charles Bronson «Death Wish,» a far more complicated work than usually given credit for, especially in comparison to its tacky sequels), is to create a narrative that somehow justifies such actions without completely overdoing it.

It's the way that the movie feels so cold, and incurious, despite its incredible detail (it's a rare Netflix original film where constant pausing might make it even better) dynamic cinematography (using wide and full aspect ratios for narrative purposes) and general glimmers of newness.

This film could have gone quite a distance, and it does have the heart to do so, but not the consistency, because, when it's all said and done, the pacing is too uneven, the narrative too undercooked, and the dramatics being too overambitious to transcend sentimentality, yet still too lazy to transcend formula, for the final product to truly reward.

People like Daniel D obviously don't know anything about film, and look for improbabilities in a narrative to decide wheather its a good movie or not.

The film may take Greg's perspective for its narrative thrust, but there's no way to escape Tommy.

After the painfully one - sided sexual adventure of the first film, in which she met Christian and was brutally exposed to his odd habits, and after Christian's even nastier control - freakishness in the ill - conceived «50 Shades Darker,» Ana is at last able to demand to hold the reins from time to time — a narrative turn that manages to frame their marriage as an empowering structure for women: now enclosed in the gilded cage of their union, Ana can pull on the rope that Christian had tied around her neck.

The result is a film of integrity and disclosure, a controversial chapter in American history that substitutes clinical accuracy for Hollywood embellishment, with an impressive attention to detail and an admirable respect for suspenseful narrative.

... like the wasteoid who trails off mid-sentence to get lost in the cover art for Animal Collective's Merriweather Post Pavilion, [Nima] Nourizadeh has trouble concentrating on a single organizing narrative mode for his film.

Cinematographer Lachlan Milne's sweeping, colorful panoramas and a chapter - based narrative structure gives Hunt for the Wilderpeople the feel of a storybook fable, but thanks to the warm - hearted dynamic between Ricky and Hec, even the film's most whimsical moments carry a sense of real underlying pain: Both of these characters are outsiders ultimately looking for a home to call their own.

Unfortunately, for me, the predictability of the narrative and the lackluster performance of Portman brought this film down.

It's not, though, because this is one of those «too good to be true» tales perfectly suited for a narrative feature film and one helmed by a maestro of visual effects and other technical facets.

Ronald never returns, but his cameo sets the tone for the rest of the film, which plays out like less of a narrative than it does the most expensive ASMR video ever made.

As the film becomes confined to Georges and Anne's well - appointed apartment, we settle in for an observation of the day - to - day as Anne's condition worsens (that's the invasion of privacy referred to in my opener above), and the narrative takes its inevitable course — minor immobility but still - bright sentience giving way to paralysis, dementia, force - feeding, loss of bodily - function control, wailing and terrified / terrifying unrecognizability leading up to the point of the unbearable for both husband and wife — we are also treated to a kaleidoscopic view of this couple's comfort with each other, their familiarity, their annoyances, their casually brutal honesty, and their reflexive care for one another.

With this, the film becomes more sure on its legs — particularly after what should have been strong performances from heavy hitters Buscemi and Sevigny, but instead served mostly to run narrative paces (Buscemi as a surrogate father, Sevigny as a surrogate pragmatist) for Charley and Pete.

The film was written and directed by Noah Buschel, who also wrote and directed Glass Chin, nominated for 2014 Tribeca's Best Narrative Feature.

This winner of the audience award for best narrative film at the Palm Springs International Film Festival is the kind of whimsically smart - aleck British film that goes down well on this side of the Atlantic.

I wouldn't go so far as to say it's a good film overall, but given its relatively low aims, and for its subgenre, it is an entertaining one, though some might be disturbed at a few of the grislier narrative turns, especially at seeing a loving family torn apart, quite literally.

The act of audience deception here is brilliant — especially as the film shifts gears from a traditional but warm storytelling approach to a subversive and dramatically vibrant narrative as it deconstructs the family and allows room for far more questions than what it seemingly starts with.

This film has one of the most uninspired beginnings for a super hero narrative.

A narrative film is obviously meant to tell a story as well as giving us characters for whom we can care for.

New for 2011, films in competition were also eligible for Jury Awards for Best Editing, Best Cinematography, Best Score / Music, Best Screenplay (narratives) and Breakthrough Performance (narratives).

This is perfectly in keeping with the style of the Broadway production, which features much more of this style than the film does, with Condon beefing up the dramatic dialogue for purposes of an easier narrative and deeper characterizations.

It was a flop at the time, too dark and weird and unhinged for mainstream cinema, and like many Gilliam films it's entrancing on a moment - to - moment level, losing itself in the swirls and eddies of the narrative.

In the film's opening moments, Kwon drops a bundle of letters sent by Mori, which is Hong's narrative justification for jumbling the chronology of events and exploring, once again, the fickleness of memory, perception and affection.

Later, the film won the Audience Award for Best Narrative Feature at the Hamptons International Film Festival.

In 1980, Robert De Niro delivered an Oscar - winning performance as Jake La Motta in Raging Bull, the Martin Scorsese masterpiece that set a high water mark for both biographical narratives and boxing films.

His narrative feature debut, Tornando a casa (Sailing Home) won the director several awards at international film festivals in 2001 and was nominated for Best First Feature at the Italian Golden Globes.

For a faithful adaptation of a short story, the film is packed with plot twists and narrative surprises and the challenge faced by the Spierig Brothers is obscuring details that would give away the twists without making it obvious.