Sentences with phrase «fragments of films»

Last year, the concept was based on a shot of Hannah Schygulla, Goddess of Cinema, waking up, looking into the camera (in Fatih Akin's «The Edge of Heaven») and dreaming fragments of the films on my list.

For the fourth installment of this exhibition Laure Prouvost presents The Wanderer (The Storage), an ambitious new installation in which the viewer undertakes a labyrinthine journey encountering mysterious fragments of film, sculpture and signage before reaching a final large scale single - channel video.

Not exact matches

The CFC Media Lab creates groundbreaking productions that include Body / Mind / Change starring David Cronenberg; Late Fragment, Canada's first interactive feature film; and the dynamic mobile visualization project of What's Your Essential Cinema, co-produced with TIFF.

Beautifully shot and intelligently crafted these short films are fragments of Christian teaching for the iPod generation.

Despite the massive publicity the documentary received after the discovery was announced, the Smithsonian Channel has delayed the release of the film about the Coptic fragment with the phrase, «Jesus said to them, «My wife...» to wait for further testing on the fragment.

The opening hour of the film is as fragmented as Voldemort's psyche.

The film is inspired by Roland Barthes's 1977 exegesis The Lover's Discourse: Fragments, a clinical examination of love that's comprised of quotes and musings from a medley of canonical and esoteric writers.

Some are recurrently woven into the film's crazy quilt, others feature as stand - alone major panels; a few more are mere fragments, adding to the sense of a chaotic exquisite - corpse story war held together by the thinnest, most tongue - in - cheek pretexts.

The film picks up directly where the last one left off: with Ron, Harry and Hermione on a mission to destroy the remaining fragments of Lord Voldemort's soul.

It should be, because big Hollywood names aside, this Michigan - filmed family movie overcomes an initially harebrained - sounding story line with just enough thrill, modern - day ocular wizardry and even fragments of heart - warming emotion to convert most initial skeptics into believers.

Rohmer, whose films («Claire's Knee,» «My Night at Maud's») are all about desire chilled in the icebox of custom, has brilliantly reproduced the impact of this rationally irrational story: he captures Kleist's almost surreal effect of a grenade whose exploding fragments somehow arrange themselves into a classically formal pattern.

This ragged collection of gags and sketch fragments was reportedly pieced together from an incoherent mass of footage by ace film doctor Ralph Rosenblum.

We experience the delay of the fantasy of the happy old couple in their country home in cinematic time as, for most of the film, the only body these lovers have is the spellbinding combination of visual fragments serving as apparitions to their voices.

The strange lighting effects and often fragmented and dark compositions place this among Fassbinder's most experimental films and one of his most harsh and sincere investigations of minority urban life.

Whereas Cemetery of Splendour moves at a slow, fittingly oneiric pace, Guy Maddin's The Forbidden Room wildly careens from one episodic fragment of its re-imagined film history to another.

Haneke: I think that in my earlier films, like 71 Fragments of a Chronology of Chance and Code Unknown, I presented cross-sections of society, so this isn't quite uncharted territory for me.

Code Unknown used a deliberately fragmented structure and long takes to express his film of the interconnectedness of people and their responsibilities to each other.

The boisterousness of the film's finale, with its sieges and rescues, its lightning bolts and flash floods, relieves what would otherwise be an almost unbearably sad evocation of what is least preservable about youthful experience: not so much the loss of that «innocence» that is such a hackneyed motif of modern American culture (and for which summer camps have always been a favored location) but the awakening of the first radiance of mature intelligence in a world liable to be indifferent or hostile to it, an intelligence that can conceive everything and realize only the tiniest fragment of it.

The setup of the family and the relationship is a series of fragmented vignettes, while the second half of the film is linear.

Considered through Doane's work on film, time and archive, mashup can be viewed as collection of fragments and symbols of media, memory, sound, image and time.

Bonus features include I Was Born, But..., Ozu's 1932 silent comedy with a 2008 score by Donald Sosin; new interview with film scholar David Bordwell; new video essay on Ozu's use of humor by critic David Cairns; a fragment of A Straightforward Boy, a 1929 silent film by Ozu; and a critical essay by Jonathan Rosenbaum.

The way that the fragments follow each other seems to have a new fluidity — and with the exception of the prologue and epilogue scenes, and the film within the film, all the other scenes are shot in a single take — despite the regulation cuts to black.

«making of» documentary titled «Fragmente der Chronologie einer Dreharbeit» (the title is a reference to Haneke's 1994 71 Fragments of a Chronology of Chance) contains a heaping helping of B - roll from the set of the film along with another round of Haneke interviews.

From his early films Benny's Video (1992) and 71 Fragments of a Chronology of Chance (1994) to his Palm D'Or and Academy Award winning Amour (2012), he has used cinema to paint a portrait of humankind alienated in modern society, lacking in compassion at best and utterly amoral at worst.

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.

Not only does that reading explain the fervent use of voice - over, never more present here, recounting and musing on each experience with that hushed, inimitable whisper, but it also explains the unique aesthetic of Malick's films: his desire to capture fragmented but ideal forms of corporeal, natural and architectural beauty, rendered so by Emmanuel Lubezki's superlative cinematography and some elliptical, compelling editing.

Sometimes Trier's film feels like a riff on that document, capturing fragments of memory for the record.

Strands of music performances and conversations flow in and out of the film to make it a series of impressionist fragments that, once combined, make some sort of brilliant sense.

It's not the premise or the performances that sink The Tracey Fragments; rather, it's director Bruce McDonald's inexplicable decision to break up the screen into tiny little windows for the duration of the film's far - too - long running time.

This is a genre - transcending once - in - a-lifetime film about a child and his fragmented family, and how they both grow up over the course of an 11 - year period, shot piecemeal under a shroud of relative obscurity by a team of loyal Linklater lovers — a minor miracle, in other words.

Haneke's debut trilogy Der siebente Kontinent (The Seventh Continent, 1989), Benny's Video (1992) and 71 Fragmente einer Chronologie des Zufalls (71 Fragments of a Chronology of Chance, 1994), according to Wheatley, are art films which aim to be treated as intellectual products but insufficiently allow the spectator to become a moral agent engaging with film content autonomously.

While director Yorgos Lanthimos» previous films Dogtooth and Alps both reveled in their inscrutable rules, forcing the audience to pick up the fragments of what's offered and chase behind the film, trying to cram them together, everybody in The Lobster instead can't stop telling us exactly how this insane world works («Didn't you read the guidebook?»

The greatest film by the greatest post-1950s filmmaker, Jean - Luc Godard's 2 or 3 Things I Know About Her presents the critic, humbled by the beauty of its surfaces, the density of its ideas, and the uncanny coherence of its fragmented structure, wi...

However, it becomes evident that two types of films are being thrown together in one: a standard sci - fi apocalypse film and a fragmented urban fantasy film.

In a high - concept, cerebral film, the director, Denis Villeneuve, (of the forthcoming Blade Runner sequel) fragments plot and time in flashbacks and flash - forwards to present a moving meditation about loss: how else do you deal with the loss of a loved one except by rewinding in your mind to relive the best of the past, and fast - forwarding to imagine a better future.

The deleted scenes are totally bizarre — mostly fragments of 20 seconds or so that make little sense out of context and appear identical to scenes that are actually in the film.

More interesting results would probably be obtained, however, with the films of, say, Jack Smith or Gregory Markopoulos than with a narrative feature, even one as fragmented in its storytelling and as broad in its sensual appeal as The New World.

The story ostensibly follows Carmine's sudden rise in respect when he finally purchases his beautiful new coat but it takes some unexpected turns (don't read the description on the back of the DVD case if you want the surprises preserved) and observes fragments of stories playing out in the periphery, all of which add both tender grace notes and wry satirical asides to the film.

Cinematographer Thomas Townsend (We Need to Talk About Kevin) delivers some striking shots throughout the film, but they are fragments of a dislocated whole.

Still, you wish his films didn't always have to spew fragments of brain and buckets of blood all over the place.

Many of these films belong to the postmodern lineage of Chris Marker's La Jetée (1962) and Alain Resnais» Je t» aime, je t» aime (1968), whose basic conceit — representing the fragmented experience of time travel using tricks of editing and narration — is especially suited to science fiction on a budget.

While the film may initially appear to follow a similar track of ever - increasing confusion, the many fragments of Ashes of Time do assemble into a clear picture; the film ultimately reveals itself as a meticulously constructed puzzle that rewards the patient and attentive viewer.

Perhaps aiming to evoke the ruptured fabric of the small family unit on which the film focuses, but achieving only a frustratingly distancing effect, Gröning employs a self - consciously fragmented structure.

The world that Luna Crimson wanders into is the set of a Pagan chapel, and Weber has transformed the gallery into the narrative, creating an ethereal mise - en - sce ̀ne composed of gilded trees dripping with stained glass fragments, sculptural rocks that one may sit upon, an otherworldly soundscape and video projection, and the costumes of characters from her film.

Environment shots such as Class or China Wall read like vacant film sets or fragments of an untold story.

Together, the film «Substance», the sculptural grid fragments, and the object at the Metropolitan Museum engage a multi-layered conversation between histories of exhibition sites; concepts of public space and private property; and the paradoxical legacies of historicism and modernism in architecture and design.

The American artist's distinctive blend of humour and menace permeates his output, whether working in film, sculpture or performance, and is here augmented by the sound installation Raw Materials, currently filling the Turbine Hall with snatched snippets of conversation and fragmented speech.

Additionally a new video installation The Destruction quartet 2006 will be launched at this exhibition: it includes fragments of symbolic and real - life destruction acts that Jonas Mekas witnessed and filmed through the years: Nam June Paik destroying a piano; Australian based artist Danius Kesminas» fire piece in New York in 1983; the destruction of the Berlin Wall in 1990; and 9/11.

Considering the idea of space, not as a unified concept but rather as a set of heterogeneous elements, the selected films represent real and unreal places or fragments of space, that invite the viewer to search for the co-existing values that form their meaning.

Central to the exhibition will be fragments of the artist's writings and footages and videos as well as short films from the oeuvre of French director Jean Michel Bruyère in which Samb plays the role of an actor at the service of Bruyère's durational performance - installations.