Sentences with phrase «frame of film yet»

Not exact matches

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.

Peppered with a near - constant barrage of footnotes on the lower third of the frame identifying whatever varietal of crop viewers happen to be observing at a given moment, the film is insistent in its efforts to stoke interest in gardening and pruning, yet it stops short of bridging the gap for those less inherently spellbound by soil, roots, and branches.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Take Shelter (d. Jeff Nichols) Much ink has been spilled about the closing moments of Jeff Nichols's sophomore effort, yet the real mark of his intelligence is not his ambiguity about the film's apocalyptic elements, but rather his restraint in framing them as personal matters of faith between a married couple who are about to weather any number of crises, not all of them earth - shattering.

This intimate portrait of a broken, yet lovable family gives viewers a quirky story, fascinating characters and compelling performances, but the hands - on camera work and the almost claustrophobic framing upends most of the film's emotional appeal.

Things acclaimed British director Mike Leigh is known for: wry comedy - drama poking at ordinary lives and the class system, a compassionate yet sharp take on the human condition, his almost unique working method that involves workshopping and improvising for months with his cast before a frame of film is shot.

Yet despite its obvious pedigree, it is all of itself, infused with the spirit of the now, suffused with author Ron Hansen's transcendental prettiness (the film is based on his novel), and, as framed by DP Roger Deakins's painterly eye, overwhelmingly beautiful.

The remainder of the film, in which Jeff must contend with Kathie's machinations and Whit's fury, adds complication after complication, yet the pile - on of reversals and betrayal does not add any more clutter to the frame.

Chilean - born Ruiz is a director whose love of storytelling and narrative play is often more engaging than the films themselves but with Mysteries of Lisbon, an epic based on a classic Portuguese novel (one yet untranslated into English), his engagement with the characters and their defining stories guides his direction, and his graceful camerawork and unerring eye for images both classical (like paintings in a cinematic frame) and fluid (his camera moves with purpose and grace) are in the service of the trajectories of the characters.

Among the many films / digital works from 2017 that I have, as yet, not been able to see, but really want to, are Zama (Lucrecia Martel, 2017), Western (Valeska Grisebach, 2017)(and Grisebach's earlier work), The Day After (Hong Sang - soo, 2017)(and Hong Sang - soo's other two new features), and 24 Frames (Abbas Kiarostami, 2017), all of which, I anticipate could be «great.»