Sentences with phrase «frame of the film from»

Not exact matches

As the film progresses and the ball starts moving away from its center position of the image because of poor camera work, the algorithm can essentially rotate each key frame so that the ball magically appears in the same spot in every frame.

In France, Henri Bergson noted that reality is a dynamic flux, like a cinema, from which abstractions, like single frames of the film, are made; for intelligibility the abstractions must be referred back to the élan vital from which they were originally drawn; intuition is more perceptive of reality than abstractions.

Another time sink Kowash helped alleviate was reading the size of the shockwave from frame to frame, something that could take days to complete manually for each film.

Personal or Handmade Touches - Handmade invitations (made by ourselves)- Handmade place settings (made by ourselves)- Handmade Guest Book (drop frame — guests signed a wooden heart, and dropped them into a frame)(made by ourselves)- Framed pictures for table names (made by ourselves, and named after cars from Harry's favourite film)- Personalised cake topper and cupcake decoration (cake topper from Ebay, and cake made by my Aunt)- Handmade bridesmaid's posies (made by my mum)- Personalised and hand painted wedding shoes (for Bride)(done by Beautiful Moments)- Personalised champagne glasses for Bride and Groom to use for toast (bought as a present by my sister and her family)- Ushers were bought cufflinks to wear that reflected their personal interests - Bridesmaids were given personalised flat shoes to wear in the evening (personalised by me)- Handmade bridesmaids dresses - Flowers and buttonholes, and bouquet all made unique, with my bouquet including charms with pictures of my grandfathers on them.

There's little doubt, too, that the film's hands - off vibe is perpetuated by Abdalla's sleepy, far - from - charismatic turn as the one - note central character, and it's clear that The Narrow Frame of Midnight's few moments of electricity are thanks entirely to Choutri's captivating, Vincent Cassel - like performance.

Clooney's presence and the little bits of English are the only things that set Corbijn's film apart from the clear influences of Italian masters like Fellini and Antonioni in just about every frame.

The ironic distance derived from the film's framing device and fourth wall — breaking helps emphasizes the drab ordinariness and the utter acceptability of such cruelty.

This is «Arrival» without any hint of Amy Adams optimism, something Alex Garland's film smothers, from first frame to last.

For an additional preview look at how all the films have been newly tweaked for this Blu - ray release, including aspect ratio framing, color corrections, soundtrack enhancement and the replacement of the «Muppet Yoda» with an all - CGI version in the Phantom Menace, check out the report from Slash Film.

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.

Cinematographer Ryan Samul (2014's «Cold in July») holds a shot for maximum dread, whether it's on the smiley face spray - painted on a mailbox or the swing of a swing set, but also pleasingly employs technical flourishes, like zooms, that help differentiate it from the jittery style and often subtle framing in Bryan Bertino's original film.

As most of the films in the set were sourced from older flat video masters, quite a rhubarb was raised over WHV's justifying the lackluster transfers with the contention that full - frame transfers were Stanley Kubrick's preference.

The second bit of censorship was to fix another animator prank: In the original cut, when Jessica Rabbit is thrown from Benny the Cab late in the film, she spins through the air and flashes her Barbie Doll pubes for a couple of frames.

This sense of dread stems partly from our assumption that something bad is always bound to happen in a Haneke film (Georges and Anne are favorite character names of his), but more because we know that sooner or later, whether it happens within the time frame of the film or not, there's only one way that a story of two very old people in poor health can end: these people are going to die.

William Girdler was able to make a good horror film with Day of the Animals, though the acting suffers, the plot is what keeps you involved from the first frame onwards.

Anderson likes to frame his films as tall tales, placing viewers at a gentle remove from reality to a plane of existence more fantastic and charmed than our own.

Containing everything from mundane minutiae to sublime epiphany (the Zissou - type moment with the wolf at the end), it's a film where tender care and the joy of creation shows in every frame.

The elegiac use of the film's title, then, can inadvertently be the game administered as a test as concerns this portrayal of Turing — by the final frames, we have a mere gasp of understanding what his life was like, a rough, nobly hewn composite from a perspective either too ignorant or too uneasy to deal with the realities of those historically treated as sexual criminals.

Presented in widescreen and fullscreen on the same side of a dual - layer DVD, the film's image lacks depth here — there's a muted, Seventies quality to Barry Stone's cinematography that no doubt looked smashing on the big screen and probably would've been marginally improved at home by dispensing with the fullscreen version (thus lessening the compromise of compression), which lops a significant amount of visual information from the right side of the frame (while restoring a negligible amount to the bottom — in one shot literally a pinkie toe).

His use of perspective throughout is done to perfection and during its Iraq sequences, which are constantly referred to and visible right up until the emotional ending, the higher frame rate only enhances the realism — almost to the point of you looking away from the screen as one of the film's most pivotal moments plays out.

The film's premise is similarly revenge - fueled, as Bullock will enlist the aid of Blanchett, Kaling, Bonham Carter's character to «steal a necklace from the Met Ball in order to frame a villainous gallery owner.»

In almost every frame, the film announces its project of portraying a family pushed to the brink of collapse — and, more specifically, a father who's taken on the impossible task of protecting his children from the unknown.

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.

While the film does not suffer from the major framing problems seen on Blackbeard's Ghost, some shots do seem to be poorly - framed, particularly in wide shots when a fourth monkey's face isn't entirely in the frame or the shot of the town festival sign which loses one or two letters on each end.

As such, you're not missing an abundance of visual information, and it is certainly not as noticeable and problematic as on Blackbeard, but as such this otherwise pleasant video transfer suffers from the fact that Disney couldn't release the film, displayed in the ratio that it was framed for and intended to be seen in.

The appeal of the film is manifold - its serenity as The American meticulously goes about his craft; the paucity of dialogue that heightens its few action sequences when they do occur; a superb ensemble of actors led by Clooney that also includes Violante Placido (Clara), Thekla Reuten (assassin), Johan Leysen (controller), and Paolo Bonacelli (as a local town priest); the artistic framing of the film by director Anton Corbijn both in its interiors and the long shots of the Italian settings; and simply the story's uncertainty that grips one from its very beginning.

Writer / director Jeff Nichols («Mud», «Midnight Special») hasn't made one of the worst films of the year, but he has made, arguably, the dullest — from the first frame to the last.

In what turned out to be one of the highlights at this year's CinemaCon was the stunning, 10 minute footage from Peter Jackson's new movie, the epic 3D film adaptation of Tolkien's The Hobbit (which opens December 14) that was shot at a frame rate of 48 per second achieving an unprecedented combination of uniformity and brightness.

Damon has his low - key charisma and Van Sant captures the enraged anomie of the community, but, except for one big plot twist, everything in this film is telegraphed from the first frame.

The framing device serves largely to establish who the main actors are channeling, and the juxtaposition of the personalities with their new forms is where most of the film's humour is derived from.

The actors engage in the exaggerated performance style of silent movie melodramas and comedies and Maddin digitally «ages» his films with scuffs and scratches and cracks and even distorted frames as if they were from decaying nitrate prints from the 1920s.

In the hours surrounding teaser trailer, Trank and screenwriter Simon Kinberg talked with Collider, Empire Online and Yahoo! Movies about their frame of mind for the film and setting it apart from what they see as the commodified superhero action genre.

It is possible to truly step away from the first film and enjoy 10 Cloverfield Lane as a separate entity, putting us in a truly fascinating and unique frame of mind when watching this sequel.

From the start of the film, the camera constantly works from Starling's POV, shooting both Dr. Chilton (Anthony Heald) and Jack Crawford (Scott Glenn) as if they're filling her frame of vision — which, of course, they From the start of the film, the camera constantly works from Starling's POV, shooting both Dr. Chilton (Anthony Heald) and Jack Crawford (Scott Glenn) as if they're filling her frame of vision — which, of course, they from Starling's POV, shooting both Dr. Chilton (Anthony Heald) and Jack Crawford (Scott Glenn) as if they're filling her frame of vision — which, of course, they are.

Here's a little blurb on Animal Kingdom from the Sundance film guide: «Wielding a formidable cinematic lexicon, writer / director David Michôd shows complete command of every frame as he shifts between simmering intensity and gut - wrenching drama.

To say I loved The Shape of Water really would be an understatement, the film inspiring in me such a range of emotions that it left me reeling by its stunning final frame, unsure how to process exactly what I'd seen outside of the fact that I knew from the bottom of my heart that I had witnessed an article of supreme originality that I wouldn't be forgetting anytime soon.

With its ambiguous ending, Tattoo seems to evoke François Truffaut's Les quatre cents coups (The 400 Blows, 1959), the legendary French New Wave film about another «troubled» teenager who experiences freedom only when he is in motion — whether while spinning in a rotor's drum or when running away from the reformatory in the film's famous concluding tracking shot that culminates in a zoom - in - on - freeze - frame image of his gaze addressing the camera.

As in Citizenfour, the brilliant documentary from Laura Poitras, Stone's film is framed with the then -30-year-old former government employee holed up in a Hong Kong hotel room for eight days in June of 2013.

Gone Baby Gone isn't exactly the same story, though, since Patrick already knows, from the first words and the first frame of the film, that he is a product of the choices he didn't make.

A look at our SXSW 2015 coverage, a supercut of first and final frames from some classic films, and a recommendation for the Iranian vampire western A Girl Walks Home Alone at Night help make up this week's Top 5.

Snyder himself hosts an ongoing commentary - «The Ultimate Watchmen Experience» - featuring behind - the - scenes shots, a timeline covering the history of the Watchmen universe, remarks from the director himself and (best of all) a side - by - side comparison between shots in the film and frames from the graphic novel.

Szifrón avoids a lot of elements one expects from anthology films these days; no framing device, no wraparound story, and no narrative links between segments.

This time he alludes to the art - cinema context much more directly by opening with music from Francois Truffaut's Jules and Jim and evoking the form of that film with offscreen narration (delivered by Baumbach himself) recounting the story in past tense and with old - fashioned devices such as irises and wipes and French New Wave devices such as fantasy inserts, fleeting flashbacks, freeze - frames, and jump cuts.

The film is a beautiful piece of art, a painting come to life, every single frame so carefully crafted from the makeup to the costumes to the set design, to the way the camera moves from one room to another, and to the incredible performances.

Tom Felton, he from the «Harry Potter» franchise, plays the the nasty villain of the piece (naturally), James Ashford, while Tom Wilkinson also pops up as Dido's adoptive father in Lord Mansfield, and rightly owns every frame in which he appears; but it is relative newcomer Gugu Mbatha - Raw who shines throughout as the film's title character.

They take visual inspiration from the films of the late 1960s and early»70s to study their characters through telephoto lenses and the inbuilt frames of high - rise hotels, motor lodge motels, mid-century lobbies, and vintage TVs.

In an early scene from Alfred Hitchcock's Rear Window, the panning camera reveals a framed photograph of a young, smiling blond woman — except, the image is on negative film, which serves as a presumable correlation for disabled protagonist Jeff's (Jimmy Stewart) outlook on women, which is tested in his gaze and projected desire from a lofty apartment window throughout the film.

He explains that the film's wiggly look is a result of hand tracing of video shots, with the images changing slightly from frame to frame because of slight variations in the artists» many renderings of the images.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Mosof MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Mosof William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Mosof CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth MosOF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Mosof Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Mosof the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Mosof KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Mosof a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth MosOF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Mosof mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

The screenwriters make the assumption that audiences will already have a vested interest in Bond's plight from the very first frame due to the events of Casino Royale, though the shift in the tone of this film to emphasize brutal action and CGI - laden stunt work makes tying the two films together a bit of a chore.