Sentences with phrase «historical event film»

Not exact matches

Instead he uses a wide historical knowledge to suggest how film can help shape events.

For anyone not familiar with the events in Entebbe, the film is engaging enough as a historical account of a watershed moment in how the world chose to deal with terrorism — the actions of the Israeli Defence Forces prompted governments around the world to reassess the way they responded to acts of hostage taking.

This film is a dramatic adaptation of a racially - charged historical event that took place in central Florida in 1923.

The film chronicles much of his life, and depicts key historical events that deeply affected the course of Jiro's life, including the Great Kanto Earthquake of 1923, the Great Depression, the tuberculosis epidemic and Japan's plunge into war.

Based on true historical events surrounding this overlooked band of brothers and their self - named Bielski Otriad (or partisan detachment), this gripping film delivers a literally chilling view of what these people endured as they attempted to live as well as possible in makeshift camps amongst the dense trees.

Edward Zwick and his creative team discuss some of the challenges and also the rewards of adapting this well - documented historical event into a feature film.

It's the kind of costume drama that BAFTA usually eats up, about an important historical event, and an excellent film to boot, except of course, it's about a black woman, and directed by a black woman, so why would it be nominated?

Another installment to the recent onslaught of alien invasion films, Battle: Los Angeles is based on famous historical UFO sightings and events such as the 1942 LA incident where an unidentified aircraft entered military airspace and was subject to artillery fire.

Another thing that was a bit off - putting (and I mean this in a strictly historical and filmcraft way), the film seemed to go out of its way to stamp our current morals, mores and politically - correct culture to events supposedly taking place in 18th - Century France (with minorities holding high positions in the Parisian Court and even an openly gay character introduced).

The movie should be about the players and their journey, but when the story pulls away to talk about the historical events, the film becomes prosaic and pedantic.

Gitai returned to Israel with Berlin - Jerusalem (89), a fiction film drawn from historical events.

What You Need To Know: With director Paul Greengrass having made a name for himself in two relatively distinct areas — the tense conspiracy action thriller (the second and third «Bourne» films) and based - in - fact films about recent historical events («United 93,» «Bloody Sunday,») «Captain Phillips» seems like it could play to his strengths in both areas, as it's a gripping, tense, fight - for survival type tale that has added weight and heft for being lifted from a real - life incident.

Although Linklater's time capsule (which includes music, pop culture and historical events occurring during the years he shot the film) may be most notable for its gimmick, how audiences react to it will likely have a lot to do with their own upbringing.

Inspired by the true - life events confronting Abraham Lincoln and his monumental moral and political challenge to amend the United States Constitution to permanently abolish slavery, and based in part on the book «Team of Rivals: The Political Genius of Abraham Lincoln» by Doris Kearns Goodwin, Lincoln is a rich and compelling historical and human drama that has been hailed as one of the best film of the year.

It is the final scenes that elevate this film, not as an account of an historical event, but simply as a showcase of acting and direction.

I love it when a film can expose me to something — a historical figure, a place, an idea, an event — that I would have had no idea about otherwise.

What makes the film ultimately compelling is precisely the fact that while it is based on a true story, its primary goal is not to represent historical events truthfully but rather to find aesthetic means by which to investigate how one can cinematically render visible past crimes that nevertheless are also suggestive about today without affording viewers the ability to assume the comfortable subject position of historical distance and moral superiority.

It's the challenge of making a film about a historical event where you know the outcome.

«Based on real events... mostly» is Mr. Frears» cutesy way of kicking off the film and asking us to enjoy the unusual story of connection between a Queen and a servant, and cut him some slack on the historical depth.

In a rare turn of events that suggests maybe we're not living in the darkest timeline after all, this category — usually home to the most devastating and despair - inducing glimpses inside war zones and historical atrocities — includes zero films about the Holocaust, Syria, or murder.

«The Young Karl Marx» closes with a snappy historical montage that shows some of the events theorizing led to, but a weighty pro and con is not on this film's mind.

I raise this issue because movies, especially Hollywood major motion picture films, have the power to affect, on a mass scale, the audience perception on reality — especially a movie that bases its entire plot on a real historical event such as we can see in Argo.

Interestingly, for such a popular historical figure, there is a dearth of biographical films about her life (the only notable film is the Norma Shearer / Tyrone Power classic from way back in 1938), except through incidental events depicting her as a supporting figure, such as tales of the French Revolution or other stories taking place in the late 18th Century.

According to a separate report from the Japan Daily Press, American film director Oliver Stone, who currently is visiting Hiroshima and Nagasaki and whose films about key historical events have attracted their share of controversy, criticized the US bombing of Hiroshima.

It's an interesting historical piece, showing a side of civilian life not usually shown in wartime era films, with a theme that art can help the war effort with morale and some choice escapism from the harrowing events of the day.

This film, based on the broadway play follows the events surrounding this historical interview and the chess game played by these two monumental figures.

Rather like an extremely damped - down There Will Be Blood, Reichardt's film — based on historical events — depicts one group's journey through the Oregon Trail in 1845 as a trek through a hauntingly empty and alien landscape, with cinematographer Christopher Blauvelt exquisitely taking in the natural beauties of the settings while framing the increasingly desperate wanderers in wide shots to emphasize, in part, their ultimate smallness within the wild west.

At least Dunkirk is a technical achievement, this film outside of being Argo - lite and shedding light on a historical event, doesn't have much to offer.

Another critic commented after seeing the film that one needed to know the historical events of the story to enjoy this film.

Sure, there's a cliché here and there, and of course there will be some issues with its historical accuracy, but «Dunkirk» is a terrific film that helps to convey the horror of this event, the scale of its tragedy and the bravery of those involved.

The result is so empowering, critics are treating the film as revolutionary, a historical event, a benchmark.

Scorsese himself seems less interested in screenwriters Jay Cocks, Steven Zaillian and Kenneth Lonergan's plot concerns than the real - life events; the power of the film's climax derives largely from his stunning recreation of the 1863 Civil War Draft Riots than the resolution of the Amsterdam - Bill conflict, and the needless voiceover narration provided by DiCaprio (reportedly an addition that came late in the long post-production — and does that ever show) revels largely in extraneous historical details.

Credit goes to both Affleck and writer Chris Terrio (in addition to historical events, the screenplay was based on an article from «Wired» magazine by Joshuah Bearman) for applying such a delicate touch to the film.

The Wilson Yip films, starring Donnie Yen, follow a more conventional historical biopic structure with the great man caught in the sweep of historic events leading to triumph and tragedy; while Wong Kar - wai's The Grandmaster uses Ip as a conduit to explore the passing of one age of China's history into another, with martial arts serving a metaphorical purpose.

Although Francisco Goya is the central character of this story by Forman and co-screenwriter Jean - Claude Carriere (Birth, The Unbearable Lightness of Being), the film isn't really about him, merely using him as a historical and thematic vessel for which to spotlight the Inquisition, Revolution, and events that transpired during his time.

For a movie about one of the most fascinating historical events in history, Pompeii's big moment only happens with about a half hour of the film to go; the preceding hour is filled with all the perfunctory, tepid character and plot development the film needs to pad out its runtime.

Both films use fictional characters linked to real historical events.

There's no doubt the angle taken by the film in chronicling the lead - up to one of the defining events of the 20th century is an interesting one, based as it is on the diaries of Brooke as well as other historical sources.

It's not a lot of material, but it provides not just a fine look at the production itself but also good background and context on the real historical people and events depicted in the film.

Brendan's teacher, Steve Arman quotes: «Making these»60 second» history films, is a memory they will never forget and as a result will hopefully enthuse them to see the personal stories of people from the past, who have lived through a diverse set of historical events and social settings.

We welcome bus tours, international travel clubs, wedding parties, car and motorcycle runs, birding and hiking groups, quilting and art groups, students and lecturers, film crews, historical re-enactment groups, family gatherings and reunions, cycling tours and golf groups, businesses and military, as well as festival, expo and event hosts along with their crew, entertainers, participants and attendees.

All, in one way or another, deal with the following concerns: the contemporary history of Lebanon with particular emphasis on the wars in Lebanon between 1975 to 1991; the representation of traumatic events of collective historical dimensions; and the ways film, video, and photography function as documents of physical and psychological violence.

In her films, Barba often uses historical events or geographic locations as a foundation and then elaborates upon fact with fictional, borderline sci - fi narratives.

While exploring the human impact of that specific historical event, the film also examines the nature of truth and its representation through art.

The Belgian artist Sven Augustijnen (Belgium, born 1970) made his name with films in which he analyses cultural and historical places and events from a personal perspective, in a way that is at the same time very precise and ambiguous.

Using objects, film and printed matter, she often seeks instances where historical and political events collapse into personal ones.

The performance works in the main gallery, which featured the historical core of the show, were displayed through more expected means: as films, videos, and photographs documenting events that occurred long ago and far away.

Since the 1980s, he has produced film works, photographs and installations investigating historical events and sites.

What constitutes her artistic practice is not just storytelling, but the formation of a place in which the investigation of the act of photography, the camera as apparatus, the common desire for film and photography to act as evidence of events, and the complex historical and personal synchronicities of events themselves are not separated.

From this exploration of a historical event, the first half of the exhibition presents film artists» interest in contemporary political and social issues.