Sentences with phrase «human scale film»

Hundreds of human scale film portraits compose the video installation.

Not exact matches

The purpose of the disaster film is not to make small conflicts bigger but to make big ones smaller - to reduce unthinkable catastrophes to a human scale.

Impressed by the combination of «physical scale and human emotion,» The Guardian gives the film four out of five stars, but Indiewire is a little less enamored, claiming the film «stumbles on its earnestness» even though it «never ceases to be a visual marvel.»

Curtis's free - floating anxieties are intended to connect up with our fears about the collapsing economy, about the safety of the world and our families, but Nichols never loses sight of the small - scale human dramas at the film's core

is misleading because while draped in Darius Khondji's luxuriant, golden - hued cinematography like the silks of Lady Liberty's gown, and decked in loving period costume and detail, the film is really a small - scale human drama in which those Gray staples, a love triangle and a love / hate brother-esque relationship, play out beat by minutely observed beat.

Thea Sharrock's «Henry V» is the most movie - like in some respects — the music more aggressive, the action more muscular; yet she too scales it toward the human, and I like it better than the Laurence Olivier and Kenneth Branagh films that helped make this the most familiar of the plays presented here.

The scale of the film serves to reinforce these themes; the camera angles, the score, the set design all point to one specific idea: the humans are really really small, and these monsters are really really big.

Phoenix (Christian Petzold, 2014) Petzold's sixth collaboration with muse Nina Hoss is his most cinematically inspired meditation yet on Germany's traumatic past and collective reinvention, skilfully merging Hitchcockian melodrama with political allegory while remaining human - scaled and deeply affecting, and culminating in an astounding, unforgettable mic - drop moment of film music magic.

There isn't anything wrong with either kind of consciousness, and in fact my favorite films of the festival were intimate, small - scale dramas that derived their power to move from their strong sense of personality and human experience.

I am more than happy to report, then, that not only is Black Panther a superlative representative of the Marvel model, in terms of acting and script, but also a film where the central conflict is more human - scale, with social relevance that resonates beyond the confines of the narrative.

The film is told mostly in wide - angle close - up, giving it an intimate scale and a human focus.

David Oyelowo's human - scale portrayal of King perfectly fits the film's technique of making history immediate and relatable.

Chinese artist and filmmaker Ai Weiwei traveled to more than 20 countries for Human Flow, his film documenting the immense scale of the worldwide refugee crisis.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

Across these films and many others, landscape becomes a way of thinking and making images at a scale that exceeds the individual, whether by opening onto the wonder of natural processes, the intersections of human and nonhuman life, or the fraught triangulation of a people, the state, and the soil.

Deploying film and television favorites for his toys, large - scale sculpture and bold, nearly abstract painting, KAWS recasts the familiar colors and forms of popular entertainment in cheeky and often poignantly human terms.

Alex Prager's new exhibition Face in the Crowd, showcases large - scale color photographs of elaborately - staged crowd scenes and a film by the same name that explore the notion of the individual within the masses, the boundary between public and private space and the psychological complexities of human interaction.

Still, given the scale of production, level of secrecy and vast room for human error surrounding new film and TV releases, it's a wonder that anything manages to premiere without first popping up online.