Sentences with phrase «in narrative cinema»

And yet, as presented through intimate looks at their home and academic lives, their journeys make for riveting entertainment that ultimately did more for many who watch film professionally than the finest forays in narrative cinema.

Not exact matches

While Rockstar San Diego may find some difficulty in filling its open expanses with interesting and emergent play, it does imbue it with a stark beauty and compelling narrative that makes Redemption more than just an allusion to cinema, but a piece of work that can confidently stand next to it.

That narrative slyness is especially welcome in Friedkin, acting as a palliative to the sensory overdose in which he habitually deals; such a contrast was nowhere to be seen in «Bug» (2006), a film that sent me straight from the cinema to the pharmacy in search of anti-itch cream, but we find it in the first half of «Killer Joe,» thanks to the title character.

However, Lee Marshall of Screen Daily writes, «If narrative cinema is all about the harnessing of character and atmosphere in the service of a strong story, then Matteo Garrone's follow - up to his 2015 Tale of Tales succeeds on every level.»

Bujalski takes a sledgehammer to the carefully ordered surfaces and dramatic conventions of narrative cinema, favoring instead an unpredictability in which the crosscurrents of quotidian life collide on the screen in a series of brilliantly alive patterns.

As every story becomes interwoven with the next, the boundaries between fiction and real life starts to blend in this cerebral thriller pushes the limits of cinema narrative.

The 39 Steps is a masterclass in propulsive narrative cinema that even today's so - called blockbuster auteurs should study.

Haneke brings his usual, acutely and ruthlessly observational way of telling a story (in both the narrative and stylistic senses) to bear on that of the trials endured by the strong, abiding, true love between a long - married couple of cultured seniors (French - cinema royalty Jean - Louis Trintignant and Emanuelle Riva) in the wake of the wife's illness, debilitation, and irretrievable, erosive slide toward death.

Sundance will premiere 16 American narrative feature films, and 26 films in the world cinema dramatic and documentary competitions.

It was a flop at the time, too dark and weird and unhinged for mainstream cinema, and like many Gilliam films it's entrancing on a moment - to - moment level, losing itself in the swirls and eddies of the narrative.

ELLE France, 2016 US Premiere, 131 min Director — Paul Verhoeven Paul Verhoeven's debut in French cinema highlights an incredible Isabelle Huppert in a dramedy that first subverts then transgresses the rape - revenge narrative.

Allan Cameron's Modular Narratives in Contemporary Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they oftenNarratives in Contemporary Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they oftennarratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they often resemble.

It's a loose adaptation of British novelist Sarah Waters» Fingersmith; it's a milestone of LGBT cinema in conservative South Korea; it's an unapologetically kinky slice of erotica Tinto Brass at his most florid would be proud of; it's a Byzantinely structured tale of con and counter-con that makes real demands of its audience to keep up; it's a stirring narrative of women escaping from bastard men; it's a vividly sketched chamber piece; and — most importantly — it's a damn good yarn.

However, they do make great «wallpaper» cinema: films to turn on in the background during a cocktail party to entertain your guests (especially fun when Thunderbirds are Go casts aside narrative and indulges in a prolonged dream sequence at a night club in space — call it a camp precursor to the Stargate sequence in Kubrick's 2001: A Space Odyssey).

Perhaps it was this idea that led to the creation of Basterds as a revisionist narrative in which the Nazis meet the fate they deserve — and perhaps it is the image of Shoshanna winning her battle in the cinema that has kept the film's pre-autumn release fresh in every critic's mind as we approach the 2010 Academy Awards.

It is fine with me if there are two, ten, or a hundred cinemas, but I think we have to understand that the most important new movies will not be coming from the directors who make better and better films in conventional narrative modes, no matter how much we may admire and enjoy what they accomplish.

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.

Working with co-director Evan Johnson, the enfant terrible of Canadian cinema has fashioned something like a series of cavernous, roiling story chambers in which viewers can safely enjoy an onslaught of deranged narrative excess without enduring any actual bodily harm.

She may be the last relatively untapped figure in British heritage cinema's well - worn library of queenly narratives, but she has once more been passed over for the privilege of fronting the latest middlebrow, true - life royal drama, fast becoming an annual fixture on the UK film calendar.

In place of ascribing preferred definitional clarity, Martin immediately proceeds to offer a rich sketch of the generative importance of mise en scène for film criticism and scholarship in providing a kind of justification for the taking - seriously of cinema that specifically addresses film style — and through this, often, authorship — before and beyond the more «literary» concerns of narrative and characteIn place of ascribing preferred definitional clarity, Martin immediately proceeds to offer a rich sketch of the generative importance of mise en scène for film criticism and scholarship in providing a kind of justification for the taking - seriously of cinema that specifically addresses film style — and through this, often, authorship — before and beyond the more «literary» concerns of narrative and charactein providing a kind of justification for the taking - seriously of cinema that specifically addresses film style — and through this, often, authorship — before and beyond the more «literary» concerns of narrative and character.

Unlike The Silent Revolution, The Captain's narrative focus is not on the victims (who eventually become victors) of history but the perpetrators — a true rarity in the history of German cinema that is made even more remarkable by the fact that the film does not concern itself with the famous culprits (as does Oliver Hirschbiegel's Der Untergang [Downfall, 2004]-RRB- but, rather, with the «unknown» wrongdoers, that is, the «little guys» who, once afforded the opportunity, displayed the same murderous tendencies than their more famous leaders.

For Martin, situated as it still is in the world of narrative - based commercial genre cinema, Passion forces us to ask challenge questions underscoring much of his book's subsequent argument and proposals:

Aaron Gerow lays out a history of film criticism in Japan to the present day, underscoring a narrative about cinema negotiated by professionals who gradually lose the ability to make a substantial impact on either audiences or the industry.

The ongoing renaissance in South Korean cinema is too stylistically diverse to constitute a movement, but its major filmmakers — Park Chanwook (Oldboy), Lee Chang - dong (Secret Sunshine), Kim Ki - duk (3 - Iron), Hong Sang - soo (Woman Is the Future of Man)-- share a taste for complex narratives that challenge social taboos.

However, the theme of family is explored in great detail, with the widely - explored «sins of the father» cinema trope forming a major part of the film's narrative.

I've come to the conclusion that we're in a new era of cinema, and of pretty much every popular narrative form in general.

While Tokyo Godfathers is undoubtedly slight, it has a firm mooring in the traditions of cinema and an understanding, most importantly, of where it belongs in the flow of the celluloid narrative.

These filmmakers deconstruct cinema to its most powerful images in a way that's so overwhelming it defies standard film elements like narrative and character.

Whilst the characters on screen navigate the class dynamics of colonial life; choosing to adopt certain characteristics of their European colonisers in order to advance professionally and socially; the film itself reflects a growing trend in mainstream cinema of dealing with African themes using traditional Western narrative structures.

Auteurist critics who mined these strata have rejected Zinnemann because his is a literal - minded cinema of the spectator, where the images and narrative are displayed with craft and artistry, but which do not ask the viewer to participate in completing the equation of form and content.

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One of the more interesting developments in the cinema of the past 15 years or so has been the surge of mainstream films with complex narratives...

Program Description: Designed to support distinctive new voices in world cinema working in both fiction narrative and documentary, the Open Borders Fellowship includes a development grant as well as a trip to the Sundance Film Festival in Park City to receive the award and attend a curated slate of industry meetings, networking opportunities, panels, and screenings.

That wicked waltz becomes quite literal in one memorable scene that is emblematic of Akhtar's savvy, narrative - focused use of Indian popular cinema tropes.

A more likely answer is that such evocations result from Malick's understanding of notions such as image and narrative in relation to cinema.

But Davies, one of the leading lights of contemporary British cinema, is temperamentally incapable of doing anything ordinary, and he has little interest in advancing the reductive narrative of a troubled, reclusive genius.

While Porterfield's aesthetic gambit with Putty Hill — utilizing documentary techniques to convey a fictional narrative — resulted in a remarkable hybrid form of experiential cinema, I Used To Be Darker arguably ups the ante by pairing a similarly observational naturalism (sans interviews) with more traditionally - plotted melodrama.

2016 is shaping up to be the year in which interesting films were definitively buried in the public consciousness by the Marvel / DC / Pixar onslaught at the multiplexes, and more thoughtful cinema gave way to special effects and easy to follow «uplifting» narratives.

Since that time, Jia has spent time working in both the documentary form (Dong; I Wish I Knew) and through something approaching both documentary and narrative cinema (Still Life; 24 City), effectively — almost imperceptibly — combining devices from each in an effort at constructing an altogether new hybrid.

Its cast, no matter how seasoned in beloved cinema they may be, can't make the material take flight or get us onboard with the breathless narrative.

Though I've listed a few of my favourite feature length narrative films of 2017, I find myself going to the movies less and less, and becoming bored with narrative cinema and narrative in general, with the exception of all the great international films of the past, many of which are available in Blu - ray and / or streaming platforms.

Mixing visceral, documentary - like realism with the narrative focus of Hollywood noir and melodrama, Manila in the Claws of Light is a howl of anguish from one of the most celebrated figures in Philippine cinema.

This movie is ridden with plot holes, it has an unacceptable amount of logic issues, Mystique's costume is distractingly fake and silly looking, Anna Paquin gets a title card yet is in five seconds of the movie, multiple story beats are repeated and the narrative puts into question everything that's happened in previous «X-Men» films, but, if you can get past the fact that the «Days of Future Past» narrative is downright ridiculous, you can still enjoy some of the mindless, summer fun — and Quicksilver's sequences, because that's high quality cinema right there.

The world documentary and narrative feature panorama added the best of Latin American cinema in competition and the Perspective Section.

Meyers is in her element when the movie plays like classic narrative cinema, unafraid to go for the corny sentiment that she does with more conviction than the attempts at zeitgeist comedy.

With a clear sense of story and purpose, the film not only serves as a shot in the arm for independent narrative cinema, but also as a rallying cry for those determined not to see the US go to the dogs.

If, as she continues, «texts or figures that refuse to be redeemed disrupt not only the progress narrative of queer history but also our sense of queer identity in the present,» then there would seem to be nothing more of a drag to the savvy contemporary moviegoer than politically démodé gay cinema.

In order to force the spectator to be aware of the cinematic apparatus, Haneke creates a new route, differing at the same time from the classical narrative cinema, which suspends the spectator's awareness, the first - generation modernism of benign reflexivity, characterised by Chantal Akerman's cinema, and the second - generation modernism of aggressive reflexivity, exemplified by Jean - Luc Godard's Le Vent d'Est (1970).

The apparatus theory proposed by Jean - Louis Baudry and Christian Metz posits that spectators in classical narrative cinema are manipulated by the images and, deprived of the ability to critically contemplate the act of viewing, confuse film illusion and reality.

Meanwhile, Sebastian Lelio's «A Fantastic Woman» is a female - oriented narrative that marks a significant breakthrough for transgender representation at the Oscars — and represents last year's surge in LGBTQ - themed cinema.