Both love and politics elicit
intense emotional responses from most of us, and we set out to find the truth - is love really bipartisan?
Not exact matches
When a child (or an adult, for that matter) is feeling disconnected
from their caregivers, their
emotional response to the isolation is
intense.
We'd be foolish not to give some sort of shout out to other terrific scenes throughout the year, like the hilarious funeral sequence in Li» l Quinquin, which had us doubled over
from laughter; both the border crossing and night vision sequences in Sicario; the ending of Carol, which should get an
emotional response out of even the coldest souls; the opening long take in Buzzard, a painfully funny experience much like Entertainment; the bonkers final act of Jauja; a scorching scene
from The Fool where the town mayor lays into her corrupt staff; everything that happens at Mamie Claire's house in Mistress America; the
intense argument between Gerard Depardieu and Jacqueline Bissett in Welcome to New York; the tightrope sequence in The Walk, and much, much more.
But AbEx works in particular — with their
intense color, large scale, and, in Pollock's case at least, frenzied application of paint — can elicit an
emotional response from viewers that requires a physical, often prolonged, encounter with them.
It also taps into the sort of emotions — and depths of emotion — that aren't usually mined in sci - fi fare, and does so in a way that earns the
intense emotional response it asks
from its audience.