Sentences with phrase «key films by»

Babette Mangolte, well known as a filmmaker and as the cinematographer on a number of key films by Yvonne Rainer and Chantal Akerman (including Akerman's Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles), was included in the Whitney exhibition The American Century; her Biennial contribution is a mixed media installation involving photography and a video that recreates an earlier installation from 1978.

Un Chien andalou, L'Age d'or, Las Hurdes, Los olvidados (published on Parallax View here) Imagery and landscape in four key films By R C Dale

Not exact matches

The Milibands insist they are still close, but relations between their camps have become strained, with David's key allies branding rival Ed «Forrest Gump» after the less - than - bright character played by Tom Hanks in the hit film.

This is something that is not fully agreed upon by everybody, but you know, the work that we've done strongly supports the idea that the key thing going on is the friction that is due to the thin liquid film.

The scenes between him, Wilkinson and their clubby buddies are the film's best, although two key speeches written for Hunt, significant diversions from the original play, are brave efforts by Himelstein to bring meaning to the adaptation.

One of the film's key scenes shows the village assembly in Hirut's area carefully debating her case, and when Meaza attempts to leave a meeting with Hirut's parents without staying for a meal, she is brought up short by a mother who insists, «you must not forget our culture.»

The director was also hurt by the sudden departure of composer Bernard Herrmann (who had scored every Hitchcock's movie since 1957) during the making of Torn Curtain, as Herrmann's music had become a key element of the success of Hitchcock's films.

While the film touches upon its various political and cultural issues (In addition to the give - and - take relationships between reporters and politicians, there's a lot about the overt and subtle sexism that Kat receives as the first and, at the time, only woman serving a newspaper publisher), the film plays mostly and best as a race - against - the - clock thriller of sorts, in which the obstacles are as imposing as the might of the U.S. government and as low - key as deadlines or being beaten to a story by a rival paper.

Much of the film's emotional punch comes from the ever - optimistic Dug and his relationships with three key supporting characters: caveman tribe chief Chief (Timothy Spall), who admits he's old for... 32, Goona, a female football phenom who Dug digs (she's voiced by Maisie Williams of «Game of Thrones») and Hognob, Dug's pig pal, who's much more than a pet (he's got a little Gromit in him).

Coogler's story sprints a few miles past that, and (spoiler) the idea of a global revolution by black peoples is an understated but key driver of the film's plot.

Written by Bird and Damon Lindelof (Lost), the film is as shrouded in mystery as any release this year, but Bird's track record at the box office and with critics (see sidebar) bodes well for his latest, as does the strong supporting cast of Hugh Laurie, Judy Greer, Kathryn Hahn, and Keegan - Michael Key.

And Scorsese was undoubtedly a key stylistic influence for two of the most direct precedents and palpable influences (John Woo's The Killer and Wong Kar - wai's As Tears Go By) for the film he himself has ended up remaking.

There is a darkness in all these «average» characters, underlined by low - key acting and the film's sinisterly calm, measured pace.

Unfortunately Antal's film working from a script by Michael Finch and Alex Litvak apes this buildup to a tee, but forgets two key elements: a great action set piece and a cast of memorable characters.

This film is a look at German Industrialist John Rabe who lived and worked in China, and was one of the key players who established a safety zone for the locals during the occupation of China by the ruthless Japanese Imperial Army.

That kind of emotional centre is key to the success of Crowe's films, and it works beautifully here, aided immeasurably by a wonderful performance by then - newcomer Renee Zellweger, as well as a spot - on effort from Cruise and a deliciously over-the-top innings from Cuba Gooding Jr..

This past weekend I finally sat down to watch Midnight in Paris, the latest film by Woody Allen, and it brought up a few key social comments that I think applies to the general film blogosphere.

Written and directed by comedian Jordan Peele, who is best known for his sketch comedy show, Key & Peele, Get Out is a very impressive debut film.

As portrayed by the film, the rules make very little sense, and consequently vested interest in the proceedings doesn't have the impact it should during key moments when victories fizzle instead of pay off, and jokes fare little better.

From 100 - plus hours of footage shot by Goodall's late ex-husband, acclaimed wildlife filmmaker Hugo van Lawick, Morgen crafted a 90 - minute film full of tiny thrills and key discoveries.

Based on the book Alan Turing: The Enigma by Andrew Hodges with a screenplay by Graham Moore and a haunting score by Alexandre Desplat, the film unfolds as both a biography and an intriguing adventure story with key moments in his life depicted in flashbacks.

Barbarosa (1982) was the first feature to be made in America by any of the key figures of the Australian film «renaissance» of the 1970s.

12:15 a.m. (9:15 p.m.): «Edge of the City» (1957, Martin Ritt) Brilliant acting by John Cassavetes, Sidney Poitier, Jack Warden and Ruby Dee — pitched in an «On the Waterfront» key and set in the same kind of grim dockside milieu — stands out in this tough yet humane film.

The first edition — a humble magazine - cum - newsletter held together with a single staple and paid for out - of - pocket by Reichert, Koresky, Neal Block, and Erik Syngle — was distributed at key New York film venues like BAM, the Film Society of Lincoln Center, and the late, great video emporium Mondo Kim's.

One thing the final act can not sully is the sublime score by Michael Patton, with its echoing keyboard effects conjuring a romantic melancholy that electrifies many of the film's key scenes.

At first, Panahi announces that he is going to act out some scenes from the film he was planning to make at the time of his arrest — a Romeo and Juliet — esque love story involving a girl herself kept under lock and key by her strict parents.

But distributor XLrator Media is heartened by performance of writer - director John Ridley's independent film in key markets

Very exciting, it's been 8 years since Primer (a science - fiction favourite in these parts), and while the writer / director's screenplay for «A Topiary» never got made into a film, he whipped out this surprise to many earlier this week by way of the festival announcement and a very shiny bit of key art which confirms that Carruth will star in the film along with Amy Seimetz (A Horrible Way To Die).

Black films, movies with black artists and other productions from around the world were a key part of the festivities that were enjoyed by all.

Directed by Steven Spielberg, one of America's most accomplished modern - era directors, the film is both technically and emotionally powerful, rudely propelling its audience into the sheer nightmare of the war arena in order to shock it out of its customarily passive role and engender some level of emotional identification with its key characters.

It's a «go with it or be left behind» challenge by Connolly, whose film soars or sinks on how willing its audience is to suspend disbelief in several key moments while also demanding a very real emotional involvement it never earns.

Flawed though Meet John Doe may be by its ending, it is the key film in Capra's filmography, and a must - see for anyone interested in classic cinema.

The key items are a very good documentary on Amarcord featuring Fellini and an audio commentary by film scholars Peter Brunette and Frank Burke.

He begins his quest by looking for the comely virologist (Amanda Schull) believed to hold a key to the plague's origin (that's a change from the comely psychiatrist played by Madeleine Stowe in the film).

Mallory and Jason break down the hit Marvel film by discussing its key themes, the advanced technology in Wakanda, and more

Like the book «Son of Hamas» by Mosab Hassan Yousef, the film tells of Yousef's decade - long stint as an Israeli secret - service informant, a job that required him to betray his father, Sheikh Hassan Yousef, a key member of the Palestinian Islamic Resistance Movement.

Chadha and co-screenwriter Paul Mayeda Berges offer a wry, low - key feature - length commentary with some fairly interesting / entertaining recollections, including the thinking behind the somewhat ballsy use of a corporeal David Beckham in the epilogue, the unblinking national reaction to the Sikh rituals depicted in the film, and Chadha's desire to exploit her male cast members by getting their shirts off as often as possible.

In our discussion we explore key sound scenes including the opening title sequence, alien creature vocals and ship by's and how the sound and music team achieved a sense of confinement for the films characters.

Unlike its predecessor (The Fellowship of the Ring), The Two Towers feels too long by half despite the elision of key scenes from the source tome; the picture only picks up during its last ninety minutes, and then only as an unusually well - crafted action spectacle largely lacking in the nuance, pathos, and sharply - drawn characterizations of the first film.

One of the most influential political films in history, The Battle of Algiers, by Gillo Pontecorvo, vividly re-creates a key year in the tumultuous Algerian struggle for independence from the occupying French in the 1950s.

PLUS: A booklet featuring a new essay by film scholar Peter Matthews, excerpts from Algeria's National Liberation Front leader Saadi Yacef's original account of his arrest, excerpts from the film's screenplay, a reprinted interview with cowriter Franco Solinas, and biographical sketches of key figures in the French - Algerian War

The film keeps the repeated knowledge from becoming boring by giving us the feel of an insider's view into the workings of the CIA and the closed doors of key political discussions.

The best - selling novel - turned - film follows Parzival's perilous quest for an Easter egg hidden by OASIS» creator upon his death; whoever finds it will inherit his fortune and the proverbial keys to the kingdom.

This third film, The Bourne Ultimatum, directed again by Paul Greengrass and welcoming several key players (Joan Allen, Julia Stiles, Damon, screenwriter Tony Gilroy, DP Oliver Wood) back into the fold, ties both strings together: Bourne inhabiting his potential as something of an unparalleled killing machine while, simultaneously, becoming more human in his machine - like purposefulness.

The key to Cameraperson's triumph is that nothing in the film was created with the knowledge of being used for this purpose, which leaves the footage itself — shot for movies directed by the likes of Laura Poitras, Kirby Dick, Amir Bar - Lev, Gini Reticker, Moore, and many others — uncompromised by manipulation or intentionality.

As well as The Salesman the programme includes speeches from key film industry figures including Mike Leigh, as co-organised by Khan, actor Lily Cole, producer Kate Wilson and filmmaker Mike Donne, and sponsored by Curzon.

He puts his gritty staple on some key and entertaining scenes including an opening that includes the sexy Cruz being pleasured by manly Fassbender however, those are not enough to make up for the film's obvious missteps that include mundane dialogue and unclear character beats.

Final verdict: The cast came together with fantastic vocals, aided by a director, who was able to highlight the key points of the film.

Written and directed by Gilles Paquet - Brenner (Sarah's Key), the film wrapped principal photography some time ago and will be released in France this spring.

Directed by The Taking Of Deborah Logan's Adam Robitel, Insidious: The Last Key is one of the weakest films to come out of Wan's genre factory, reducing the producer's formula of creepy houses, jump scares, and derivative horror imagery to its least interesting essentials.