Sentences with phrase «landscape shots in a film»

Not exact matches

The landscapes look nothing like Israel (the film was shot in Italy — and it shows).

His recent projects range from character - driven films shot in crowded antiques stores to soothing stills that capture the solitude of barren desert landscapes.

Enduring a grueling - and often cruel - shoot in the Texas heat, Hooper's film changed the horror landscape.

Cooper and his director of photography Masanobu Takayanagi (who also worked on the filmmaker's last two movies) paint a visually striking but harsh and brutal portrait of the scenery here, placing an emphasis on long shots of desolate landscapes and closeups of human anguish in order to create the film's dismal mood.

The film has repeated gratuitous shots of landscapes in the Swiss alps and thank God for that because is pure eye candy.

The film does a great job of revealing the landscape in unique shot choices.

Gray's wide shots are among the saddest in contemporary film, and as a result the movie is pervaded by loneliness and resignation — intervals of space, sometimes akin to the ma of Japanese landscape painting.

The landscape of «Nebraska» is populated with such well - known actors as Bruce Dern and Stacy Keach as well as retired farmers making their debuts who live in the town of Plainview, Neb., where most of the film was shot.

Shot largely in a Louisiana doubling for the vast, unforgiving landscapes of Mississippi — with occasional depictions of combat and romance on foreign soil — the film revolves around the fraught relationships between, and within, two families: one white, one black.

The film discretely yet effectively incorporates local landscapes of the real Osage County in northern Oklahoma, where it was shot.

Burnett was disappointed by the fact that he was unable to shoot in high summer, but the film's autumnal landscapes have a quiet beauty and are free of the cheap, gaudy, corporate chain stores that infest poor towns in today's America.

It's exciting and comically incisive that the first discernable thing about The Hateful Eight is that it's shot in 70 mm — a wide, uncommon, high - res format — and, after an opening salvo of John Ford - like panoramas of snow - flecked landscapes the story hunkers down into what is essentially a pocketed one - room chamber film.

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.

More often than not the film's wide wide shots are more interested in showing the landscape in a notable light than beatifying the actors.

Suffice it to say the action plays out in a booby - trapped jungle island landscape (the film was shot in Oahu, Hawaii and Georgia).

Deathly Hallows has plenty of special effects moments that look spectacular in HD, and even when there's not a huge action sequence in play, the film's reliance on the party's trek means there are lots of sweeping landscape shots that have their own beauty.

Also, with exterior shots of San Francisco and in its environs, the films takes full advantage of its widescreen aspect ratio, with natural depth in the landscapes and buildings.

Rees told me the film had been shot in 28 days moving from Hungary to New Orleans to capture the muddy landscape of the Mississipi Delta.

is a nice, small film with good performances and engaging direction, worth the trip for those who love fact - based historical dramas with lots of sweeping shots of the landscape, and who are more interested in the little personal stories than the great historical ones found in all the text books.

Rabbit - Proof Fence is a nice, small film with good performances and engaging direction, worth the trip for those who love fact - based historical dramas with lots of sweeping shots of the landscape, and who are more interested in the little personal stories than the great historical ones found in all the text books.

Granted, shots of old European architecture and landscapes aren't exactly a thrilling use of 3D, but many of the film's set pieces are truly spectacular and the 3D helps to accent all the gorgeous details in every shot.

That scene is still in the film, but following is a shot of Barbara (Roberts), the eldest daughter, driving away from the house and through Osage County, stopping to look at the landscape, finishing her story as well.

Anchored by wonderful performances from Costner and Bello in tandem and visually enhanced by a vibrant Disney color palette — this is a beautifully shot film, with particular emphasis on the landscapes during the races as well as the costume design — you might find yourself every now and then counting cliches but at the end you shouldn't be too surprised to find yourself secretly cheering.

The film starts by offering a series of disparate stimuli: talk of Italian - German conflict during World War II, a group of young students, a mountainous Tuscan landscape clouded in fog, a solitary farmer trudging through thick brush, a shot of a beetle toppling itself over.

Marking the second installation in a quartet of films, Purple is an immersive six - channel video installation that combines hundreds of hours of footage shot across a variety of landscapes to create a meditation on the relationship between humans and the planet.

SB: For the Dak» Art Biennale I will be showing Ile de France a non-narrative film shot in Mauritius, which presents the landscape of the early colony.

The new 26 1/2 minute work is a 35 mm anamorphic film shot on location in the saline landscapes of Utah and California using Dean's recently developed and patented system of aperture gate masking.

The film has some tough competition — Mad Max: Fury Road and The Hateful Eight are among the other nominees — but the joke in some circles has always been that the Oscar for Best Cinematography might as well be called the Gorgeous Landscapes Award, and that, combined with Lubezki's bold decision to shoot only with natural light, makes The Revenant seem outright engineered for a win.