Sentences with phrase «language film on»

The film, by director Andrey Zvyagintsev, won the Golden Globe for foreign language film on Sunday, making it the first Russian movie to win a Globe since 1969's «War and Peace.»

(Note: Because so much of the impact of foreign comedies relies on language, we've only included English language films on this list.)

Not exact matches

R - rated films limit their audiences based on excessive violence, sexual situations, drug use, and language, as determined by the MPAA.

The streaming service also earned three nominations for its documentaries «Icarus,» «Strong Island,» and «Heroin (e),» and one nod for the foreign language film «On Body and Soul.»

A Delta Air Lines employee was captured on video using explicit language toward a customer who was filming him at Portland International Airport.

In L.A., he worked on a successful lobbying campaign that helped earn the Canadian film Les Invasions Barbares an Oscar for best foreign - language film.

In that polemical film, based on the book he wrote of the same title, Navarro argues in racially tinged language that China is bent on global domination and is a threat to the US akin to the Soviet Union during the Cold War.

The organization has translated the film into hundreds of languages and has screened it in some of the most remote locations on earth in with their missions work.

His hobbies included watching films on TV, especially those on football, athletics, boxing, as well as Ghanaian and Nigerian films which were acted in Ewe and English, as he could not speak any other language than the two.

Who still import food from their homelands, who stick to their own languages books and films, and who feel like they can just carry on living in their own country, just in a different place.

the The author, who slapped away the star's butt grabs and laughed off his vulgar language on the set of 1985 TV film «Death of a Salesman,» still feels

Wisely, the film doesn't flash back to scenes of the torture, focusing instead on the power of memory and language to recreate pain.

«The pleasure of this unique film comes in watching superb actors dine on Mamet's pungent language like the feast it is.»

Agnieszka Holland's In Darkness is a familiar but stirring Oscar - season specimen (it's a foreign - language - film nominee) centering on a spontaneously righteous Gentile, Leopold Socha (Robert Wieckiewicz), who becomes a guardian angel for a small group of Polish Jews after the Nazis and their Ukrainian henchman have «liquidated» their ghetto.

The question of whose disobedience, and what kind of disobedience it is, are at the heart of this absorbing and moving love story from Chilean director Sebastián Lelio, his English language debut, following very quickly on the heels of his film A Fantastic Woman which has been a festival - circuit hit this year.

The story of a young girl (voiced by The BFG's Ruby Barnhill) who discovers that she has been born into a long traditional of witchcraft, the film — adapted by Yonebayashi and Riko Sakaguchi, with an English - language script by David Freedman and Lynda Freedman — is predicated on a sense of wonder, but so much of its world feels familiar, if comfortably so, like a favorite band playing their old hits.

At least in his English language films he is so devoid of personality and charisma that he stops the picture dead in it's tracks whenever he is on screen.

I loved how there's a lack of subtitles and how much of the film in general is told visually, forcing the viewer to focus on facial expressions and body language to pick up on what's going on.

Despite some genuinely hilarious sequences that, regrettably, are spaced too far apart, this meditation on the things that matter in life is too slow and at times too forced to deserve the high praise it has been getting (including an Oscar nomination for best foreign language film that should have gone to a number of other more worthwhile pictures).

For Denmark, the film, an Oscar nominee in the foreign - language category, might seem quietly radical, but Mr. Lindholm errs too far on the side of quiet.

The film contains little if any profanity, most of the profane language is of the English variety and generally considered un-offensive to us on this side of the pond.

This week, get the latest casting details on the next Superman movie, and watch a dozen just - released trailers for upcoming films ranging from summer comedies to Sundance hits to foreign - language Oscar contenders.

(There's a good reason for the latter, however: its unusually high total the year before was a result of releasing the Swedish - language films based on Stieg Larsson's Millennium Trilogy.)

Filmed without narration, subtitles, or any comprehensible dialogue, Babies is a direct encounter with four babies who stumble their predictable ways to participating in the awesome beauty of life.Needless to say, their experience of the first year of life is vastly different, yet what stands out is not how much is different but how much is universal as each in their own way attempts to conquer their physical environment.Though the language is different as well as the environment, the babies cry the same, laugh the same, and try to learn the frustrating, yet satisfying art of crawling, then walking in the same way.You will either find Babies entrancing or slow moving depending on your attitude towards babies because frankly that's all there is, yet for all it will be an immediate experience far removed from the world of cell phones and texting, exploring up close and personal the mystery of life as the individual personality of each child begins to emerge.

The film rests on the firm foundation that Ada Byron King, Countess of Lovelace, wrote the first computer language and speculated on its use in areas that are only now being pioneered.

Departures, a Japanese meditation on death, was the other odd winner, taking the best foreign language film prize from the much - fancied Waltz With Bashir and The Baader Meinhof Complex.

Heavy on Spanish language films (including a Brazilian film not in its mother tongue) and the usual block of French film items, after seven years as Artistic Director, Edouard Waintrop leaves the Directors» Fortnight (the section that gave us The Florida Project and a Claire Denis comedy in 2017) with what appears to be a program of genre - friendly firecracker line - up items.

As his English - language debut and first time working with Hollywood actors, The Lobster marks the beginning of a new chapter for Yorgos, whose previous films (My Best Friend, Kinetta, the Academy Award — nominated Dogtooth, and Alps) were each made in Greece on an extremely modest budget with a crew made up of Yorgos's friends.

Identical on both discs, the extras start with GKIDS» critic - quoting English language trailer for the film (2:13), which the Blu - ray presents in full HD and 5.1 DTS - HD master audio.

(1) The Intouchables, an $ 11.5 million dramedy, based on a true story, that was co-written and co-directed by Olivier Nakache and Eric Toledano and has become the second highest - grossing French film of all - time in France and grossed more than $ 355 million internationally (more than any other French film and, for that matter, any non-English-language film, save for The Passion of the Christ); and (2) Rust and Bone, a fictional drama that was co-written and directed by Jacques Audiard, a best foreign language film Oscar nominee three years ago for France's Un Prophet, and features tour - de-force performances from Marion Cotillard, the best actress Oscar winner five years ago, and Matthias Schonaerts, the star of last year's Belgian nominee Bullhead.

The drama about the last chapter of a long marriage, which stars two veteran French actors (Jean - Louis Trintignant and Emmanuelle Riva) and premiered at May's Cannes Film Festival (where it won the Palme d'Or), was claimed by Austria because the Academy's rules dictate that a film's nationality is dependent not on the language that is primarily spoken in the film or the origins of the stars, but rather on the origins of the majority of the film's principal behind - the - scenes talent — the writer, director, and producer.

When his first English - language film, 2003's Fear X with John Turturro, failed at the box office, Refn's company fell into bankruptcy, forcing him to make two more excellent Pusher films, 2004's Pusher II: With Blood On My Hands and 2005's Pusher III: I'm The Angel Of Death, to climb out of debt.

Matt Brown offered an in - depth look on how the film tackles the dangers of conformism and socialization in his essay «The Normalized Atrocities of Julia Ducournau's Raw», and earlier today we published an interview with the writer - director herself, in which she discusses her process as a writer, the fine - tuning of her cinematic language, and underscores how Raw addresses the subject of human identity in a manner that both challenges and transcends stereotypical conceptions of gender roles.

When: June 27th Why: Bong Joon - ho's English - language debut has had a very bumpy road on its way to theaters — with U.S. distributor Harvey Weinstein reportedly wanting to cut 25 minutes from the film and add narration to make it easier to follow — but fans of the Korean director can rest easy, because the unedited version will be coming to the States after all.

I've worked with him [on films set] in the»20s,»30s,»40s,»50s and now the»70s, and so we're referencing those cinematic language of the time.

More than anything else, in fact, the look and episodic composition of the film reminded me of Wojciech Has's The Saragossa Manuscript, a Polish film based on a Polish writer's French - language novel set in Spain (that's no doubt as European as it gets).

Playing a Danish officer stationed in Argentina circa 1880, Viggo Mortensen has the perfect comportment of a civilized military man; as the film goes on and his character is forced to wander through the wilds in search of his disappeared daughter, this brilliant actor gets to shows off his vast vocabulary of body language, from urgent, purposeful striding to weary, wary resignation.

On top of some of the most exquisite character design, facial expressions and body language you'll see in an animated film, several jaw - dropping flight and fight sequences and John Powell's majestic score are the grace notes that take it from great to wondrous.

Tolkienesque in look and language, the film employs a staggering array of British and Australian character actors, including Helen Mirren, Hugo Weaving, Sam Neill and Geoffrey Rush, who bluster on about nobility and the savagery of war in plummy accents, then take to the skies, with razored claws to tear each other to shreds.

Directed by Luca Guadagnino, it's here because Guadagnino's decision to shoot on film made this delicate, almost fairy tale story of first love perhaps the year's most breathtakingly beautiful English language film.

Spanning four countries and as many languages, you'd imagine there would be a wealth of material available for discussion, but the only extra on the two - disc set is a 87 - minute documentary («Common Ground: Under Construction») on the making of the film.

Indeed, the director had set his sights on remaking Murnau's shuddery unauthorized Dracula adaptation, shooting both German and English language versions and applying his own unique cinematic aesthetic to the oft filmed tale of the bloodsucking undead.

Last year's Palme d'Or winner was Ruben Ostlund's The Square, which went on to be nominated for best foreign language film at the Academy Awards.

Transformers: Dark of the Moon Rated PG - 13 for intense prolonged sequences of sci - fi action violence, mayhem and destruction, and for language, some sexuality and innuendo Available on DVD and Blu - ray After the horrible reception of the second film (I actually received the worst hate mail of my career for my semi-positive review), the big metal robots are back for an even bigger adventure.

Grease: 40th Anniversary Edition Rated PG for adult situations / language Rotten Tomatoes Score: 75 % Available on Disc and Streaming Since this film came out when I was six, I was unable to see it in theaters and had to rely on VHS, TV, and eventually DVD for my limited exposure to it.

On Wednesday night at Cannes, I took the night off from seeing foreign - language films to settle onto the sand for a beachfront screening of Black Panther.

It's a great film steeped in the language of other great films, so for the second installment of our ongoing Origin Stories series, we've invited Schrader to select a roster of titles that have had an impact on his life and art and influenced his new film.

Topics will range from thematic undercurrents and visual styles (I hope to show how the films develop a serious, even challenging visual language that both reflects and informs current traits of the modern blockbuster) and will also touch on more subtle or obscure details that deserve heightened focus.

The very future of cinema sometimes seemed to hang in the balance, as Netflix was banned from bringing one of its streaming titles to competition and responded by pulling all its films, worsening an already weak year for English - language cinema on the Croisette.

While a violent storm rages above ground, it seems the real horrors lie on the inside... The Autopsy of Jane Doe is the first English - language film from Norwegian filmmaker André Øvredal, of Trollhunter previously.