The art style and
language of the film really helped with it being in the 1600's, and that sadly doesn't do justice for me.
Not exact matches
The burial sequence exists only because Tarantino
really likes The Vanishing, and it handles that element
of the plot about as badly as that
film's English -
language remake.
Born without memory
of his past life (the title is the
film's first puzzle, as it is
really not so much a search for «Bourne's» identity as it is an examination
of an identity at birth), Bourne finds himself oddly proficient in self - defence, preternaturally aware
of his surroundings, and possessed
of a Swiss bank account number (via the laser projector) leading to a safety deposit box full
of enough passports and foreign currency to match his ability to speak several
languages.
Tags 120 battements par minute 2017 cannes 2018 oscars Agnès Varda Andrey Zvyagintsev Cannes cannes 2017 cannes
film festival diane kruger faces places focus features foreign
language film france Germany happy end in the fade Joaquin Phoenix loveless magnolia pictures nicole kidman oscars 2018 Palme d'Or robin campillo ruben ostlund russia sofia coppola sony pictures classics the beguiled the killing
of a sacred deer the orchard the square wonderstruck yorgos lanthimos you were never
really here
While some would argue that seven years is more than enough time for some kids to grow up with no knowledge
of the previous Fantastic Four
films or media, it's worth noting that the darker content and occasionally strong
language in this
film really do appeal to an older audience than its predecessors.
It's a beautiful thing about making a foreign
film is that you
really are there listening to the
language of, you know, listening to the music
of their
language, listening to the way they would speak, listening to the way — you can only direct to a certain point because you're
really trying to be a vessel to allow the country to speak.
Toei Animation is teaming up with Chinese
film company A
Really Good
Film for the English
language picture, which will be helmed by Tomasz Bagiński
of Witcher game intro fame.
The video installations
of Jane and Louise Wilson, with their hovering steady - cam shots, their weird, wonky - angled explorations
of atmospheric interiors, owe so much to the
language of commercial
film and to pop videos, that we feel we've already seen the movie and heard the song, when we've
really only seen the set - in this case the late, late hour gambling rooms
of Las Vegas, and the doomy tunnels under the Hoover Dam.