Not exact matches
Obviously, this isn't the type of complex and atmospheric sound
presentation that a
modern film would have, but it serves the
film aptly.
While the storyline is relatively simple, and one that has been a staple of Hollywood classics since the beginning of commercial
films (this is a movie about movies, after all), the complexity of the characterizations, coupled with the technically proficient
presentation despite the multitudinous moving pieces involved, makes it all feel fresh and new in the
modern era.
Perhaps it's because, bucking the trend for horror movies, Primeval comes to DVD in its theatrical cut rather than a unrated extended
presentation or perhaps it's because I reviewed Apocalypto last week, but this
film didn't seem overly gory the way many of its
modern kin do.
The fight is rightly dubbed as one of the greatest ever
filmed, with its crisp editing and brilliantly shot
presentation being a nice refresher from the
modern quick cut handheld fights of current action
films.
KB: We both very much valued Duncan Campbell's extensive
presentation of his
film works at the Irish Museum of
Modern Art in Dublin, and also Soleil politique.
A visual and narrative feast, it was published in conjunction with the Fall / Winter 2014
presentation of «Ten Thousand Waves» (2010), a 55 - minute immersive
film installation projected onto nine double - sided screens at the Museum of
Modern Art in New York.
CVM's
films, programs, and
presentations are regularly featured at museum exhibitions, cinematheques, universities, symposia and archives worldwide, most recently at the Whitney Museum, Guggenheim Museum, Tate
Modern, Centre Pompidou, Hirshhorn Museum, Berkeley Art Museum, LACMA, British Film Institute, Harvard Film Archive, Princeton University, Oxford University and Trinity College, among others worldwide.
But the exhibitions, at the Hayward Gallery and the newish BFI Gallery, easily won out over sleep: The former, «The Painting of
Modern Life,» curated by Hayward director Ralph Rugoff, was recommended to me by many passersby in art - fair aisles; the latter, a
presentation of three recent
films by artist Mark Lewis, promised the perfect balm for harried eyes.
Concurrent with the
presentation at CCS Bard, the Museum of
Modern Art (MoMA) in New York will exhibit a full - scale theater screening of Oursler's Imponderable
film (June 18, 2016 — January 2, 2017).
Julien will be back at MoMA on February 10 for the
Modern Mondays
presentation «An Evening with Isaac Julien,» sharing
film clips and talking about his career.
I am taking liberties by starting off the 2014 year in late 2013, but the fact of this show in Los Angeles, Sturtevant's first in decades, was an important lead - up to her retrospective at New York's Museum of
Modern Art and a significant marker in her return to visibility in the U.S. Given her death prior to the opening of the MoMA show, this generous
presentation of the
film Finite Infinite (2010) underscored the importance of that space for bringing projects that would otherwise not be seen or given such gorgeous and ample space.