Sentences with phrase «modern filmmakers in»

Our cover shoot, by photographer Art Streiber, placed these two modern filmmakers in a classic Hollywood milieu — all chalky clapboards, saddle pants, and smoky screening rooms.

Not exact matches

Moonlight, which was adapted from the play In Moonlight Black Boys Look Blue proves that with a compelling story, a visionary filmmaker (in this case, director Barry Jenkins) and talented cast, it's still possible to make movies that get recognition in modern HollywooIn Moonlight Black Boys Look Blue proves that with a compelling story, a visionary filmmaker (in this case, director Barry Jenkins) and talented cast, it's still possible to make movies that get recognition in modern Hollywooin this case, director Barry Jenkins) and talented cast, it's still possible to make movies that get recognition in modern Hollywooin modern Hollywood.

Learn how to make films that you're proud of and succeed as a filmmaker in the modern world.

Following the lead of 2012's underrated «At Any Price» in matching the socially conscious topicality of Bahrani's early films to the demands of broader - brush melodrama, this dynamically acted, unapologetically contrived pic reps the filmmaker's best chance to date of connecting with a wider audience — one likely to share the helmer's bristling anger over corruptly maintained class divides in modern - day America.

The show's direction, by American Psycho filmmaker Mary Harron, is elegant, and the script, by Away from Her writer / director Sarah Polley, is crisply modern in its understanding of characters» psychological realities yet blurry enough on the margins to allow in delicious ambiguity.

In so hammering home the guilt Darwin feels over having married and had children with his first cousin, the filmmakers render secondary (perhaps even tertiary, behind interpersonal relationship histrionics) the importance or modern - day relevance of his work.

In this modern era, the Coen Brothers are often credited as the life support system for classic noir, but the Coens appear to have serious competition in the form of Australian filmmaker and stuntman Nash Edgerton, whose feature debut, The Square, is a brilliantly twisty, gritty contemporary film noiIn this modern era, the Coen Brothers are often credited as the life support system for classic noir, but the Coens appear to have serious competition in the form of Australian filmmaker and stuntman Nash Edgerton, whose feature debut, The Square, is a brilliantly twisty, gritty contemporary film noiin the form of Australian filmmaker and stuntman Nash Edgerton, whose feature debut, The Square, is a brilliantly twisty, gritty contemporary film noir.

A legendary artist and a modern - day filmmaker, both with a calling to find the light, even in the most unlikely places.

The Ninth Annual Film Symposium on New Trends in Modern and Contemporary Italian Cinema featuring the work of filmmaker Vincenzo Marra is presented by Indiana University's Department of French and Italian.

This is the time of the Ottoman Empire's last days as various nations become mired in World War I. International upheaval, as viewed from the intimate vantage point of a historical figure as enchanting and modern feeling as Bell, gives the filmmakers a variety of avenues to explore.

In response to a more culturally literate audience, its filmmakers want instead to make a point about the state of modern life.

Not in everything, mind you; the filmmakers have chosen (unfortunately, I think) to go for a slightly modern touch in some aspects of the film, such as Lucilla's costumes.

Piecing together a remarkable story from first - hand accounts, still photos and grainy video footage, filmmakers Harlock and Thomas assemble a gripping narrative documentary about a modern - day prophet.Bill Hicks grew up in Houston with his pals...

Giving Woody Allen a run for his money as the most prolific filmmaker in the business, Noah Baumbach has released his second film of 2015, coming only a few months after While We're Young, his exploration of generational divides in the modern era.

«Filmmaker Robert Drew, a pioneer of the modern documentary who in Primary and other movies mastered the intimate, spontaneous style known as cinema verite and schooled a generation of influential directors that included D.A. Pennebaker and Albert Maysles, has died at age 90.

Few filmmakers seem capable of rising above the sad state of affairs that is modern indie horror, the rest seem caught up in a boundless mode of non-creativity and excessive aping that's neither welcome nor admirable.

The vast technical background necessary for creating cinematic stories, illuminating interviews with the greatest living filmmakers, in - depth analyses of high quality movies... The material provided by Cahiers du Cinéma, Sight & Sound, Cinemagic, Cinefantastique and many others has inspired thousands of people to dedicate their lives to filmmaking, and thanks to the wonders of modern technology, these priceless cultural beams of historic value and prime educational significance continue to inspire, astonish and enlighten us, bringing up a new generation of artists who might persevere and thrive to one day fill the shoes of the likes of Orson Welles, Krzysztof Kieślowski, Jean - Pierre Melville, Agnes Varda, Paul Thomas Anderson, David Fincher and dozens of others whose work continually delight and move us in every way possible.

Often, as an actor reads aloud something Lawrence wrote about the landscape, the filmmaker tries to mimic the shot in the modern landscape.

The filmmakers have repurposed the action from the seedy streets of 1980 New York to modern day Los Angeles and have bathed the film in dreamy, high - resolution digital photography that is all wrong.

It is also pleasing to see that in an age in which the romantic comedy is such an unfashionable genre in the cinema that filmmakers are, at least, attempting to go back to basics and call to mind a style of filmmaking in the screwball comedy that is all too rarely visible in the modern era.

As previously announced, the inaugural LFF Connects will feature British filmmaker Christopher Nolan, internationally acclaimed for some of the most original, compelling and successful films in contemporary cinema (Interstellar, Inception, The Dark Knight, Memento), and Tacita Dean, lauded for her art work in film (and whose grand - scale Tate Modern exhibition FILM transfixed audiences).

Indiepix Festival Favorites, Volume 2 Value - priced, three film set of music documentaries: «Icons Among Us: Jazz In the Present Tense,» about the modern jazz scene, with Terence Blanchard, Ravi Coltrane, Robert Glasper, Nicholas Payton, Brian Blade & the Fellowship Band, the Dirty Dozen Brass Band, Donald Harrison Jr., Anat Cohen and Esperanza Spalding; «Echotone,» a lyrical documentary providing a telescopic view into the lives of Austin's vibrant young musicians as they grapple with questions of artistic integrity, commercialism, experimentation, and the future of their beloved city; and «Roaring Abyss,» a stunning audiovisual poem, the product of filmmaker Quino Piñero's two years of field recording traditional and modern music from around every corner of Ethiopia, a country of eighty different nationalities and cultures spread amongst mountains, deserts and forests.

Budding filmmakers itching to make their own Creature Feature should view Anaconda as a modern lesson in overused monster movie techniques.

From Slamdance, we have three documentaries — The Modern Jungle (which analyzes the relationship between filmmaker and subject among dirt - poor peasants in Chiapas), Strad Style (about an unlikely violin maker and his quest to recreate a renowned 18th - century instrument) and Supergirl (a tale of the strongest 12 - year - old girl in the world)-- and three narratives — Dave Made a Maze (a demented fantasy about an out - of - control labyrinth), Future ’38 (a clever sci - fi look forward from 1938 to the year 2018) and Weather House (a hypnotic meditation on the end of the world).

A who's who of filmmakers and composers assembled at this year's Comic - Con International to discuss the role played by music and sound design in modern superhero movies and television series.

In anticipation of our second Live Director Series event this weekend, here is a video of a conversation - filled sit with Paul Schrader — the filmmaker / screenwriter who will be joining us for the screening and Q&A on Sunday — from The Modern School of Film.

As for the CGI animals, Peyton gives them plenty of opportunities to wreak havoc, although at least one or two of those sequences feels better in conception than execution: though the large - scale destruction is all masterfully rendered — and it must be noted, brutally violent for a PG - 13 movie — he like many other modern filmmakers gets too close to the action, mistaking incomprehensibility for claustrophobia, and seems either unaware of or uninterested in even the basic physics of gravity, falling objects, and so on.

John Michael McDonagh stepped out from the shadows of filmmaker young brother Martin McDonagh, who's crafted such cult modern classics as In Bruges and Seven Psychopaths, in 2011 when he debuted The GuarIn Bruges and Seven Psychopaths, in 2011 when he debuted The Guarin 2011 when he debuted The Guard.

After celebrating Christmas with one of cinema's bleakest — and funniest — depictions of religion, MUBI prepares to ring in the new year with a look back at some of the earlier works of the best modern and upcoming filmmakers, from Yorgos Lanthimos to (coming soon) The Safdie Brothers.

MUBI continues to ring in the new year with a look back at the first films by some of the world's best modern and upcoming filmmakers, including exciting new directing duo The Safdie Brothers.

The gripping political thriller «7 Days in Entebbe» — based on true events and directed by Brazilian filmmaker José Padilha — opens surprisingly with a modern dance performance.

In 2003 the modern wave of superhero movies was still in its infancy, and Ang Lee — still the best filmmaker to do a comic book movie — got experimental with «Hulk.&raquIn 2003 the modern wave of superhero movies was still in its infancy, and Ang Lee — still the best filmmaker to do a comic book movie — got experimental with «Hulk.&raquin its infancy, and Ang Lee — still the best filmmaker to do a comic book movie — got experimental with «Hulk.»

It looks at the genre from modern eyes and constantly winks at the audience to let us know the filmmakers are in on the joke.

Giving Shakespeare a modern - day treatment trips up many great filmmakers, but Whedon takes it in stride, employing a game cast to create a playful, satisfying romp.

Learning to Drive is a metaphor for learning to live in filmmaker Isabel Coixet's absolutely delightful and smart take on how a modern woman (Patricia Clarkson) survives her mid-life crisis.

Back in 2005, the trailers for Sin City looked like nothing I'd seen before, a phenomenal page - to - screen adaptation that captured the flavor of Frank Miller's modern noir comic book series via the spendthrift imagination of filmmaker Robert Rodriguez.

THE STORY OF THE GREATEST FAN FILM EVER MADE tracks how the film made it in front of an audience, and the filmmakers modern day struggles to complete one final elaborate and expensive sequence.

Italian filmmaker Alice Rohrwacher, whose previous effort THE WONDERS won the Grand Prix in 2014 (one of the absolute film highlights of that year), returns to the Croisette with modern - day miracle tale HAPPY AS LAZZARO.

«Blue Velvet» cemented Lynch's place in cinematic history and established him a one of the great visionary filmmakers of the modern era.

In fact, there may be no modern filmmaker more qualified to continue Wade Wilson's story than the man behind Pulp Fiction and Django Unchained.

As we launch Dark Universe with Danny's provocative theme before The Mummy and collaborate with a brilliant filmmaker like Bill to weave the story of a very modern woman in a very classic tale, we feel confident we're off to a tremendous start.»

That's because the wryly amusing look at the foibles of middle - age modern romance by filmmaker Nicole Holofcener («Please Give,» «Friends With Money») happens to be the second - to - last film with James Gandolfini in the cast.

Learn how to make films that you're proud of and succeed as a filmmaker in the modern world.

The shortlist for the Prize, announced on July 27, 2016, was selected by an international jury that included Kitty Scott, the AGO's Carol and Morton Rapp Curator of Modern and Contemporary Art; Russell Ferguson, Professor in the Department of Art at the University of California; and Stan Douglas, acclaimed artist and filmmaker.

Recently he wrote «We Are More Than This,» an essay for the Tate Modern on the occasion of the museum's exhibition, «Soul of a Nation: Art in the Age of Black Power» and is in conversation with filmmaker and artist Arthur Jafa in the Dallas Museum of Art's «Truth: 24 frames per second» exhibition catalogue.His writing has appeared in the New Yorker and The New York Times.

Readers will delight in essays by filmmaker John Waters on Jeff Koons; music critic Greil Marcus on Christopher Wool; novelist Siri Husvedt on Anselm Kiefer; travel writer and essayist Pico Iyer on Takashi Murakami; Pulitzer Prize - winning biographer Mark Stevens on Cy Twombly; and former Chief Curator of Painting and Sculpture at the Museum of Modern Art, New York, John Elderfield on Jasper Johns, among many other pairings.

Indira Allegra, artist indiraallegra.com Beth Bird, documentary filmmaker and PhD candidate in the Department of Film and Media at the University of California, Berkeley Robin Clark, Director of the Artist Initiative, San Francisco Museum of Modern Art Gregory G. Geiger, artist gregorygeiger.net Maria Elena González, artist and associate professor, Sculpture and New Genres at the San Francisco Art Institute Tim Hyde, artist and assistant professor, Department of Art and Art History, University of California, Davis timhyde.info Amanda Hunter Johnson, conservator, San Francisco Museum of Modern Art Tomoko Kanamitsu, program associate, Higher and Continuing Education, Education and Public Practice, San Francisco Museum of Modern Art Emily Liebert, associate curator of Contemporary Art, Cleveland Museum of Art Peggy Phelan, Ann O'Day Maples Chair in the Arts, Professor of Theater & Performance Studies and English, Stanford University Sarah Roberts, Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art Kaeleigh Thorp, graduate student in Museum Studies at the University of San Francisco Meredith George Van Dyke, curatorial assistant, Painting and Sculpture, San Francisco Museum of Modern Art John Zarobell, associate professor and undergraduate director of International Studies at the University of San Francisco

His work, which some rank alongside that of filmmakers Chris Marker, Harun Farocki, and Artavazd Pelechian, has been recognized with revivals at Tate Modern, London, and retrospectives at the Buenos Aires International Independent Film Festival, the Pesaro International Film Festival of New Cinema in Italy, the Vancouver International Film Festival, and the Sundance Film Festival.

Indira Allegra, artist Beth Bird, documentary filmmaker and Ph.D candidate in the Department of Film and Media at the University of California, Berkeley Robin Clark, director of the Artist Initiative, San Francisco Museum of Modern Art Gregory G. Geiger, artist Maria Elena González, artist and associate professor, Sculpture and New Genres, at the San Francisco Art Institute Tim Hyde, artist and assistant professor, Department of Art and Art History, University of California, Davis Amanda Hunter Johnson, conservator, San Francisco Museum of Modern Art Tomoko Kanamitsu, program associate, Higher and Continuing Education, Education and Public Practice, San Francisco Museum of Modern Art Emily Liebert, associate curator of Contemporary Art, Cleveland Museum of Art Peggy Phelan, Ann O'Day Maples Chair in the Arts, Professor of Theater & Performance Studies and English, Stanford University Sarah Roberts, Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art Kaeleigh Thorp, graduate student in Museum Studies at the University of San Francisco Meredith George Van Dyke, curatorial assistant, Painting and Sculpture, San Francisco Museum of Modern Art John Zarobell, associate professor and undergraduate director of International Studies at the University of San Francisco

The exhibition, currently on view at MoMA (the Museum of Modern Art) in New York City, is the first retrospective of the pioneer filmmaker and artist in New York City; the first complete retrospective of the artist's 50 - year career; the first survey of Conner's work in around 16 years and the first retrospective since his death in 2008.