Sentences with phrase «narrative fiction film»

Dubbed the «first forgotten female filmmaker,» Alice Guy Blaché wrote, produced, and directed the first narrative fiction film in 1896.

The best narrative fiction films have at their center the war between two necessary and contradictory impulses: the impulse to observe and the impulse to declaim.

Not exact matches

In any other fictional film if you have bad characters, underdeveloped elements, and sloppy narrative you simply get a bad piece of fiction.

While never the most conventional screenwriter to begin with («Pulp Fiction» is a sprawling, ambitious jigsaw puzzle, for one), in recent years Tarantino's screenplays have pushed the envelope further, eschewing most cinematic narrative conventions, with his movies becoming more like filmed novels that don't bother with traditional structure.

In order to qualify as an international narrative feature film, the submitted project must be either scripted or improvisational fiction, and more than half of the project's financing must originate from outside of the United States.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

INTERNATIONAL NARRATIVE FEATURE FILMS: Any narrative work of fiction of international origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary&raquNARRATIVE FEATURE FILMS: Any narrative work of fiction of international origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary» sFILMS: Any narrative work of fiction of international origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary&raqunarrative work of fiction of international origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary» sfilms that are shot in a «mockumentary» style.

U.S. NARRATIVE FEATURE FILMS: Any narrative work of fiction of U.S. origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary&raquNARRATIVE FEATURE FILMS: Any narrative work of fiction of U.S. origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary» sFILMS: Any narrative work of fiction of U.S. origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary&raqunarrative work of fiction of U.S. origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary» sfilms that are shot in a «mockumentary» style.

The dual narrative that searches for parallels in Travers» upbringing, her fantastical fiction, and her resistance to filmmaker ideas is the weakest aspect of the film.

The criss - crossed film narrative is in a state of overuse, but writer - director James DeMonaco's droll, modestly stylish crime gewgaw «Staten Island» wrings a few suspenseful and comic pleasures out of a time - bending format that has served the likes of Quentin Tarantino («Pulp Fiction») and Sidney Lumet («Before the Devil Knows You're Dead») among scores of others.

A chase film with tinges of science fiction in the margins, this is a thriller that does not burden its audience or overcomplicate its narrative with extraneous exposition, allowing you as the viewer to piece many of its mysteries together yourself.

Where so many docs are content to fit into simple categories, often attempting to mimic the narrative formulas of fiction films, Stories We Tell embraces the form and then reaches beyond its usual confines.

With the arrival of Quentin Tarantino in the early 90's and his films «Reservoir Dogs» and «Pulp Fiction ``, it became cool again, to deliver films in different time frames and to manipulate the chronology of the narrative.

A mess of early CGI, noisy silliness and bizarre science fiction musings, both films leave narrative logic and effective atmosphere at the door, with their camp pleasures very much a matter of diminishing returns across their mercifully brief runtimes.

Tagged With: Al Pacino, director, Ethan Hawke, fantasy, film, movie, narrative, perception, reality, SAG, Sci - fi, science fiction, special effects, Uma Thurman, virtual reality

Jacques Rivette's dazzling 750 - minute Out 1 (1971)-- an eight - part serial in 16 - millimeter still unscreened in this country that remains one of the boldest experiments in film narrative ever attempted — was conceived as a kind of parody of Bazin's ideas in its deft mixture of documentary and fiction, its improvising actors working through a dense plot built around real and imagined conspiracies, and even its extended takes, one of which lasts 45 minutes as it records a theater group's exercise.

Perhaps neither was quite suited for this material as Berg's skill with non-fiction doesn't translate to her first narrative film and Holofcener's gifts with character are smothered by the twisting and turning requirements of airport bookstore thriller fiction.

Escape From Los Angeles (1996), Vampires (1998) and Ghosts From Mars (2001) are horror and science fiction films, but at their core they encompass the narrative construction and mythological structure of the westerns directed by John Ford, Sergio Leone and his much admired Howard Hawks.

With «Stories We Tell,» which evades both the pitfalls of overly personal filmmaking and those of fiction - documentary hybrids — not to mention the philosophical trap of making a film «about narrative» instead of simply telling a story — Polley has delivered the first masterpiece of what promises to be an important career.

Overlord, with its continual refrain of a soldier's vision of his own probable annihilation, its ominous flash - forwards, and its striking mix of fiction and documentary, certainly has its place among the great death - driven modernist narratives of its era (Nicolas Roeg's 1973 Don't Look Now and Sam Peckinpah's films come immediately to mind), and it has a clear kinship with Kevin Brownlow's similarly handmade «period epics» It Happened Here (1964) and Winstanley (1975).

Sarah Menzies» terrific nonfiction film is every bit as keenly observed, and its visual storytelling every bit as rich, as the most absorbing narrative fiction feature.

«LETTING GO» A homage to science fiction, this Los Angeles - based short film is seeking two male leads to take the charge in a narrative about «one possible interpretation of the future.»

These narrative films ``... would help to break ground in Hollywood in terms of funding women storytellers and women who were directing the films...» The 2018 Sundance Film Festival will premiere three Gamechanger films: The Tale, a story about sexual abuse written and directed by Jennifer Fox; Nancy, a dramatic story blurring the lines of fact and fiction written and directed by Christina Choe; and The Long Dumb Road, a road trip movie filled with detours and bumps along the way, written and directed by Hannah Fidell.

A «nonfiction film» that creates the poetic aura of a narrative film, David mixes most of the audiovisual genres of expressionism, documentary, fiction, avant - garde, video art, visual arts: posters, collages, drawings, to offer the most complete and multi layered vision of a popular hero ever rendered in a film.

Central to their project is a speculative fiction narrative they developed over the course of their residency, which has generated several short films and will culminate in a limited - edition comic book.

The resulting films from this year's degree candidates are traditional narrative and experimental fiction films.

The jury was struck by the way Mohaiemen's films explore post-colonial identity, migration, exile and refuge through narratives using fiction and social history that combine the traumas of history with his own family stories.

The film blends fact and fiction to reimagine cultural artefacts, their collection and display, through fabricated narratives, memories and moments of forgetting.

Filmed in Gaza in 2014, the film's nonlinear narrative investigates the dualities of life in Gaza through live footage and animation exploring the tension between reality and fiction.

In Siegel's hands, Black Moon, which Malle described as a ``... strange voyage to the limits of the medium,» becomes a present - day science fiction without dialogue, traversing multiple film tropes — action, guns, lonely campfires, the end of the world — and, like its band of armed female revolutionaries, resists taking up residence in a fixed narrative or genre.

Richardson is fascinated by the ways we connect with landscape; within her deeply layered practice, she draws on narrative devices used in science fiction and B - movie horror films, as well as nineteenth - century landscape painting, with particular interest in the apocalyptic conjurings of John Martin (British, 1789 - 1854).

Her film and video installations use overlapping layers of narrative to explore notions of truth and fiction, subjectivity and authorship.

His practice revolves around a diverse range of mediums, such as film, photography, and text in order to expand the way textual and visual narratives, whether documentary or fiction, are constructed.

By weaving together historical fact, autobiographical data or excerpts from science - fiction films and didactic books, they build narratives and stories which amalgamate relevant coincidences from the past, as well as foretell the future.

The 40 - minute work explores loss and grief as much as the narrative constructions of fiction and the cinematic conventions used in documentary films.

Runa Islam makes film and video installations that use overlapping layers of narrative to explore notions of truth and fiction, subjectivity and authorship.

Clark's still photography, which is filled with narrative tension has led him on to producing film and directing cult classics such as Kids (1995), Bully (2001) and Wassup Rockers (2006), films which blur the boundaries of documentary and fiction, often using untrained actors playing scenes which could be from their own lives.

The Contemporary Art Gallery presents Medium - Based Time by Berlin - based Canadian artist Jeremy Shaw, featuring a black and white 16 mm film of transgender voguer Leiomy Maldonado, an HD video installation that reworks archival ethnographic film into a dystopian science fiction narrative,