Sentences with phrase «narrative film directors»

No black feature narrative film directors have ever won the award.

Not exact matches

Jacobson's strong understanding of what makes a compelling narrative resonates with the authors and directors she teams up with on films.

Chocolate Milk: The Documentary counters this habitually negative narrative as award - winning director and producer Elizabeth Bayne, MPH, MFA explores the racial inequities of breastfeeding in her first feature - length film.

Helmed by seasoned director Rory Kennedy (Last Days in Vietnam, A Boy's Life), the film takes a pretty straightforward and linear approach to Hamilton's narrative — a living, breathing memoir — beginning with his childhood days as a towheaded beach rat who chose pro surfer Bill Hamilton to be his dad.

Director Ron Howard brings his usual light touch to the proceedings and manages to hold the viewer's interest even through the narrative's oddly action - packed final third (ie once the truth about Hannah's character is revealed, the film becomes more of a thriller than a cute little romantic comedy and there's even a chase sequence as the army attempts to capture the mermaid / woman).

[Director José Luis Guerín is] a meta - narrative, semi-doc mad scientist, and his new film is not only both fish and fowl, but a rarefied gender provocation of a kind that could make fourth - wave feminists» heads spin.

What was made clear in discussing the film with its actor and director is that each sees Godard very differently, an aspect that manifests itself in the tension between the narrative and the intensity of Garrell's take.

With a touching relationship at the core of its compelling narrative, along with a brilliant score and nostalgic special effects, E.T.: The Extra-Terrestrial remains one of director Steven Spielberg's most beloved films.

Even though he's put out hits and misses, German director Wim Wenders has had an extraordinary career, balancing innovative narrative films like Paris, Texas and Wings of Desire with memorable documentaries The Buena Vista Social Club and Pina.

The Rider Brady Jandreau, a Lakota cowboy from South Dakota, enacts a version of his own harrowing story of loss and recovery in writer - director Chloé Zhao's stunningly lyrical western, a seamless and deeply moving blend of narrative and documentary film techniques.

Ondi Timoner, the director of the documentaries, We Live in Public 69 and Cool It 61 will make her feature narrative debut with the latter film.

As a screenwriter first and foremost (and a director with little to no innate visual sense), I tend to prize narrative and story over most other elements in film.

Compared to Steve McQueen's previous films, Hunger and Shame, the narrative style is conventional and straightforward, the director understanding that this history needs no embellishment, no interpretation, that just the raw telling of it will cut us to the quick.

Between his narrative and documentary features, director Kevin Macdonald is well on his way to banging out six films in the span of three years, and we now have our first look at the Last King of Scotland helmer's 2014...

Like their previous film Lenny Cooke, sibling directors Benny and Joshua Safdie focus on a true story in Heaven Knows What, only this time they shoot it as a feature narrative instead of a documentary.

Writer - director Roland Joffé has built a career on narratives of white men in foreign territories, with films like The Killing Fields, The Mission, and City of Joy being notable (and tiresome) examples of a distinctly middlebrow breed of the historical drama that locates subaltern longing through an imperialist lens.

His narrative feature debut, Tornando a casa (Sailing Home) won the director several awards at international film festivals in 2001 and was nominated for Best First Feature at the Italian Golden Globes.

With six narrative features, five documentaries, and several short films, Vincenzo Marra is one of Italy's leading writer / directors.

This docu - drama from director Jeff Unay plays like a feature film with a narrative following the real - life story of a fighter named Joe Carman.

Maddin «invited the sad spirits of lost films to possess his assembled actors and compel them to act out the old stories, while the spirit - photographer / director captured the precious narratives with his camera.»

Sonya Childress Firelight Media Sonya Childress serves as the Director of Partnerships and Engagement for Firelight Media and has positioned film as a tool to shift narratives and support social justice movement building for over 15 years.

It is fine with me if there are two, ten, or a hundred cinemas, but I think we have to understand that the most important new movies will not be coming from the directors who make better and better films in conventional narrative modes, no matter how much we may admire and enjoy what they accomplish.

Director Fabien Constant, in his narrative feature debut, finds a momentum in that knowledge that propels the film forward, as Vivienne explores her fate (while never disclosing it) in encounters with friends, family and strangers.

But this narrative clarity is just as attributable to the editing of Jeffrey Ford and Matthew Schmidt, as well as the secret weapon directors Anthony and Joe Russo have always brought to their Marvel films: They understand intuitively how to structure a big blockbuster movie like a season of a TV show.

And the fault must rest squarely on director and co-screenwriter Kirsten Stewart («In America»), who can't seem to decide whether she's making a narrative film or some sort of musical tone poem, and the biggest victims are the characters, who are largely non-existent.

These are some of the questions raised by writer / director Julia Loktev in her second narrative feature film The Loneliest Planet.

It's an unabashedly high concept premise that's employed to positive effect by director John Landis, although it does go without saying that the lion's share of praise for the film's success belongs to both Aykroyd and Murphy - as the actors» exceedingly engaging work ultimately proves instrumental in smoothing over some of the more questionable elements within the narrative.

Writer / director M. Night Shyamalan's penchant for a deliberate narrative is certainly in full effect with Unbreakable, as the movie, though consistently entertaining and occasionally engrossing, progresses at a lackadaisical pace that tends to prevent the viewer from wholeheartedly embracing the material - with the film ultimately faring better than, for example, The Sixth Sense due to its progressively absorbing narrative (ie there's a sense of forward momentum that was almost entirely absent from that earlier picture).

In «Disobedience,» director Sebastian Lelio's coolly controlled film version of Naomi Alderman's novel, two roads diverge in a narrative, crisscrossing and intertwining years later...

The director's statement in the press notes for this film is phrased as a warning of sorts against the explosion of narrative and potentially of the viewers» subconscious.

Writer / director Howard Weiner (a Neurologist and Harvard professor — thanks Google) delivers his first narrative feature film as a statement on old age, pride and dying.

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.

After producing multiple shorts, documentaries and experimental films, Meredith Danluck is the latest director to explore these ideas with her feature - narrative debut State Like Sleep (which premiered at the 2018 Tribeca Film Festival) starring Katherine Waterston as a photographer trying to find answers to her husband (Michiel Huisman)'s recent death; co-starring Michael Shannon and Luke Evans.

From 2002 - 2013 17.1 % of directors of U.S. Narrative films at the Sundance Film Festival were female and 29.4 % (2002 - 2012) of U.S. Narrative producers were women.

In keeping with the director's late style, it's a series of disjointed and overlapping ruminations and jokes, half - oblique narrative and half - essay film, shot in an experimental digital 3D that is guaranteed to slice out your eyeballs.

Tangerine Entertainment produces narrative feature films by female directors, consults on various aspects of the filmmaking process, and works to create audience and community for work by women.

Across all narrative and documentary feature films at the Sundance from 2002 to 2013, 24.3 per cent of directors are female, six times that of Hollywood's.

INTACTO Writer - director Juan Carlos Fresnadillo is clearly passionate on the subject of his film, a rumination on the nature of luck and chance, but the narrative he has devised — about the clashing interests of various survivors of accidents and atrocities — is both jumbled and uninvolving.

The latest from director Clint Eastwood is, no surprise, meticulously researched and filmed, but the story — about the guys who raised the flag at Iwo Jima and the survivors who went on a spring 1945 savings - bond tour — somehow never finds its way to a compelling narrative.

As an astounding Shakespearean director and actor, he is also proven to make bigger budget films work for him and tell interesting narratives for characters we didn't think we'd care about i.e. Thor and his live - action remake of Cinderella for Disney.

Despite being, in a sense, the most straightforward, linear narrative movie the writer and director Paul Thomas Anderson has made in quite some time (perhaps since «Punch Drunk Love» — and this is not the only respect in which the two films resemble each other), «Phantom Thread» could be the filmmaker's most fascinatingly oblique work.

Set in the Barrio La Esperanza area of Puerto Rico, writer - director Angel Manuel Soto's film presents three narrative threads, loosely connected by the poverty, drug addiction and government crackdown experienced in this community.

Oddly enough, along with the two films about Christine Chubbuck in the narrative and documentary competition, respectively, there are two titles by directors named Matthew Ross.

The creative constraints assigned to the directors — each required to shoot her film as a continuous shot, and given one day apiece for principal photography — sometimes serve Waru's amazing production narrative more than the tales at hand.

Writer - director Boris Rodriguez's feature - film debut starts out reasonably well, sketching in the principal characters and rural setting with broad but compelling strokes, even doling out some perceptive laughs, before the narrative loses steam when it bogs down in repetition and predictability.

When writer / director Paul Thomas Anderson made his acclaimed drama «The Master» (2012), he originally intended to shoot roughly 20 % of his tale of an alienated young man (Joaquin Phoenix) falling under the spell of the charismatic leader of a new religious movement (Philip Seymour Hoffman) in 70 mm, but wound up shooting nearly the entire thing in the process (the first narrative film to do so since the aforementioned «Hamlet»).

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Among the first films and filmmakers to use these services will be two selections from the 2011 Sundance Film Festival: Connected: An Autoblogography about Love, Death & Technology by director Tiffany Shlain, which premiered in the U.S. Documentary Competition section and On the Ice, by director Andrew Okpeaha MacLean, which premiered in the U.S. Narrative Competition section.

Hoop Dreams Year: 1994 Director: Steve James Seldom has a film, narrative or documentary, so probingly explored the American Dream.

This is the second narrative feature film by writer / director Derek Cianfrance, who followed his little - known, Sundance - playing 1998 debut Brother Tied (made at age 23) with a number of shorts and music documentaries.