Sentences with phrase «narrative film since»

DuVernay has not made a narrative film since her acclaimed 2014 Martin Luther King Jr. biopic Selma.

Granik will go to Cannes with «Leave No Trace,» her first narrative film since the Oscar - nominated «Winter's Bone» in 2010, and a film that received strong reviews when it premiered at Sundance in January.

Not exact matches

But will this film cause the Turkish government to change their official position (which has remained consistent since 1914) to deny the facts and to reframe the narrative of the genocide?

Since I have not yet seen Jackie I can't talk about tone or narrative of one film versus the other.

SY: What's the process of creating the stunts for narrative films like «The Diabolical,» particularly since you shoot them independently?

But first, «Paul Newman at Fox» (27 mins., HD) reviews Newman's tenure at the studio, meaning it doesn't really delve into his later years since the narrative stops at 1982's The Verdict, his last film for Fox.

While it does fit the mold of the gimmick films that have been the norm for the last several years, Memento succeeds by making no bones about that fact, since the way the narrative is developed (each scene takes place the day before the last one) is a gimmick in itself.

The most charitable way to look at the film (or the play, since it's still being produced these days) is not as social commentary, or even as a reminiscence, but as a vehicle (literally, much of the time) for two actors to have fun with an odd - couple bonding narrative.

The idea that the fate of this little racehorse that could (and ultimately, even the idea that the horse is an underdog is a bit of a cheat, since Seabiscuit's lineage was sterling — less «underdog» than «underachiever») galvanized a nation reeling under the Great Depression is the only idea that remains in the film, seized by Ross as an opportunity to insert archive stills of the period — complete with voice - over from historian David McCullough — to lend his horse opera the sort of gravitas he's not able to provide through narrative.

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.

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»).

She suggests that since the film industry is dominated by men, including critics, the complex narratives that only women can tell about themselves are «underrepresented because they don't involve men.»

It's been seven long years since director Jonathan Demme's last narrative feature film, «Rachel Getting Married.»

Since returning from his 20 - year hiatus from filmmaking, Terrence Malick has not shied away from making films that eschew the tenets of traditional narrative in favor of frank yet enigmatic explorations of philosophy and spirituality.

While I'm still hoping this film will do justice to the Biblical Mary Magdalene and not play into the same false, sexist narrative she's had to deal with since the Middle Ages, I also hope that we eventually get a Biblical movie that depicts the events of the Bible in a more racially accurate way.

Hell, it's a point I've made multiple times over the years, and since Harris includes in the latter category the sort of costume dramas and comparatively straightforward historical narratives that more or less dominated the upper ranks of Slant's top 25 films of the year — namely A Quiet Passion, Phantom Thread, and The Lost City of Z — we self - servingly agree.

Coming back to the film a solid five years since I last watched it, Citizen Kane remains as hard to talk about as ever, due largely to its symbiotic relationship with its own making and its reception forever complicating and deepening the psychological and philosophical valleys that exist within the proper narrative.

Since then, some of her other films, such as 2004's «Yes,» have feature abstracted narratives, but in «Ginger and Rosa» Potter tells a relatively straightforward story in a relatively straightforward way.

More than $ 3.5 million has been awarded since the launch of this grant program in 2009, making SFFS and the Kenneth Rainin Foundation the largest granting body for independent narrative films in the United States.

Since this is a narrative film and (thankfully) not a documentary with talking heads interviews, we get some romance, with pretty schoolteacher Alice (Rosemarie DeWitt) flirting with both Steve Butler (who insists that he is «not a bad man») and with Dustin Noble who believes that Steve is the devil.

But the man, who hasn't directed a film since the brilliant but bleak Munich in 2005 (no, Indiana Jones and the Kingdom of the Crystal Skull doesn't count), has became Hollywood's most heavy - handed melodramatist in his later years, bombarding even his most escapist work with daddy issues and inoffensive, utterly sentimental narratives.

That's no small feat since the grieving parent is among the most tiresomely overused figures in narrative film today.

It's a strange misstep too, since Tarantino's attention to narrative tone is one of the best things about the film.

But, then, The Master isn't in the same key as its predecessor either, and if anything, its rather straightforward narrative makes it Anderson's most accessible film since Boogie Nights.

by Walter Chaw Tom Green's Freddy Got Fingered is the most startling debut since Luis Buñuel's Un chien andalou, with which it has a few things in common: both are constructed with a wilful disdain towards narrative; both are aimed at the outer limits of shocking imagery; both display an open hostility for the cultural status quo; and both joke on their audience's entrenched preconceptions of film form.

I admit, however, that I had trouble staying awake after the first hour (I rallied and resisted the sweet bliss of unconsciousness, however), since Jarmusch films are generally not known for their brisk narrative pace, and this was, after all, my final film of the day (the screening began at 9:30 pm).

Through the many versions (various director's cuts) that Scott has released since then, the aesthetics and narrative of the film have stood the test of time.

From my point of view, however, I simply can not class this film as a great one, since it failed to get the narrative (and indeed, the point of the narrative) across to the viewer.

Ever since the film went into production, the film was described as a narrative about the ongoing refugee crisis providing the background for a snapshot of a bourgeois European family blind to the world around them.

BD got on the phone with Landis recently to discuss the film, which marks his first feature directorial effort (at least in the narrative realm) since the 1998 crime comedy Susan's Plan.

It doesn't have the narrative advantage you'd expect from such a lengthy production, since, again, these three films have actually been compressed from four separate books — Peace's mammoth quartet included a 1977 instalment.

Red Hook Summer, Lee's latest and the first narrative film he's written (or co-written, in this case with novelist James McBride, who also wrote Lee's little - loved Miracle At St. Anna and the novel it was based upon) since the unholy mess that was 2004's She Hate Me, illustrates why even Lee's fans (including myself) are right to view his intensely personal projects with profound skepticism.

But then, by the time you're this far into the movie, you've either resolved to go with every nonsensical flow of the film or have long since ditched the possibility that they would right this ship before it crashed and sank from its reckless attempts at a plausible narrative arc.

Park Chan - wook's The Handmaiden (South Korea), his first film since his superb but unheralded American debut Stoker, returns to the intense imagery, twisting narratives, perverse subcultures, and elevated emotions of his Sympathy trilogy with a story of con artists in 1930s Korea.

Since that film is more a series of wild experiences than a strict narrative plot, Matsuya focuses on distinct background events, with art representing Robert Pattinson's character sprinting through it all, much like he does in the film.

What Davies has managed to do — and which he's been doing in film since the 1970s — is create such an evocative and dense portrait of mood, feeling and emotion that the simple narrative impetus are thrown away and we're left with something close to the fading imprint of a memory etched onto the screen with delicate care.

Since the early 1960s, Dorothy Iannone has been making vibrant paintings, drawings, prints, films, objects and books, all with a markedly narrative and overtly autobiographical visual feel.

Since then his films, including Gummo (1997), Julien Donkey - Boy (1999), Mister Lonely (2007), Trash Humpers (2009), and Spring Breakers (2013), have moved progressively towards what he calls «liquid narrative» — fragmented scenes threaded together, not according to a truth or logic, but instead a connected palpable energy.

She has since directed, written, produced and acted in narrative films that have screened at film festivals internationally, including SXSW, Sun Valley and Cannes.

Having made over a dozen films since graduating from the Danish Academy of Art in 2003, Just's work is characterized by romance - soaked narratives and a shared sense of mood, atmospheric milieus.

Her work finds a natural extension in animated films (Testimony, Narrative of Negress Burdened by Good Intentions, 2004) and watercolours created since the late 1990s.