Sentences with phrase «narrative films change»

Very rarely do narrative films change your life.

Not exact matches

As an industry content leader, Participant annually produces up to six narrative feature films, five documentary films, three episodic television series, and more than 40 hours of digital short form programming, through its digital subsidiary SoulPancake — all aimed at entertainment that inspires social awareness and engaging audiences to participate in positive social change.

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?

In this documentary, plant - based diets are also shown to have a significant impact on our environment — the film subtly evolves from a narrative around nutrition and into a discussion around climate change, arguing that the decision to reduce meat consumption is perhaps the most profound choice an individual can make to reduce their impact on the earth.

But now, more than ten years later, having pored over the film's array of buried politics, narrative cul - de-sacs, and ceaseless attention to custom and behavior, we can see that Mike Leigh, even when he changes costumes, is still very much himself.

With Shirkers, Sandi Tan (also a first - time filmmaker) revisits the long - lost footage from her unfinished narrative feature shot in Tan's native Singapore in 1992, also called Shirkers, and in the process reckons with both why the film was never finished and how several relationships were forever changed in its wake.

As an industry content leader, Participant annually produces up to six narrative feature films, five documentary films, three episodic television series, and more than 40 hours of digital short form programming, through its digital subsidiary SoulPancake — all aimed at entertainment that inspires social awareness and engaging audiences to participate in positive social change.

Speaking to Variety's chief film critic Scott Foundas, Mann discusses growing up in Chicago, becoming interested in crime stories, the visual ideas he had for the film, the nonfiction book he discarded but still credited, the influence of real criminals and past films (particularly his eye - opening time shooting The Jericho Mile in Folsom Prison), choosing Tangerine Dream to do the score (a decision he still second guesses), the film's writing (including basing characters on real crime figures), casting, explosive stunts, changes made from the shooting script, and the modernist narrative.

Some demand pure consistency of it, others like it when a film shifts tonal gears within its narrative to change things up and potentially surprise...

The problem is that Forshaw spends only a page or two on each film; by the time he's given a rough summation of the narrative, his attention to its subversive social qualities is short changed by his self - admitted «celebratory» stance on the subject matter.

Of course, Fellini's career - changing film and Godard's «second first film» — this was his first «narrative,» defined loosely of course, in a decade — are invaluable to movie history as well.

This is changing slowly, with movies like Ant - Man and the Wasp, in which Evangeline Lilly's Wasp is getting equal billing, and with characters like Black Panther's Shuri and Okoye, who were integral to both the film's narrative and its promotion.

is the leading media company dedicated to entertainment that inspires social awareness and engaging audiences to participate in positive social change, annually producing up to six narrative feature films, five documentary films, three episodic television series, and over 40 hours of digital short form programming through SoulPancake

Participant Media is the leading media company dedicated to entertainment that inspires social awareness and engaging audiences to participate in positive social change, annually producing up to six narrative feature films, five documentary films, three episodic television series, and over 40 hours of digital short form programming through SoulPancake.

Rather than find a unique angle on «Hamlet», Claire McCarthy's film simply changes the Bard's story to come up with an atrocious, lazy narrative.

In terms of narrative structure, the previous Spielberg film that Lincoln ends up most resembling is Close Encounters of the Third Kind (1977), which while a more consistently entertaining film still provided a dramatic change in pace and style at the end to deliver a long feel - good sequence as a sort of reward to the audience for hanging in for that long.

«We saw it develop and we were right in there with the narrative journey that the film took, every change that was made editorially we were part of.

The casting of a caucasian lead caused a «whitewashing» controversy that's continued to plague the film, but the narrative does at least provide a reason for the change [withheld for now to prevent spoilers] that may or may not offer some placation.

For all that the film revises our view of Mary simply by placing the narrative focus more on her, its more radical specific changes are actually connected with the men who are treated very leniently.

With its imitations of Robert Bresson close - ups, pointless references to European political change, actors talking about acting, junkies who are never seen doing drugs, «unexpected» pop songs, and deliberately obscured narrative (probably because — wait for it — it has the arc of a bad Victorian social novel), Schanelec's studious bore seems intended for an audience of people who write film festival catalogue descriptions.

The 16th Annual Tribeca Film Festival announced the top winners in all five feature categories were presented to women - directed films, including Keep the Change (Best U.S. Narrative) Son of Sofia (Best International Narrative) and Bobbi Jene (Best Documentary).

The Nora Ephron Prize jurors also gave a Special Jury Mention to writer / director Rachel Israel for her film Keep the Change (without additional comment), although Israel's enjoyable romantic comedy (an unusual story with a male character at its center) captured The Founder's Award for Best Narrative Feature (and $ 20,000 sponsored by AT&T).

It also details the controversy surrounding the film's depiction of lesbian and bisexual characters, which involved a conference demanding the majority of the narrative be changed in addition to protests / rallies as well as a restraining order enforced by police guarding the movie set that led to mass arrests.

Despite the surface - level farce, viewing this film leaves a person with a shocking and eye - opening realization of just how the immense wealth of the few can truly change the narrative for hundreds of millions of people.

Wadlow does an admirable job of combining two volumes worth of source material into a more streamlined narrative — and like the first film, many of the changes are major improvements — but «Kick - Ass 2» is bursting at the seams with so much content that it becomes too much to contain in one film.

«The Book of Henry» is bound to put off — or even gaslight — audiences expecting a heartwarming family film the whole way through and / or to be seen as misguided or even recklessly irresponsible, and yet in its ever - changing narrative trajectory, it does have a little of everything to appeal to everyone.

The narrative almost changed with the very last competition film when Lynne Ramsay rushed to get her final cut onto the Croisette with You Were Never Really Here (3.6) and was close but no cigar for the second highest rated film just squeaking in in front of Zvyagintsev's Loveless (3.5).

This changes the film into a more conventional narrative that is ultimately less satisfying, but still intriguing.

It's a tongue - in - cheek, seemingly throwaway narrative adornment, but it reflects what the film is really about — not Lola, not her boyfriend, not her run; it's about the different directions life can take, and the little catalysts that can make big changes.

Finn and Ray both get satisfying narrative arcs despite the constant movement, coming out of the film with a satisfying sense of change, but this speed does come with its pitfalls.

«In order to change the narrative we have to change the author,» we hear a marketing agent's pitch in the sleek 13 - minute film Fujiwara presents at the core of the show.

First Cut also refers to the part of the process in film editing that establishes the structure and flow of a narrative, where the scenes are roughly organized though open to change.

SB14 will feature exhibitions by curators Zoe Butt, Omar Kholeif and Claire Tancons, bringing together a range of experiences and works — including major commissions, large - scale public installations, performances and films to explore how contemporary life, enabled by rapid technological change, has created a seemingly inescapable «echo chamber» of information, complex personal networks and shifting narratives that are physical, spiritual and virtual.

SCHOOL OF CHANGE comprises narrative film, sculptural installation and continuous live performance.

These radiating paintings have a potential to disrupt focus and change the way in which the film is experienced, loosening its attachment to narrative or documentary.

TreeHugger: Adam and Sarah, you made this remarkably visual, remarkably narrative film about animals, about climate change, about the North, about our world.