Sentences with phrase «narrative films like»

Combining narrative films like «Body Double» and «A Short Film About Love» with experimental films, documentaries, and video art, the series demonstrates how the ideas of voyeurism, surveillance, and identity have been central throughout the history of cinema.

Mr. Resnais helped introduce literary modernism to the movies and became an international art - house star with nonlinear narrative films like «Hiroshima Mon Amour.»

Alain Resnais, the French filmmaker who helped introduce literary modernism to the movies and became an international art - house star with nonlinear narrative films like «Hiroshima Mon Amour» and «Last Year at Marienbad,» died on Saturday in Paris.

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

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.

She uses very different skills when shooting an Alex Gibney doc, where she relies on reactive instinct, than the more intellectual planning of a narrative film like Todd Haynes» «Velvet Goldmine,» Ryan Coogler's «Creed,» or Darren Aronofsky's «The Wrestler,» which requires that «when you go into a room, you know where to put the camera,» she said.

Not exact matches

Normally I can block out the bullshit and see the game as it's happening on the film, but this time I was buying the narrative hook, line and sinker, just like everybody else.

A 2005 film would focus on the fact that V, who - like Dredd, his opposite - is never seen without his mask, was a terrorist and used it to chime with the «war on terror» narrative of the day.

«s run time - which I thought was two hours, but it really seemed to be like four - seems devoted to a tertiary subplot in the art house Coherence, a film that lacks traditional narrative structure and drips with the ideas mother!

It's not a message that audiences will extract as a prickly needle from the haystack of situational (read random) comic set - pieces that the filmmakers play like trump cards from the bottom of a stacked deck, but it does anchor film's narrative boat.

What the film does is reimagine other horror films as meta - narratives, except in those cases, the characters never discover the truth about the artifice of their world, as Marty does, just like another fool, Truman Burbank in Peter Weir's The Truman Show, a horror film in its own right.

Sure, there's a flashback or two, but it doesn't jump around in the narrative like some of his other films.

As the script begins to unravel the secrets of Miguel's ancestors, the film gets bogged down in its over-plotted family melodrama, with the last third in particular feeling like the filmmakers are running down a narrative to - do list.

It's a lot like watching a movie and having someone interrupt you to tell you about something else that's happening in the film's world, without thought for pacing or narrative flow or whether you should even care.

It can be overindulgent at times and Myers» over-the-top lens through which he projected his early comedy films can seep into the narrative and produce some overbearing results at times, though «Supermensch» feels like a work of minimalist restraint compared to films like «Wayne's World» and «Austin Powers».

The film, however, is a slogging monotony, a structureless, flimsy, rough - shod thing with characters suddenly popping with no narrative motivation and a story that sags and lags like an atrophied nursing home resident.

But unlike the rigorous skepticism of films like Blood Simple, Fargo, and Burn After Reading, I Don't Feel at Home in This World Anymore uses its allegorical narrative to further a simplistic political message meant to give it an aura of timely social commentary.

People like Daniel D obviously don't know anything about film, and look for improbabilities in a narrative to decide wheather its a good movie or not.

Josh Mond's film feels like a careful curation of western cinephilia's most overdone narrative arcs and exhausted character clichés.

There's a certain kind of film I see at many festivals: oblique, short on narrative and incident (or filled with repetitive incident), shot in a style that favors long (distance and time) shots of people doing nothing, or doing mundane things like crossing the street in real time.

... like the wasteoid who trails off mid-sentence to get lost in the cover art for Animal Collective's Merriweather Post Pavilion, [Nima] Nourizadeh has trouble concentrating on a single organizing narrative mode for his film.

That the film makes almost zero sense is besides the point; those worrying about what Frank's job is, how Mitch's nerdy co-workers find out about the fraternity, or why Mitch's standard - issue love interest Nicole (Ellen Pompeo, who looks like a more sandy - haired Renée Zellweger) has any interest in the doofus will be flummoxed by the gaping holes in logic and narrative cohesion on display.

Given its loose - knit narrative, the film doesn't have anything like a conventional structure.

Ronald never returns, but his cameo sets the tone for the rest of the film, which plays out like less of a narrative than it does the most expensive ASMR video ever made.

«Jeff Unay's impressive and beautiful debut unfolds like a narrative film in which the story of Joe Carman and his journey is portrayed with empathy and universal accessibility,» Arianna Bocco, EVP of acquisitions and productions at IFC Films / Sundance Selects, said in a statement.

It was a flop at the time, too dark and weird and unhinged for mainstream cinema, and like many Gilliam films it's entrancing on a moment - to - moment level, losing itself in the swirls and eddies of the narrative.

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.

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.

It seems like Malick's been moving further and further away from traditional narrative with each successive film, and I think that each film is better than the last.

A few unexpected minor pleasures: the time - travel flick Predestination, an adaptation of a Robert A. Heinlein short story that's one of those rare sci - fi movies that feels like it was made by people who read sci - fi; the horror Western Bone Tomahawk, which feels, in the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minute.

To make his argument, Bordwell must, of course, ignore those aspects of the films he studies that do not fit the classical narrative structure, like the non-classical nature of a character such as Memento's Leonard Shelby (Guy Pearce).

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.

A film without significant highs or lows, everything about The Martian feels in - between, like a narrative waiting for its spark.

Altman's masterpiece influenced other films with similar interweaving narratives like Paul Thomas Anderson's Magnolia.

And as unwieldy and imperfect as Polley's film can be, well, maybe that's the point, as the ungainly narrative is a lot like love and life, with few easy answers.

Tarantino surprisingly goes for a straight linear narrative here rather than breaking his story up into chapters, but the film still feels like it's broken up into sections.

From giving an anti-Superhero movie Best Picture to trying to tell the public they're sick of the genre, Hollywood believes that by crafting a fake «Superhero Fatigue» narrative people will stop going to see movies they like and will instead see boring Oscar - bait films.

The film opens with a series of narratives nested within narratives like Russian dolls.

But while the film's patchwork narrative contains some good moments, that's all it really is — moments strung together like some kind of time - capsule scrapbook.

There's much discussion about how the film is supposedly a game changer, how it's more in tune with the current zeitgeist as opposed to the traditional narrative strengths and linearity of a period piece like The King's Speech.

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.

Occasionally, it veers into fantasy, with hand - drawn illustrations on top of the film stock when the narrative slides toward musical numbers, often comical covers of songs like the Talking Heads» «Psycho Killer» and Iggy Pop's «The Passenger» staged on public transit.

While there are standout examples — like Darren Aronofsky's disorienting, eye - opening Requiem for a Dream, or the achingly beautiful narratives of animated animal - people addicts in BoJack Horseman — sagas like this one usually work better on the page than on the screen; the brief gloss of film can make drug use seem rather too appealing, while the idea of spending eight TV seasons with an addict seems rather unappealing.

If you see a moody pattern emerging on the type of films they've worked on, you'd be on the money; the pair, influenced by folks like Krzysztof Penderecki, Terry Bozzio and even later - day dark and doomy Scott Walker, traffic largely in droney and disquieting soundscapes, specializing in that sweet spot where discordant sounds subtly burn in the back of the frame rather than overpowering the narrative.

In many ways, Mercury 13 feels like a blueprint for a feature narrative drama 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.

Most of the horror on display in Shults» film comes in the form of dreams that, while haunting and evocative, are more like asides than part of the narrative.

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.

In an industry where awards - season hopefuls make their debuts during the Sundance Film Festival — more than 12 months before the Academy Awards at which they'll hopefully compete — and where certain films (like Get Out) can sustain a prestige narrative for an entire year, it's really never too early to start predicting which films will make a splash at next year's Oscars.