The filmmaker was a last minute edition at the 2015 edition of the Sundance film festival with her debut film (we called it «too convenient, and ultimately, not very provocative, Little Accidents feels like a dysthymic version
of classical tragedy, with a bright streak of classism threaded throughout.»
The first American movie by absurdist Greek director Yorgos Lanthimos (The Lobster, Dogtooth) sees him throwing the full weight
of classical tragedy at a suburban family.
This first American movie by the absurdist Greek director Yorgos Lanthimos («The Lobster», «Dogtooth») sees him throw the full weight
of classical tragedy at a suburban family.
Inventively structured, the documentary alternates between her early adulthood and her final months, her sad demise casting a shadow over the story and giving the film an air
of classical tragedy.
And, true to the form
of a classical tragedy, one of the hero's greatest strengths, a biological pedigree, may contain the seeds of the B. thuringiensis toxin's undoing.
In a novel whose title invokes the grand sweep of an epic, there shouldn't be any surprise when the domestic tale leaps into mythic territory: bouts of hubris, betrayal and thwarted power that spring from the pages
of classical tragedies.
Not exact matches
The last great attempt to salvage modernity — indeed, so great an attempt that it bears all the marks
of classical Greek
tragedy — was Husserl's Crisis
of the European Sciences.
In his book
of 1937, Beyond
Tragedy, he restated with theological richness some
of the great themes
of classical Christianity.
The burdens
of the book are to establish that television and movies are nihilistic; they display the inherent tendency
of democratic liberalism towards nihilism; they remove any possibility for
classical tragedy or comedy; and they hold up «demonic antiheroes» such as Hannibal Lecter for our emulation.
The image
of the «crucified God» is central to Christian teaching, though perhaps it has not often been taken seriously.2 Instead «God» has been ensconced, in
classical theologies, as omnipotently immune to suffering and
tragedy.
But the
classical prophets, from Amos on, are forced to reinterpret the meaning
of the present not only in terms
of a heightened sense
of Israel's failure to maintain Yahweh's true order in the present, but also in overwhelming awareness
of an immediate future charged with
tragedy.
By this Buber does not mean
tragedy in the
classical Aristotelian sense
of the downfall
of a hero, but rather
tragedy in a profounder sense
of two men living in opposition to each other, each just as that which he is.
In a throwback to the
classical tragedy, severe gift from Greece and Rome, the judiciary, suffused with sleaze and rumours
of sleaze, is about committing institutional suicide.
From Killing Them Softly there's the setting
of the film during Obama's election, from The Place Beyond the Pines we have the almost
classical / Greek -
Tragedy story and from Winter's Bone the vast, cold and oppressive emptiness
of small - town America and its surrounding countryside which are filled with drugs and the twisted but more realistic vision
of «The American Dream».
Today, the film remains a heartfelt but shrewdly judged blend
of comedy, romance, action and
tragedy — a movie that perfectly embodies the
classical Hollywood ideal
of providing something to appeal to every member
of what, in the 1920s, was a wide public still unsevered by demographic categories.
Classical tragedy mixed with moderate sadism and Polanski - ish surrealism, upstart filmmaker Yorgos Lanthimos» latest test
of audience endurance plays like «Sophie's Choice» by way
of «The Burbs».
Classical tragedy mixed with moderate sadism and Polanski - ish surrealism, upstart filmmaker Yorgos Lanthimos» latest test
of audience endurance plays like Sophie's Choice by way
of the «burbs.
For the past decade, Brian Doerries, a
classical scholar, translator, writer and director, has been bringing performances
of the ancient Greek
tragedies to communities devastated by loss and grief, and with them a surprising and cathartic healing.
Kalliope Lee studied
Classical Literatures and Languages as an undergraduate at the University
of Chicago, focusing on Greek
Tragedy and Ancient Greek language.
Building on Hundley's previous investigations
of Euripides»
tragedy The Bacchae, it examines the artist's effort to elaborate a critical relationship between
classical literary sources and contemporary society.
While the pairing
of their techniques represents stylistic extremes — Bresson's
classical roots in Renaissance and Baroque painting and Prata's borrowing
of multiple modern styles — together they build a language around representations
of movement and stillness, reality and incongruity,
tragedy and humor.
The stark Irish scenery with its accompanying sense
of tragedy, derived from the days
of The Great Famine, found later expression in O'Donoghue's art, as did the knowledge and experience he gained from his father Daniel, who introduced his son to many
of the great European cultural traditions derived from
Classical Greek art, the Renaissance and later eras.
Depicting ancient, medieval and contemporary warriors, as well as dinosaurs, bears and mythical beasts, along with nudes lifted from
classical masterpieces, glossy magazines and salacious websites, Kuksi's Baroque confections treat history as primordial soup — a burbling stew
of thrilling highlights and epic
tragedies that not only resonate in the mind's eye but also inspire all sorts
of emotions — good, bad and otherwise.
They have been cast, like Burton and Taylor, in a variety
of showy roles: as painters interested in reviving aspects
of the art form in its most staid and
classical modes; as Marxist or Marcuseian critics
of commodity culture and its discontents; as leering champions
of youth movements and counter-culture stylings; as strict, detached, ironic appropriationists; and, finally, as sincere and romantic poets attendant on the
tragedy of age's advancing degenerations
of the body and
of the melancholy states
of nostalgia associated primarily with the waning
of youthful beauty.
This most recent decision quotes one
of the many judges who have been involved in the case commented, as far back as 1980, as having described the parties as «figures in a
classical tragedy, bent upon destroying that which surrounds them and especially their monetary inheritance».