Sentences with phrase «of modern filmmakers»

There are only so many concepts that enter the minds of modern filmmakers wanting to frighten their viewers and unless you rarely watch the genre, the concepts and compositions noticeably blend and overlap.

Not exact matches

According to Deadline, filmmaker Jared Hess (the director of comedies including Napoleon Dynamite and Nacho Libre) will direct NickToons, an adventure comedy featuring characters from «90s and early 2000s Nick shows including Rocko's Modern Life, Rugrats, The Angry Beavers, Ren & Stimpy, Aaahh!

The modern noir — about the search for a missing child — shows that Ben Affleck isn't just a blockbuster movie star; he's also one of his generation's most notable filmmakers.

Executive Producer Ricki Lake and Filmmaker Abby Epstein follow their landmark documentary, The Business of Being Born, with an all - new, four part DVD series that continues their provocative and entertaining exploration of the modern maternity care system.

Learn how to make films that you're proud of and succeed as a filmmaker in the modern world.

Technology advanced and filmmakers grew more ambitious, from the high - tension thrillers of Alfred Hitchcock to modern classics from Christopher Nolan, Nora Efron, Quentin Tarantino, and countless more.

Following the lead of 2012's underrated «At Any Price» in matching the socially conscious topicality of Bahrani's early films to the demands of broader - brush melodrama, this dynamically acted, unapologetically contrived pic reps the filmmaker's best chance to date of connecting with a wider audience — one likely to share the helmer's bristling anger over corruptly maintained class divides in modern - day America.

The show's direction, by American Psycho filmmaker Mary Harron, is elegant, and the script, by Away from Her writer / director Sarah Polley, is crisply modern in its understanding of characters» psychological realities yet blurry enough on the margins to allow in delicious ambiguity.

In so hammering home the guilt Darwin feels over having married and had children with his first cousin, the filmmakers render secondary (perhaps even tertiary, behind interpersonal relationship histrionics) the importance or modern - day relevance of his work.

In this modern era, the Coen Brothers are often credited as the life support system for classic noir, but the Coens appear to have serious competition in the form of Australian filmmaker and stuntman Nash Edgerton, whose feature debut, The Square, is a brilliantly twisty, gritty contemporary film noir.

The Ninth Annual Film Symposium on New Trends in Modern and Contemporary Italian Cinema featuring the work of filmmaker Vincenzo Marra is presented by Indiana University's Department of French and Italian.

This is the time of the Ottoman Empire's last days as various nations become mired in World War I. International upheaval, as viewed from the intimate vantage point of a historical figure as enchanting and modern feeling as Bell, gives the filmmakers a variety of avenues to explore.

In response to a more culturally literate audience, its filmmakers want instead to make a point about the state of modern life.

Not in everything, mind you; the filmmakers have chosen (unfortunately, I think) to go for a slightly modern touch in some aspects of the film, such as Lucilla's costumes.

At its core, though, this twisted tale of American entrepreneurship — of young arms dealers gaming the Pentagon — captures something of runaway modern greed, played out as a bro movie from bro stars and a bro filmmaker that's equal parts comical and infuriating.

Giving Woody Allen a run for his money as the most prolific filmmaker in the business, Noah Baumbach has released his second film of 2015, coming only a few months after While We're Young, his exploration of generational divides in the modern era.

A special award went to Adrienne Mancia, who, as a curator at New York's Museum of Modern Art for more than 30 years, «helped shape the movie - going tastes of New Yorkers by bringing the work of filmmakers like Bernardo Bertolucci, Manoel De Oliveira and Marco Bellocchio to the United States.»

«Filmmaker Robert Drew, a pioneer of the modern documentary who in Primary and other movies mastered the intimate, spontaneous style known as cinema verite and schooled a generation of influential directors that included D.A. Pennebaker and Albert Maysles, has died at age 90.

Few filmmakers seem capable of rising above the sad state of affairs that is modern indie horror, the rest seem caught up in a boundless mode of non-creativity and excessive aping that's neither welcome nor admirable.

The vast technical background necessary for creating cinematic stories, illuminating interviews with the greatest living filmmakers, in - depth analyses of high quality movies... The material provided by Cahiers du Cinéma, Sight & Sound, Cinemagic, Cinefantastique and many others has inspired thousands of people to dedicate their lives to filmmaking, and thanks to the wonders of modern technology, these priceless cultural beams of historic value and prime educational significance continue to inspire, astonish and enlighten us, bringing up a new generation of artists who might persevere and thrive to one day fill the shoes of the likes of Orson Welles, Krzysztof Kieślowski, Jean - Pierre Melville, Agnes Varda, Paul Thomas Anderson, David Fincher and dozens of others whose work continually delight and move us in every way possible.

With their third present - day Tolstoy adaptation, filmmaker Rose and actor Huston continue to skilfully explore timeless issues with an urgent, modern style of storytelling that feels almost documentary.

Unfortunately, though Stanton seemed as deserving of rampant studio confidence as virtually any modern filmmaker, John Carter does not provide the exhilarating experience its costs and the books» modest but still passionate fanbase suggested it should.

The filmmakers have repurposed the action from the seedy streets of 1980 New York to modern day Los Angeles and have bathed the film in dreamy, high - resolution digital photography that is all wrong.

Larraín is to Chile as filmmakers like Cristian Mungiu are to Romania: cathartic creators who, undeterred by the passage of time, return to examine a regime under which the socio - political power of cinema was largely denied the public and apply its modern possibilities to treating the wounds of the past.

It is also pleasing to see that in an age in which the romantic comedy is such an unfashionable genre in the cinema that filmmakers are, at least, attempting to go back to basics and call to mind a style of filmmaking in the screwball comedy that is all too rarely visible in the modern era.

«Spends a lot of time keeping its plates spinning (and napkins twirling) as the filmmakers parade a series of eccentric characters before their camera, the better to let us appreciate this farce we call modern life» — Norm Wilner, NOW Magazine

As previously announced, the inaugural LFF Connects will feature British filmmaker Christopher Nolan, internationally acclaimed for some of the most original, compelling and successful films in contemporary cinema (Interstellar, Inception, The Dark Knight, Memento), and Tacita Dean, lauded for her art work in film (and whose grand - scale Tate Modern exhibition FILM transfixed audiences).

Indiepix Festival Favorites, Volume 2 Value - priced, three film set of music documentaries: «Icons Among Us: Jazz In the Present Tense,» about the modern jazz scene, with Terence Blanchard, Ravi Coltrane, Robert Glasper, Nicholas Payton, Brian Blade & the Fellowship Band, the Dirty Dozen Brass Band, Donald Harrison Jr., Anat Cohen and Esperanza Spalding; «Echotone,» a lyrical documentary providing a telescopic view into the lives of Austin's vibrant young musicians as they grapple with questions of artistic integrity, commercialism, experimentation, and the future of their beloved city; and «Roaring Abyss,» a stunning audiovisual poem, the product of filmmaker Quino Piñero's two years of field recording traditional and modern music from around every corner of Ethiopia, a country of eighty different nationalities and cultures spread amongst mountains, deserts and forests.

Although the «Manic Pixie Dream Girl,» or MPDG, has been classified as a deeply distorted version of a modern female, forward - thinking filmmakers and writers are reevaluating the MPDG stereotype, and finding ways to humanize this cinematic dream girl.

Ray has exerted an enormous influence on generations of filmmakers, but it is this relatively under - seen feature, with its muted gravitas and modern subject matter, that makes the director's connection to future waves most apparent.

Few modern filmmakers are as knowledgeable and impassioned about film history as Guillermo del Toro, whose newly crowned Best Picture winner, «The Shape of Water,» is — let's face it — a TCM's lover's wet dream.

From Slamdance, we have three documentaries — The Modern Jungle (which analyzes the relationship between filmmaker and subject among dirt - poor peasants in Chiapas), Strad Style (about an unlikely violin maker and his quest to recreate a renowned 18th - century instrument) and Supergirl (a tale of the strongest 12 - year - old girl in the world)-- and three narratives — Dave Made a Maze (a demented fantasy about an out - of - control labyrinth), Future ’38 (a clever sci - fi look forward from 1938 to the year 2018) and Weather House (a hypnotic meditation on the end of the world).

The modern «Star Wars» series has not been immune: More than half of Lucasfilm's recent efforts have suffered through episodes of filmmaker upheaval.

Paul Schrader is one of the finest American writers and filmmakers of the modern cinema.

A who's who of filmmakers and composers assembled at this year's Comic - Con International to discuss the role played by music and sound design in modern superhero movies and television series.

In anticipation of our second Live Director Series event this weekend, here is a video of a conversation - filled sit with Paul Schrader — the filmmaker / screenwriter who will be joining us for the screening and Q&A on Sunday — from The Modern School of Film.

The Italian filmmaker relied on borrowed works from modern classical composer John Adams to determine the ebbing dramatic tension of 2009's I Am Love, while 2015's A Bigger Splash, which centers on the relationship between a fictional rock singer and her mercurial former lover and record producer, climaxes with an electric, lip - syncing performance of the Rolling Stones's «Emotional Rescue.»

Often hailed as the true start of the modern superhero era, this established a few counter-intuitive procedures for filmmakers to follow.

From Kim Ji - woon making a fun throwback to 80's action with The Last Stand, to long time cinephile favorite Park chan - Wook making the best film of the year (so far) with Stoker, modern American filmmakers could learn a thing or two from their foreign colleagues.

What's more, it's refreshing to hear the young filmmaker talk honestly and passionately about such a traditionally maligned industry, while also finding a moment to namedrop Downey's Putney Swope and ruminate on the state of modern action films.

It's a tiny but telling example of how keen director Lisa Cholodenko is to shed the conventions and clichés of modern Hollywood drama, and of the many subtle strands of realism she brings to a project whose storyline a lesser filmmaker would have played as melodrama.

With Once (2006), Begin Again (2013), and now Sing Street (2016), Irish filmmaker John Carney has crafted an impressive trio of modern musicals.

As for the CGI animals, Peyton gives them plenty of opportunities to wreak havoc, although at least one or two of those sequences feels better in conception than execution: though the large - scale destruction is all masterfully rendered — and it must be noted, brutally violent for a PG - 13 movie — he like many other modern filmmakers gets too close to the action, mistaking incomprehensibility for claustrophobia, and seems either unaware of or uninterested in even the basic physics of gravity, falling objects, and so on.

Anderson is one of the most amazing filmmakers around, but his recent films have not had the commercial success they've deserved and this is yet another gem like Inherent Vice, The Master and his last film with Lewis, the modern hit There Will Be Blood.

John Michael McDonagh stepped out from the shadows of filmmaker young brother Martin McDonagh, who's crafted such cult modern classics as In Bruges and Seven Psychopaths, in 2011 when he debuted The Guard.

After celebrating Christmas with one of cinema's bleakest — and funniest — depictions of religion, MUBI prepares to ring in the new year with a look back at some of the earlier works of the best modern and upcoming filmmakers, from Yorgos Lanthimos to (coming soon) The Safdie Brothers.

MUBI continues to ring in the new year with a look back at the first films by some of the world's best modern and upcoming filmmakers, including exciting new directing duo The Safdie Brothers.

This film exhibits the careful craftsmanship of a seasoned filmmaker with it's never hamfisted look into the world of modern, technology driven dating.

As great filmmakers have inspired modern painters, so to have great painters influenced the mise en scène of directors and cinematographers throughout the history of cinema.

In 2003 the modern wave of superhero movies was still in its infancy, and Ang Lee — still the best filmmaker to do a comic book movie — got experimental with «Hulk.»