Sentences with phrase «only film competition»

The festival took place from May 5 - 9 in Bentonville, Arkansas, and was the first and only film competition in the world to offer guaranteed theatrical, television, digital and retail home entertainment distribution for its winners.

According to its website it is the «only film competition in the world that offers guaranteed distribution of American Indian & Indigenous award - winning independent films.»

Not exact matches

Not only are window decals or a decorative window film great for retailers, they help offices stand out from the competition as well.

French fashion darling Clemence Poesy, who plays Fleur Delacour in the films, is the only fellow Harry Potter star who gave Watson some red carpet competition in a ruffled Nina Ricci chiffon dress and platform wedges by the same designer.

What's most wonderful is that this Michael Ritchie film not only paints a ruthless picture of a vapid «Young American Miss» pageant, steadily refusing to grant the audience any note of reassuring sentimentality, but that its gags are often laugh - out - loud funny (particularly during the talent competition).

Only films that are world premieres are eligible for our U.S. Dramatic Competition program, but U.S. narrative feature films that have previously screened at up to two other festivals anywhere in the world are still eligible for our out - of - competitioCompetition program, but U.S. narrative feature films that have previously screened at up to two other festivals anywhere in the world are still eligible for our out - of - competitioncompetition programs.

Nebraska, the new film from Alexander Payne (The Descendants), will be playing in competition, and the first clip has only added to my jealousy of this year's festival - goers.

Of the other films I saw, the only real enthusiasm I felt was for the Inarritu's «Biutiful,» Bertrand Tavernier «The Princess of Montpensier,» the first Chad feature «A Screaming Man,» the South Korean «Poetry» and the out - of competition documentary «Inside Job.»

Vanity Fair reports that the streaming giant is threatening to pull five films from the festival following the news that only movies that receive a theatrical release in France will receive a spot in the vaunted Official Competition.

Beginning next year, the festival will only admit films in competition that have French theatrical releases, which the Netflix films so far do not.

Of the 21 films in Competition at Cannes this year, only three are directed by women.

The film's hilarious (and heartwarming) competition between longtime toy - favorite Woody and flashy newcomer Buzz Lightyear wasn't only entertaining — it explored themes of friendship, family and ultimately growing up.

Yet it has fallen to third in the box office against an animated film that was just in that seat last weekend, and is an odd drop considering its only competition Drive Angry: 3D didn't even have a ripple effect in the top box office.

Thanks to the forthcoming European Parliament election (which was moved from June to late May, and now conflicts with Cannes» final weekend), only one Competition film was screened yesterday, leaving me free to poke my nose into the sidebar program called Un Certain Regard.

Last week, Fox finally greenlit Independence Day 2, and has set the film for June 24, 2016 (which is just wrong; you can only place it on one weekend, competition be damned).

Still, it's far and away the most visionary film in this year's Competition, if only for the way it re-imagines 3 - D, and it wouldn't shock me if the jury chose to acknowledge that in some fashion.

The film played in the Un Certain Regard section (but should have been in the main competition) and is eligible for the festival's Camera d'Or prize (for best first film) and the Queer Palm (for films by or about LGBTQ stories), the only film playing with that distinction.

Garrel, with only one previous film in Competition, has always had an affinity for the alternative festival that the Fortnight can be at its best, as in this edition.

Refreshingly, the film's director, Stéphane Brizé, wasn't a fully paid - up member of the Cannes Club either, and the presence of his film could only be regarded as a Good Thing for the health of a Competition in danger of becoming inbred.

The film, shown Out of Competition in the Official Selection, marked the return not only of the hero of the legendary saga for the millions of fans of Max Rockatansky, but also the comeback of his creator, George Miller, and of the visionary filmmaking that made him a household name around the world.

Andrea Arnold and Xavier Dolan will both return to Cannes for their second films in competition, American Honey and It's Only the End of the World, respectively.

Yet again, the festival will not evade criticism for its historically gender - imbalanced selection, with only three films in the 2016 competition slate directed by women (one more than last year), two in the Un Certain Regard sidebar (the lowest since 2012), and one Out of Ccompetition slate directed by women (one more than last year), two in the Un Certain Regard sidebar (the lowest since 2012), and one Out of CompetitionCompetition.

But this week's competition is facing her down with a real buried gem, somebody only the mosy diligent of cineastes has heard of and whose film adaptation of a serious difficult piece of theater just hit theaters this past weekend... a Saoirse Ronan?

This, combined with the women's march last week in which the female members of the jury were joined on the red carpet to recognize that only 82 women have ever walked the red carpet as directors of an in competition film compared to 1,645 men, underlined that while two of the three female directors in competition (out of 21) won prizes but the Palme still eludes a solo win by a woman filmmaker.

Representation is a little better amongst the Out of Competition films, with five films out of eighteen featuring female directors, one of those being the multi-directed Words With Gods, the first part of the anthology series Heartbeat of the World, which includes director Mira Nair as the only woman out of nine directors including Australian Warwick Thornton.

While she remains focused on the TV side for now, Jason Ropell's film division submitted three Cannes hopefuls but landed only one Competition title, black - and - white 50s romance «Cold War» (December), Pawel Pawlikowski's anticipated follow - up to Oscar - winner «Ida,» and the closing nighter from Terry Gilliam, «The Man Who Killed Don Quixote.»

Palfi only shot the film in January, but has been planning a quick turnaround, and it's expected to be complete by April, which should put him right in contention — perhaps even for a Competition slot?

The only other of the competition films I saw was History's Future, directed by Fiona Tan and written by Tan and the film critic Jonathan Romney, an obscure science fiction tale that is also partly an essay film on contemporary Europe.

Surprisingly, that passion project was not the 40 - year - old's only film in competition at the 1987 Academy Awards.

Eva Husson's Girls in the Sun premiered at Cannes on Saturday, one of only three films in competition directed by a woman.

Violence: The premise of this film revolves around a competition where two - dozen adolescents are forced to fight to the death until only one survives.

Shortly before the festival began, Cannes issued a release noting that 2017 would be the first and last year that streaming - only films would be allowed to enter the competition.

Boyhood's biggest competition, Alejandro Inarritu's Birdman only received one BAFTA award for Emmanuel Lubezki's cinematography, whilst The Imitation Game was completely shut - out at the BAFTAs despite being a very British film.

In response, Cannes changed its rules for next year's festival, and will only accept theatrically released films for its Palme d'Or competition going forward.

However, this year, more than any other, instead of simply putting - up all or most of their films up «For Your Consideration», the majority of studios have entered only a handful of their 2016 releases for the competition, ignoring many worthy efforts.

Unbeknownst to me, and likely everyone, Nicolas Winding Refn, who is in town for his own film which is In Competition for the Palme d'Or (Only God Forgives), came on stage to introduce the filmmaker.

Perhaps it was only a matter of time that Pixar, who has consistently crammed so much more thought, emotion, art, and imagination into their films than the competition, delivered something lightweight and almost instantly forgettable.

If this is the weakest of the last three Assayas films, that's only because its competition is Carlos and Summer Hours.

The only woman ever to have won an Oscar and a Palme d'Or, Jane Campion, will oversee the Cinéfondation and short film competitions, while Amélie's Audrey Tautou will host the opening and closing ceremonies.

The only thing that makes me hesitate in calling her an outside threat to win the Oscar, however, is the in - film competition she faces with co-star and co-nominee Vera Farmiga.

It not only won the Queer Palm but also the Caméra d'Or, awarded to the best debut feature film across all competition sections.

Thivisol's best actress prize at Venice occasioned a series of articles in Variety and elsewhere about whether or not what she did was acting (one of the jurors at Venice, Anjelica Huston, pointed out to me in an interview that there were only four female lead performances, including Thivisol's, among the 20 or so competition films).

Civil War's generally higher pre-release reviews, and the fact that Civil War is the only major 2016 summer film opening with no major studio competition are factors in it possibly eclipsing Age of Ultron by Sunday.

Of the American films in the competition, only Mud by Jeff Nichols was of any particular interest, but even in this case it was a significant drop from the quality of Take Shelter, one of the surprise packages of last year's festival.

The most enthusiastically received discovery in the competition was not a film, but an actor — Austrian Christoph Waltz, previously known only in his own country for stage, television, and film appearances, who proved the galvanizing center of Quentin Tarantino's ambitious World War II adventure yarn, «Inglourious Basterds.»

That prospect actually crosses Corfixen's mind in one of the film's more surprising scenes: «Only God Forgives» has been selected for competition at Cannes, and Refn's longtime friend Alejandro Jodorowsky (a fellow cult director, with two projects at the fest that year) offers Corfixen a private tarot reading.

Kore - eda topped the best screenplay category with 25 % of the vote, while «Burning» only received 10 % of the vote in the category, tying for second place with Lebanese director Nadine Labaki's Jury Prize - winner «Capernaum» and Turkish director Nuri Bilge Ceylan's three hour - plus drama «The Wild Pear Tree,» the last film to screen in competition this year.

Every list of disaster films needs a volcano movie, and when you get right down to it, the competition is really only between this and «Dante's Peak.»

Both of his previous films — the critically acclaimed crime drama Drive (2011) and the quite polarizing revenge thriller Only God Forgives (2013)-- played in the official competition and Winding...

The only newcomer this past weekend, the Helen Mirren - led horror film Winchester, finished in third place with $ 9.3 million and seems off to a decent start given the competition it was facing.