Sentences with phrase «own art cinema»

The 16 - screen theater is a state - of - the - art cinema using DLP technology, the standard in digitized movies and the format used in all MJR theaters.

It's just a modern - day state of the art cinema which keeps repeating the same old movies??

Honest British man single wishes to meet Japanese woman 18 - 50 am interested in fashion art cinema books travel sports music nice food.

Unfortunately, Enigma is a British production that will probably only play in smaller venues or art cinemas without getting much attention around the rest of Middle America.

During the 1990s, when Kiarostami's reputation was growing, I was not that focused on international high - art cinema.

The film is hilarious, if viewed in context, but of course having watched it dozens and dozens of times since my first viewing in the early 1960's in an «art cinema» in Greenwich village, I no longer laugh out loud, but enjoy my silent amusement, because I love satire.

The Art Cinema Award is granted by the International Confederation of Art Cinemas (CICAE).

Expand your martial arts cinema knowledge with Bruce Lee's electrifying opus, The Way of the Dragon.

Allan Cameron's Modular Narratives in Contemporary Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they often resemble.

Asghar Farhadi's 2009 film About Elly — only released in the U.S. four years after the triumph of Farhadi's 2011 Best Foreign Film Oscar - winner A Separation — was praised for, among other things, its canny self - positioning in relation to the history of European art cinema.

This is not high art cinema, but for ninety minutes Mr. Right is just plain fun.

Kdy sníh konečně taje, near - exhausting excessiveness and unevenness to plotting, an uneven and already questionable style, and near - monotonous cold spells to atmospherics render the final product pretty decidedly underwhelming, but not the misfire that it could have been, because through a haunting visual style, outstanding musical style, intriguing premise, and generally stylistically sharp direction, Frantiek Vláčil's «Marketa Lazarová» stands as an adequately intriguing and occasionally engrossing, if overwrought classic in Czech and art cinema.

This edition updates Schrader's theoretical framework and provides a stimulating counter-history to the last half - century of global art cinema, extending his theory to the works of Andrei Tarkovsky (Russia), Bela Tarr (Hungary), Theo Angelopoulos (Greece), and Nuri Bilge Ceylan (Turkey) among others.

The International Confederation of Art Cinemas is proud to announce that the ART CINEMA AWARD at the Directors» Fortnight 2017 in Cannes went to THE RIDER by Chloé Zhao.

In many ways Coppola's film exhibits marks of classic European art cinema.

Morita's work in The Karate Kid is iconographic — the character functions like any number of old Asian man archetypes from martial arts cinema, but, transplanted to American pop (his arrival softened by Yoda in The Empire Strikes Back), Miyagi becomes something like an albatross for Asians in modern Western culture not for its incompetence, but for its tonal perfection.

As our man in Venice put it, «It's a visually breathtaking piece of punk - art cinema that gives a lot of food for thought.»

Or a young author, since there is a book, but Andrews adapts himself, all the while making no secret his love of art cinema.

The selection of films incorporates some of the most significant (and most discussed) examples of international «art cinema» and off - Hollywood cult cinema from recent years, the bulk of them released between 2000 and 2006; examples include In the Mood for Love (Wong Kar - wai, 2000), Memento (Christopher Nolan, 2000), Mulholland Drive (David Lynch, 2001), Irreversible (Gaspar Noé, 2002), Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004), and Caché (Michael Haneke, 2005).

THE PIANO TEACHER By Richard Combs The latest addition to Michael Haneke's disturbing oeuvre, starring Isabelle Huppert, analyzes sexual perversity and positions the director at the forefront of a new - style European art cinema

Any cinema that shows Marienbad is an art cinema by definition, and anyone who sincerely likes it has moved beyond being a film lover and earned the accolade of cineaste.

Perhaps the most successful work this year in this art cinema mode, Maximilian Leo's My Brother's Keeper, betrays similar dissonance, if not outright discomfort, with Germany's well - resourced lives and affluent life - styles.

, and the film was a landmark in martial arts cinema.

Was art cinema on the ropes?

The nudity of New Hollywood was sometimes used to emulate European art cinema.

One of the dangers of gorging yourself on four or five films per day is festival fatigue, by which I don't mean physical exhaustion (though that happens too) but rather a certain involuntary weariness in the face of so much exacting, challenging, or otherwise «difficult» art cinema.

Fluk's compositions are at once chilly and sensual, with a European art cinema buff's attention to bodies, and there are lovely moments throughout: James and Jonah in a swimming hole, scanning the water's surface in search of fish; James and Sam's regret - soaked slow dance at a community center social; a tracking shot that trails Jessica through a grassy field as she looks back teasingly at the camera.

Jean - Luc Godard's 1960 film Breathless not only launched the French New Wave and made the director's name forever synonymous with French art cinema — it also made a star out of its leading man, the theretofore unknown Jean - Paul Belmondo.

When a film like Prince appears out of nowhere, with its pseudo-incendiary electronic score and sophisticated examination of revenge, it revives hope for a pop - art cinema that's not only capable of balancing enraged critique with playful, irreverent aesthetics, but also treats its characters like actual human beings rather than pawns on a chess board.

The Jeanne Dielman essay, Farber's final piece of film criticism, starts off with a thrilling survey of Seventies art cinema, from Celine and Julie Go Boating to Beware of a Holy Whore.

Bellflower Directed by: Evan Glodell Starring: Evan Glodell, Tyler Dawson, Jessie Wiseman Rating: R Release Date: August 5, 2011 TRAILER SCORE: 8/10 Thoughts by TSR: The trailer Bellflower is the closest to art cinema I've seen in recent years.

Reeves cuts around a few sequences, unfortunately, but for the most part he captures the fights in a way that emphasizes the physicality of the performers and respects the history of martial arts cinema.

Just in time for Christmas comes the latest and possibly final act of audience antagonism from the reigning scold of European art cinema, Michael Haneke.

Birdman doesn't want to destroy anything or anyone; it simply wants to reach some sort of détente between consumer culture and art cinema, like a more accessible, Yank version of Olivier Assayas's Irma Vep.

This meeting of masters alone makes the film worth a look to any fan of martial arts cinema.

They make zombie movies for every mood, ranging from knockabout gore comedy to low - key art cinema.

Art cinema was changed and, in some sense, defined by Michelangelo Antonioni's spatially - oriented filmmaking.

She has avoided formulas, made daring visual experiments, and been committed to a highly personal art cinema.

The critic and WCP executive director offers a personal take on art cinema and a primer on the project's scope and mission.

The film, which is touring in a new digital restoration for its 50th anniversary, is a classic of European art cinema, a minimalist manifesto, and the easiest entry point into the challenging anti-Masterpiece Theatre of Straub and Huillet, a husband - wife duo who co-directed more than 30 films (all of which can be loosely categorized as «adaptations») before Huillet's death in 2006.

Brilliantly shot and staged by director - cinematographer Jeremy Saulnier (who also wrote the script), the film locates the sweet spot between poised art cinema and exploitation - flick pandering and hits it over and over again; what keeps Blue Ruin from simply being a bludgeoning experience is Saulnier's cleverness in knowing precisely how and when to throw his haymakers.

At this point in the history of film criticism, the auteur theory has become passé as a totalizing framework for understanding moviemaking as art, but Martel's three features (and this one in particular), in their distinctive, shared point - of - view and unique approach to mise - en - scène and sound, provide irrefutable evidence that international art cinema still serves as a showcase for singular directorial talents who are, indeed, the principal creative forces behind their films.

It's art cinema instilled with a child's sense of wonder — which is also true of of the quirky auteur's live - action films, from Rushmore to The Grand Budapest Hotel.

And one needn't take a stand on the validity of auteurism as a framework for discussing movies to acknowledge the way it continues to dominate discussions of current works of international art cinema; those of us invested in movies as art continue to latch on to the director as artist.

From the very first shot of Memories of the Sword, the taste of Asian martial arts cinema at its most gravity - defying floods your palette.

Once you get past the title and the ponderous opening scene with its straining - for - importance score, the fourth film by Russian art cinema's Great White Hope proves to be his most enjoyable and least oppressive to date.

Despite tough censorship and the repression of leading film makers, Iranian art cinema has earned international acclaim over the past 20 years.

While I recognise that my taste is not necessarily reflective of all audiences, Autumn Sonata and Duck Town seem unlikely to satisfy either the art cinema audience or those looking for more conventional, mainstream fare.

I think this is a film for people that do nt like art cinema Its all very visual and cut skillfully with requisite tied up in a bow ending but it has little of the wit of the much superrior «Read my lips» Which this is very much a companion piece as for the acting Marion does needy again and Matthias doe lovable brute... no stetch then its a decent film and you almost want to visit waterworld ooops own goal for Greenpeace

Tarantino might have started this venture into martial arts cinema seeking cheap thrills and references to the past, but at this point he turns this story into something much more.