Sentences with phrase «painted film at»

I also really liked the inclusion of Jennifer West's painted film at the front of the show.)

Not exact matches

Pollock, whose documentary, «Strange Fruit,» premiered at the South by Southwest Festival on Saturday, claims the new security tape featured in the film points to a cover - up of evidence on the part of Ferguson police, and a false narrative painted about Brown by city officials.

Now filming its third season, the show pits Leroy against three fellow antique dealers, who jet off to locales like Normandy, Glasgow and cities across the United States, bidding for everything from Chinese space helmets to 18th century paintings found at airport lost - luggage auctions.

Many representations of the annunciation in painting, literature and film, while emphasizing Mary's faithfulness, have lingered over the fear and questioning hinted at in Luke.

The Upside Down Mushroom Room appears through February 20 in Ecstasy, an exhibit at the Museum of Contemporary Art, Los Angeles, in which 30 artists explore altered modes of perception via painting, sculpture, film, video, and photography.

Looking to the other work done at and to support the Green Bank Observatory, the accomplishments of the past year include: hosting more than 2,000 visitors to view the solar eclipse, painting 84,000 square feet of the GBT, hosting 900 visitors at our annual open house (and launching 150 rockets in two hours that same day), releasing our new visitor reservations system, and hosting more than 30 film and news organizations.

Paris is my favorite city, so my short film was walking hand in hand along the Seine River with my lover on a sunny morning on our way to the Musee» D'Orsay to view Impressionist paintings, followed by lunch at a sidewalk cafe, and a walk back to the hotel for a late afternoon of making love.

Louis Theroux paints «Saint Jimmy» as evil, cunning puppet master in hindsight Canberran Caroline Simone O'Brien earns slot at Hollywood film festival with puppet film

Days of Heaven, which brought Malick the best director award at Cannes in 1979 and is arguably his finest film, is being reissued in a new print that does justice to Néstor Almendros's magnificent cinematography drawing on the paintings of Winslow Homer, Andrew Wyeth, Edward Hopper and (in one scene of a religious ceremony in wheat fields) Jean - François Millet.

Stories We Tell explores the elusive nature of truth and memory, but at its core is a deeply personal film about how our narratives shape and define us as individuals and families, all interconnecting to paint a profound, funny and poignant picture of the larger human story.

Would that Cody's writing displayed similar richness and empathy in painting the film's supporting characters, who are all conspicuously placed in opposition to Marlo at various points in order to elicit the viewer's sympathies.

Even when the film drags, it is pretty to look at, and many of the artfully constructed shots can stand alone as paintings.

It's a mesmerizing look at Vincent Van Gogh's final days, as elegantly interpreted by a team of 100 professional painters who hand painted every single frame of this truly unique film.

«Loving Vincent» required more than 100 artists to hand - paint frames of film, a masseuse / healer and a billionaire encounter one another unexpectedly in the film «Beatriz at Dinner,» and more top picks.

They sought inspiration in the era's art, specifically the work of the photo - realists, who painted photographs in a style that is both hyperreal and at one remove from reality — evoked by the variety of reflecting surfaces seen in the film — and the op artists, who deployed contrasting visual elements to create vibrating surface tensions on a single plane.

But as smart as it may seem for painting Barkawi as seeking revenge solely for the death of his daughter, the film mostly succeeds at advancing Mike's improbable yet largely singular survival as a symbol of American triumphalism.»

Set backstage at three iconic product launches, beginning with the Mac in 1984, moving through the NeXT in 1997 and ending in 1997 with the unveiling of the iPod, the film aims to take audiences behind the scenes of the digital revolution to paint an intimate portrait of the brilliant man at its epicenter, Steve Jobs (Michael Fassbender).

Along the way there is a contested inheritance, a missing painting, a brief imprisonment, a few separate chases, a secret society and the impending menace of an invading army, giving the film an air at times of a farcical caper.

At about three hours long, Gallery is only a medium length Wiseman film, a look at the venerable British art gallery, the paintings within it, the people that run it and the public that visits iAt about three hours long, Gallery is only a medium length Wiseman film, a look at the venerable British art gallery, the paintings within it, the people that run it and the public that visits iat the venerable British art gallery, the paintings within it, the people that run it and the public that visits it.

Like those other films, Gallery is divided into a series of segments highlighting different aspects of the institution: the tour guides explaining a work or an artist; the craftsmen and women building frames, gallery spaces, designing and testing lighting; restorers at work fixing paintings damaged by time; and administrators debating the best ways to persevere the museums brand and grow its audience.

The realism of the film is one of the factors that makes it so great as it uses long takes and what seems like guerrilla styled filming at times to paint a detailed picture of the hardships of simply trying to survive whether it be a child passing time by scamming money for ice cream or a young mum trying to keep a roof over her daughter's head.

The Coens» composer, Carter Burwell, appeared at the Tribeca Film Festival for the «Dolby Institute: The Sound of the Coens» masterclass and shared some intriguing details about the movie, painting a far more complex portrait of the film the siblings are putting together.

At their most compelling, Mike Leigh's films, like Chardin's paintings, make us consider both life and art.

A period Western with nods to Ford classics like «She Wore a Yellow Ribbon» and «The Searchers,» the picture is filming here at Ghost Ranch — 21,000 acres of God's country, 60 miles north of Santa Fe — where one - time resident Georgia O'Keeffe painted canvases with images of the mesa that towers in the distance.

Alas, it is very much a Hollywood treatment, full of glossed - over characterizations and trumped - up conflicts (the other school educators are painted as the villains), and, at best, we are given everything we expect, delivered tidy and sterile like a formula film always tends to.

More previews are arriving as premieres come closer and closer, and now another has landed, this time giving us a first peek at the Australian film «Tracks» from filmmaker John Curran («Stone,» «The Painted Veil «-RRB-.

Timothy, who was named best actor at the Cannes Film Festival for his performance as the artist, spent two years learning to paint before filming started.

The black hole at the centre of the film has the potential to be, like Kazimir Malevich's Black Square painting, a true space of the sublime, a void where the unpresentable is presented on screen.

The film's special - effects wonders include a three - headed guard dog named Fluffy, staircases that change configuration at whim, benevolent ghosts (including John Cleese as Nearly Headless Nick), animated paintings, a troll, a baby dragon, belligerent chess pieces and a swarm of flying keys.

From his early films Benny's Video (1992) and 71 Fragments of a Chronology of Chance (1994) to his Palm D'Or and Academy Award winning Amour (2012), he has used cinema to paint a portrait of humankind alienated in modern society, lacking in compassion at best and utterly amoral at worst.

For all that, Bhowani Junction is a very interesting film that tackles difficult political issues from a woman's POV & paints a fascinating portrait of a woman living at that place at that time.

The film offers information at a dizzying and prodigious clip and paints a portrait of lucidity as a high and endangered form of humanity.

More than 100 of Van Gogh's paintings were re-imagined for «Loving Vincent,» which was the Audience Prize winner at June's Annecy animation film festival.

At one point during Julie Taymor's exquisite film, FRIDA, Diego Rivera tells Frida Kahlo that while he can only paint what he sees, she paints from the heart.

Despite the uptick in remakes, it's extremely difficult to identify a few dozen great ones — particularly when you exclude movies like The Thing, which represent the second attempt at adapting a novel — and yet we can't deny that some of the greatest films ever made wouldn't have been possible without slapping a new paint job on an old chassis.

But at least in Williams's case, a lot of his idiosyncratic, exciting early scores were at least nominated; the films almost everyone agrees represented Desplat's finest work to date (e.g. Birth; The Painted Veil; Lust, Caution; to say nothing of his compositions for French cinema) were all ignored by Oscar.

Again, we have more characters than the film really needs — I swear at least five of the dwarfs get a single line each — and the screenplay strays outside the original source material in an attempt to paint a broader picture than Tolkein's initial fairy tale - like novel.

Ostensibly both a remake of the Southern Gothic erotic thriller by Don Siegel from 1971 and also an adaptation of Thomas P. Cullinan's 1966 novel «A Painted Devil», Coppola (who also wrote the screenplay and won the Best Director Award at the 2017 Cannes Film Festival) smartly and slowly unravels her tale via the female gaze in a film that, if one is patient with it, slowly pulls you under its sunlit and fainéant spell.

Winner of the Grand Jury Prize at Berlin, French - African director Alain Gomis» film paints a lacerating picture of a raucous, dangerous city.

Like the book, the resulting film doesn't paint the prettiest picture of a small Texas town, but it does provide a brutally realistic look at the Permian Panthers football program back in the late»80s.

A convoluted 3 - way plot, crafted by the screenwriting Gayton brothers Joe and Tony, paints the world black and white at the film's beginning, only to mash it all into gray by the film's end.

It's certainly not a quiet film, as most of the jump - scares involve noises that are meant to make the audience lose control of their bowels through horrendously loud thumps and shrieks that emanate from theater speakers at near eardrum - shattering decibels, as the cast navigates through darkened rooms with surreal imagery painted all around.

I also don't love the washed - out colour palette that paints everything in a blue gloom — at least not as much as Yates seems to, between this and the last four Harry Potter films.

Toby Jones (The Painted Veil, Mrs. Henderson Presents) as Karl Rove and Jeffrey Wright (The Invasion, Casino Royale) as Colin Powell also look much smaller than their real - life counterparts, and more mannered, seeming like they would be more at home in an «SNL» skit than in a serious film about these public figures.

And like the stratification of art imposed by some in varying orders to describe the proximity of each to the inexpressibility of their souls (prose to dance to painting to poesy to music, for me), when film aspires to combine the more abstract elements of human expression in its mélange, the results, always mixed, at least have the potential to be grand.

It would've even been better as a Waking Life, where the talking heads were film historians and critics who could go on at length while animated versions of the paintings unspooled behind and around them.

by Bryant Frazer More than twenty years ago, I sat in Stan Brakhage's office at the University of Colorado, handling original frames of 65 mm IMAX film stock that the avant - garde filmmaker had hand - painted with swirling layers of colour.

Maybe this is life after wartime, or maybe it's a boilerplate zombie apocalypse, but a few shots of a Bruegel painting get at the film's general vibe: a civilization surrounded by fire and beset by disarray.

-RRB-, only every now and then spicing things up with the way he frames Gerda painting from behind the canvas, there is not much to distract from the issues at the core of the film.

The first trailer for My Cousin Rachel paints this film as a gothic love story with sensual thrills between Oscar winner Weisz (The Constant Gardner) and Claflin aiming at his first superior performance.