Sentences with phrase «physical world of his film»

Yet as a tool for display, the physical world of the film falls flat.

Not exact matches

But they also had a physical installation at SXSW, which featured the DeLorean from Back to the Future — the car of choice for character Parzival in the film's virtual - reality world.

The film begins with the first female hominoid, treads through the egalitarian neolithic era, past the ancient age of literacy, and into the roots of the patriarchy: a world that values men on a higher level than women because of the need for physical strength in agriculture and military force.

There was the audience's in the pure fun of the film, based on Tony Stark's in the physical exhilaration of flying, the mental exhilaration of finding a task to engage his mind and spirit so entirely, and the spiritual exhilaration of meaningful and sustaining engagement with the world.

Filmed without narration, subtitles, or any comprehensible dialogue, Babies is a direct encounter with four babies who stumble their predictable ways to participating in the awesome beauty of life.Needless to say, their experience of the first year of life is vastly different, yet what stands out is not how much is different but how much is universal as each in their own way attempts to conquer their physical environment.Though the language is different as well as the environment, the babies cry the same, laugh the same, and try to learn the frustrating, yet satisfying art of crawling, then walking in the same way.You will either find Babies entrancing or slow moving depending on your attitude towards babies because frankly that's all there is, yet for all it will be an immediate experience far removed from the world of cell phones and texting, exploring up close and personal the mystery of life as the individual personality of each child begins to emerge.

Rarely can a film impact your physical world in the way in which the silence of this film can.

While much of the film takes place in the Oasis, a virtual reality world where bored and disenfranchised gamers spend most of their time, it also presents a physical world in its futuristic version of Ohio in 2045 — and Empire has some exclusive pictures of just that.

His extraordinary physical screen presence led him to the top of the film world with roles in some of the most popular films over the next 4 decades, capped by a Best Actor Oscar for True Grit (1969).

The film isn't interested in subjecting the animal to physical cruelty but it surrounds the poor thing in a world of misery, disappointment, regret and general negativity.

At the core of the film is a story about the physical and emotional abuse disgraced figure skating champion Tonya Harding endured throughout her life from her mother and her husband, but the film also explores the very traditional, staid world of competitive figure skating, while also offering a scathing indictment on the behaviour of the media.

While the dramatics of the first two films (and later ones) are cleanly executed, they can't help but seem overly schematic when placed in comparison with this, in which the raw emotion of adolescence is allowed to comfortably interact with a magical world that seems all the more physically tangible for the juxtaposition (helped immeasurably by Cuaron's preference for physical rather than digital effects whenever possible).

A cast of bizarre characters and a dark form of very physical comedy combined to make this an instant cult classic in the film world.

The episodic nature of the film, the various physical environments in which Babydoll and her fellow warrior - inmates find themselves, as well as the sexualized nature of these characters, bear all the earmarks of a videogame, but the real world filled with real danger that intrudes at crucial moments raises the stakes, engaging the audience in a way that the female - centric, video - game - turned - film Aeon Flux (2005), which I also like, never quite achieves.

All of the broad physical humor in the world can't distract from the fact that the film is an endorsement of psychological exploitation.

The lack of physical evidence of Christine's life may begin as a source of frustration for Kate on a purely professional level, but as she learns more, interviewing friends and coworkers, getting even a tangential sense of what might have driven Christine to her decision (with many of those moments eventually acted out in wonderfully campy excerpts from this nonexistent film), she learns that the exploitation of media and its desire to show the worst of society, offering the most broken aspects of the world to the altar of ratings (this of course being the aspect of the story that helped birth Network) hasn't changed much from the 70's to the modern day.

Thematically, the novel is preoccupied with relics, the physical reminders of emotion — for Miles, the abandoned possessions of hundreds of evicted tenants; for Bing, the beaten - up antiques he has pledged to save; for Ellen, the dangerously erotic images she is finally able to cultivate from the ephemera of her mind and put onto paper; and for Alice, an obsession with a World War II film which she believes captures the simultaneous hope and despair of a generation.

Aftermath: Art in the Wake of World War One at Tate Britain explores how artists responded to Europe's physical and psychological scars, while Generation Hope: Life after the First World War at IWM London takes visitors from 1918 to the heart of the «roaring» twenties, showcasing developments in art, literature, film, fashion and technology as people tried to shape a new wWorld War One at Tate Britain explores how artists responded to Europe's physical and psychological scars, while Generation Hope: Life after the First World War at IWM London takes visitors from 1918 to the heart of the «roaring» twenties, showcasing developments in art, literature, film, fashion and technology as people tried to shape a new wWorld War at IWM London takes visitors from 1918 to the heart of the «roaring» twenties, showcasing developments in art, literature, film, fashion and technology as people tried to shape a new worldworld.

With CATALIN, «a Wagnerian hybrid environment of sculpture, film, music, fragrance, theater, performance, and grand spectacle» at Jones Center; and Pet Sounds, sculptures at Laguna Gloria that «begin as railings and morph into luscious, playful blobs that engage the viewer with murmurs, vibrations, and strange sounds when touched,» Long explores the human condition «and the fragility of our physical and psychological worlds.»

In the upper gallery Aitken's film installation Black Mirror explores the story of a nomadic individual, set in a modern wilderness: a geography constructed of calls, electronic messages, and virtual documents superimposed over the physical world.

One thing that struck me when looking at the line - up was how all four artists seem to be more interested in modes of representation - advertising, language, film - than directly in the physical world.