Gayle Forman's best - selling novel, «If I Stay,» comes to life on screen in
a powerful film about love and loss that's heartbreaking, moving and full of hope.
Not exact matches
I would
love to have lunch with Lauren Parsekian Paul, one of the founders of Kind Campaign, a nonprofit that helps educate
about the
powerful belief in KINDness that brings awareness and healing to the negative and lasting effects of girl - against - girl «crime» through documentary
films and school based programs.
I recommend this
film if you are into biopics,
love films that are
about people that challenged the law, and above all else, want to see a
powerful performance from Pacino.
This must be the age of bliss for Harry being he
loves absolutly every movie he sees... it's fairly obvious he's being paid off, after the Batman And Robin fiasco (back when the site was pure) studios realized how
powerful this kinda site can be so they decided to give knowles a wad of cash to give their
films a good review... Only reason Star Trek Nemesis didn't get a good review was because Moriarty and others bashed Rick Berman so much he didn't wan na give them Money he was so insulted... everyone do a favor and goto http://www.corona.bc.ca/
films it's a real movie lovers site withreal reviews and NEWS... no shit
about how they got the news or that they think the
film reminds them of from their youth, just news..
And while only a few saw it, those who did catch Andrei Zyvagintsev «s «Elena» fell head over heels in
love with it; a
powerful and gripping Russian
film about an elderly woman trying to secure an inheritance for her son.
Still, what the
film says
about whom we choose to
love, and how we treat them when we do, is
powerful.
In her review of the
film for the BFI, my good friend and collaborator Sophie Mayer astutely links Stories We Tell to the feminist classic Daughter Rite (1978) by Michelle Citron, and what I
love about this connection is the fact that it perfectly crystallizes how experimental and
powerful Polley's examination of female identity — both hers and that of her elusive mother — is.
Scored lightly by a series of Brian Eno compositions, The Jacket is an apocalyptic poem of
love and loss that's unusually wise
about its visual vocabulary —
about ways of looking, the line between dreaming and reality, and how eyes on
film can be a
powerful and elastic metaphor for the audience engaged in a kind of liquid dreaming.
I don't quite understand how this
film does what it does — make you understand the
powerful, quasi-incestuous relationship between mother and son, without making it seem the least bit abnormal or reprehensible — but that's what I
love about it.
A ten - minute clip (or shorter) from a
film like The Story of the Weeping Camel from Mongolia might suffice to create a
powerful discussion prompt on geography and language, on different perspectives
about material luxuries, survival, family, how
loved ones are cared for, being kind and considerate, what different living environments look like and how they are built, and how kids play or entertain themselves in different settings.
Betrayal and guilt are the recurring themes in Free Fall, Stephen Lacant's
powerful film about forbidden
love.