Sentences with phrase «powerful films about»

The list is also missing several directors that have only made a single best - picture nominee so far, including people like Denis Villeneuve, Alfonso Cuarón, and Jean - Marc Vallée — all of whom have also made powerful films about women.

With SLEEPWALKING, first time director William Maher (not Bill Maher - the Politically Incorrect guy) had a chance to make an extremely powerful film about the effect an abusive childhood can have on someone when they try to start their own lives.

Xavier Dolan's latest might be a difficult watch but is another powerful film about breakdowns and distances in relationships.

A powerful film about a group of cloistered Catholic nuns coming to terms with changes in the Church during the mid-1960s.

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.

But by focusing instead on the hard - nosed journalism that broke the story, McCarthy has crafted a bracingly powerful film about the institutions that hold sway in our society, the need for a free press to hold them accountable, and the pervasive sense of guilt that can get in the way.

THE STATION AGENT is a quietly powerful film about the unspeakable awkwardness of life.

Ice Cube and Lori Petty star in Charles Burnett's powerful film about race and the Los Angeles police.

Betrayal and guilt are the recurring themes in Free Fall, Stephen Lacant's powerful film about forbidden love.

«Constable Al Arsenault, along with six other policemen, document the people on their beat to create a powerful film about drug abuse.

Not exact matches

It is a hamfisted cautionary tale about global warming (which, via the film's scientific hand - waving, produces an ice age), but it also functions as a powerful 9/11 allegory, celebrating the ability of New Yorkers to unify in the face of tragedy.

After more than three dozen women have come forward to accuse Hollywood film producer Harvey Weinstein of sexual assault and harassment, George Clooney and Matt Damon have spoken out about the powerful Miramax head who helped launch their careers.

The film carries a powerful message about the global slave trade and has a call to action for viewers to help fight it.

Instead of a typical church fundraiser - perhaps a bake sale - Friends Church's leadership proposed a feature film shot on location on two sides of the globe and with a powerful message about the $ 32 billion world slave trade.

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.

For its time, this film contained some powerful ocean footage (watch for those amazing low - angle shots, and the ingenious intercutting of the «angry storm» of the French assembly and Napoleon's tiny skiff tossed about on the stormy seas).

The basics have been well - publicized: The film, shot in black and white, is about a German Nazi who took over a factory in Poland during World War II and talked his powerful acquaintances into allowing him to use cheap labor, in the form of Jewish workers.

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.

As vital, disturbing, and powerful now as it was when it was written and filmed, All Quiet on the Western Front is an excellent film about war and both its inhumanity — the moments when people are turned into monsters and pawns — and its humanity — the moments when despite the contexts people attempt to regain their decency.

The film is a powerful statement about the injustice in the world, and especially one of the cruel injustices of it's day.

All in all, the film is plenty conventional, even in a portrayal of Ancient Rome that is about as thin as a lot of the characterization, and as contrived as the melodramatics which slow down the impact of momentum almost as much as dull and draggy spells, thus making for a script whose shortcomings are challenged well enough by a powerful score, immersively beautiful visual style, solid direction, and strong lead acting for Henry Koster's «The Robe» to stand as an adequately rewarding and very intriguing study on the impact Christ had even on those who brought about his demise.

Very powerful film which poses a lot of moral questions about the consequences of the American government's campaign to empower anti-communist governments during the Cold War but instead we empowered a brutal regime, and the fallout of this caused a million person genocide that took place

A powerful and entertaining film about a gang of girls, and what friendship means, the protection it provides.

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..

The film's villain, Oscar Isaac's Apocalypse, looks to be a powerful and more than worthy opponent to the X-Men, who will surely bring about a great deal of destruction.

It's important to remember that these films are more than just spoofs or parodies of the genres they emulate as each film has a powerful emotional core with something to say about friendship, growing up and more.

It's a powerful, provocative, ambitious drama set in the shadow of September 11, 2001, a marvelously messy film about the messiness of emotions and people and relationships, especially as they are tested in extreme circumstances.

The powerful film from director Gavin Hood (Tsotsi) and writer Guy Hibbert is a nail - biter as characters argue over the rules of engagement and the legality and morality of war in making a decision about a drone strike in Kenya that targets the Al - Shabaab militant group.

Tarantinos's special touch drives the film even if he is not in the directorial chair, talk about a powerful auteur signature.

A promising look at a powerful, personal film about the demons that drive a man to push himself to the limit.

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.

The film presents a lot of statistics — almost more than can be taken in on one viewing, in fact — about the state of manhood in this country, but it also shows examples of what parents and teachers and coaches and other role models can do to raise men who can be strong and powerful without shutting off their feelings.

«BPM,» «God's Own Country,» and «Call Me By Your Name»: Though the handsomely crafted, Italian - set «Call Me By Your Name» has gotten all the critical attention, two other films about young gay men coming to terms with themselves in much harsher environments — the French «BPM» is set at the height of the AIDS crisis in Paris while the contemporary British drama «God's Own Country» is set in a grim, rural northern England — are both more haunting and powerful.

Gayle's disarming turn makes us instantly care about her character's fate, making her a fully realised character beyond the cliché her role might have been, and her climactic scenes in the film are extraordinarily powerful.

Hunger is a powerful motivating force, one made palpable in the first film adaptation of Suzanne Collins» bestselling, alternate - history, young - adult book series about a nation of have - nots under the boot of a fascistic ruler.

At a time when Hollywood couldn't be more sensitive about the sexual abuse meted out by powerful men, this is a film about the very worst sexual violence against women, with McDormand playing a grieving and furiously angry mother still mourning her pretty daughter, who was raped and murdered by an unknown attacker.

When the film reaches and stretches its narrative boundaries and epic ambitious, it's about as powerful and awe - inspiring a film as has graced the screen this year, and this makes the flaws much, much easier to endure and overlook.

It is a powerful little film about hope and never giving up.

Writer / director Volpe goes more into detail about the inspiring, humorous and powerful film, its symbolism and why she considers herself a feminist.

We believe that by learning more about how women are faring in the independent film world, and by opening our own data at Sundance Institute for this study, we gain powerful insights into ways to positively affect progress.

At Tuesday night's 29th Annual Palm Springs International Film Festival Awards Gala, the Molly's Game star was presented with the Chairman's Award by the film's director, Aaron Sorkin, and used her acceptance speech to deliver a powerful message about change.

Still, what the film says about whom we choose to love, and how we treat them when we do, is powerful.

Shrinking violets held under the thrall of a powerful patriarchy is a theme oft repeated in film in general, and 2017 in specific, but there's nothing shrinking about the violet at the center of Lady Macbeth.

In this climate, any sort of backlash — which can be translated as a reflection of reasonable complaints about the way the film deals with racism — is powerful enough to derail a frontrunner.

We've sat through an entire generation of fantasy and science fiction films about a protagonist gifted with extraordinary powers who first Resists, then Accepts The Call, which almost always involves saving the world, defeating a powerful villain, and re-establishing the status quo.

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.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

Mike Mills started writing about his mother and sister, but trusted two powerful actresses to bring new characters to life on film.

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.

Just about every single film of note this year had some sort of memorable scene that will stick with me for years, though I'm sure not everyone will find the same scene as powerful as I did.