Sentences with phrase «remarkable debut film»

Twenty - four year - old Lena Dunham has made a remarkable debut film out of the confusions and humiliations of a not - so - attractive daughter of a self - absorbed artist that at once makes us squirm from TMI, laugh out loud at its gimlet - eyed, cutting humor, and gasp at its unsparing honesty.

Not exact matches

Working in relative anonymity through the»70s and early»80s, appearing in films ranging from Serpico (1973) to Slapshot (1977) to Blade Runner (1982), Walsh landed his meatiest and most memorable role in Joel and Ethan Coen's remarkable debut, Blood Simple (1984).

The film reps a new career high for director Dee Rees, whose remarkable 2011 debut feature Pariah is a semi-autobiographical deep dive into a black girl's struggles with coming out.

This remarkable film from Australia, the debut feature of writer - director Cate Shortland, moves to the lyrical rhythms and unhurried pace of a 1970s road movie.

Paul Haggis, who spoke with such remarkable confidence through his screenplay for Million Dollar Baby, one of the best films of the past few years, seems to be his own worst enemy in Crash, his directorial debut.

Known for hard - hitting screenplays for Submarino and The Hunt which he co-wrote with director Thomas Vinterberg, and for the popular Danish TV drama Borgen, Tobias Lindholm's solo directorial debut is perhaps as remarkable in the script department as his previous work, but the film itself — like the ship it depicts — sometimes goes adrift.

Nonetheless, it's a film worth mentioning more than once: Clio Barnard's remarkable debut, which paved the way for the equally excellent The Selfish Giant, is an ambitious, experimental docudrama about playwright Andrea Dunbar.

This week Gerwig brought her solo directorial debut Lady Bird to the festival which has had a remarkable number of films by and about about women this year.

Between Mimic 3: Sentinel («Mimic: Sentinel» on its title card and hereafter «Sentinel») and his remarkable feature debut, the mostly silent NYU student film Soft for Digging, Petty betrays a genuine gift for cinematic storytelling, stripping down dialogue to a skeletal structure and relying on the force of his images for the bulk of the exposition.

For his lively film directing debut, Mike Myers (aka Austin Powers) traces the remarkable life of his friend, the almost too - likeable music manager Shep Gordon.

The characters aren't flat, the film isn't dull, it's vibrant and flashy and entertaining and a rather remarkable feature directing debut for Gordon - Levitt, better than I was expecting.

«Half Nelson» Thoughtfully shot and carefully observed, Ryan Fleck and Anna Boden's undeniably assured character study of an improbable teacher - student friendship in urban, inner - city Brooklyn is a rare work of restraint and a remarkable debut feature film.

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.

All that said, Ex Machina is easily one of the best films of the year so far and a remarkable directorial debut for Garland, who's made a name for himself as a novelist and screenwriter for some 15 years now.

And sate it does, at least from a technical standpoint: The 2.35:1 anamorphic widescreen transfer * is the finest for one of the film's theatrical cuts — a remarkable feat considering it's the longest instalment of the trilogy (and thus harder to squeeze onto a single - sided, dual - layered platter), though perhaps not so astonishing in light of two years having passed since The Fellowship of the Ring debuted on the format.

• Noteworthy, as usual, is the film's extreme technical mastery — particularly remarkable given that the Coens were operating without their principal collaborator, cinematographer Barry Sonnenfeld, who had decamped to make his own directorial debut with The Addams Family.

Justin Kurzel's Snowtown was a remarkable film, a brash feature debut that signaled the emergence of a unique talent joining a slew of them coming out of the Australian independent scene.

Among the other fiction films to look for in theaters or on VOD: John Michael McDonagh's Calvary, in which Brendan Gleeson gives a beautifully modulated performance as a dedicated priest who is no match for the disillusionment of his parishioners and the rage of another inhabitant of his Irish seaside village, determined to take revenge against the priesthood for the sexual abuse he suffered as a child; the desultory God Help the Girl, the debut feature by Stuart Murdoch (of Belle and Sebastian), all the more charming for its refusal to sell its musical numbers; Tim Sutton's delicate, impressionistic Memphis, a blues tone poem that trails contemporary recording artist Willis Earl Beal, playing a character close to himself who's looking for inspiration in a legendary city that's as much mirage as actuality; and two horror films, Jennifer Kent's uncanny, driving psychodrama The Babadook, with a remarkable performance by child actor Noah Wiseman, and Ana Lily Amirpour's less sustained A Girl Walks Home Alone at Night, which nonetheless generates some powerful political metaphors.

That happened this morning at Cannes with the debut of Asghar Farhadi's The Past — all the more remarkable because the film comes with such high expectations following the Iranian filmmaker's Foreign Language Oscar - winning A Separation.

Here's Ryan on Lady Bird: A24 continues their remarkable streak of films that played at the New York Film Festival and focus on young people with Greta Gerwig's solo directorial debut Lady Bird.

Oldroyd, in his film debut, shows a remarkable confidence: There's no background music and little dialogue; instead, we hear the wind whipping through the fields like an angry banshee, and the click of Katherine's teeth as she clamps her mouth shut, presumably in order to make a sound in the endless silence of her new home.

Last but absolutely not least is Sofia Coppola's The Virgin Suicides (1999), her remarkable feature film debut that was one of the best releases of its year and not only does it hold up, but it has been given a top grade reissue by Criterion and Paramount (I'm still celebrating the studio finally working with Criterion on a regular basis) in a Blu - ray edition as strong as when I first saw the film theatrically.

His still remarkable debut George Washington was set in North Carolina, and several of his subsequent films also affectionately portrayed life in the South.

The film's casting director and grown - up star, Julianne Moore, on the remarkable debut of Millicent Simmonds.

Hailing the film as «brilliant,» the festival chose James's movie out of the ten documentaries screened, adding another accolade to the picture's remarkable streak of worldwide acclaim, which has lasted since its January debut at Sundance.

New Zealand director Niki Caro debuted on the world cinema stage with the remarkable Whale Rider (2002), a film with comparable understanding of its female protagonist and a similar flirtation with magical realism.