Sentences with phrase «section of films taking»

This section of the film takes on the feel of a sitcom, which makes for an excellent alteration to the pace and tone.

Not exact matches

But even at a scant 90 minutes, the film manages to cover a lot of ground, hopping around from interviews to live footage, the highlights of which are a live studio take of «Higgs Bossom Blues,» a 9 minute epic whose slithering slow build plays out uninterrupted and the finale, a blistering live performance of «Jubilee Street» featuring a string section and children's choir, intercut with scenes of Cave onstage over the years.

The first section of the film, in which Charley's life seems to be on an upswing, is filled with quiet moments of idyllic and even romantic seclusion — Charley working with the horses, cleaning up after them, taking scenic road trips with Del, watching the horses race, taking in the starry sky while lying the bed of Del's pickup truck.

Unfortunately, their playful camaraderie isn't exploited nearly as much as it could be, because while the movie is incredibly lively in its opening and closing minutes (including one of the most ridiculous action sequences ever filmed), that sense of high - energy fun is absent for most of the middle section, when it starts to take itself too seriously.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

The score for the film is worth taking note of as well, and you can learn more about it in the special features section with an audio interview with the composer Robert Bellon.

So far, our SXSW preview series has taken a look at the Headliners, Midnight section, and narrative films in the Visions program as well as a tour of the festival's documentaries.

Indeed, both Queirós, whose film There Was Once Brasilia won special mention in the festival's Signs of Life section, and the Brazilian directing team Juliana Rojas and Marco Dutra, whose socially driven horror movie Good Manners took home the Special Jury Prize, referenced Andrade as an ever - vital figure for today's Brazilian political cinema.

It is most unfortunate, then, that these moving and insightful interviews are intercut with footage taken with a helmet camera on a bicycle ride along a rocky mountain path — these point - of - view shots are supposed to convey meaning for Kedar, and yet they make whole sections of the film almost unwatchable.

A world premiere at the recent Los Angeles Film Festival in its L.A. MUSE section, for films by up - and - coming filmmakers that either take place, were filmed in or inspired by the city of Los Angeles, «Supremacy» unfolds in 1992, and centers on Tully (Joe Anderson), a member of the Aryan Brotherhood who gets out of prison after 15 years on a robbery charge and is picked up by Doreen (Dawn Olivieri), a fellow white supremacist.

The 14th edition of the Tribeca Film Festival taking place from April 15 to April 26 in New York City has announced the films selected for screening in the Spotlight screening section.

At this year's Locarno Festival, (recently renewed) artistic director Carlos Chatrian similarly declared that he foresaw increasing numbers of women filmmakers in the competitions of major festivals and that he was especially proud to tout, in Locarno's main competition section (with 17 world premieres), eight women directors.1 And Locarno's outcome, amid an impressively deep competition pool, was unexpectedly different: although I, Daniel Blake did win the audience award of the Festival's mainstream Piazza Grande section, a female writer / director, Ralitza Petrova, took the festival's top prize for her brooding and bleak Bulgarian film Godless.

The film section takes a look into 2011 (near and far) and picks out some of their most anticipated films.

The last third of the film takes place «a few years» after this opening section, per a later intertitle.

As the movie takes place around the festive season, decorations were kept up as late as March in certain sections of the town to assist with filming.

It took the protests at the May 1968 festival and the demands of festival critics like Jean - Luc Godard, Eric Rohmer and François Truffaut to not only close down the festival that year but create a parallel section of films — the directors» fortnight (Quinzaine des Réalisateurs) where the reputation for auteur film was established.

The production was filmed at Shepperton Studios in mostly one location, but never bores, because director Duffell knew to take advantage of the «old dark house» and set each story mainly in a certain section of the house.

After testing it to ensure it would work, the crew took to the streets of Chicago and closed off a section to film what was shown in the movie.

Some of the imagery during the later sections of the film (especially a few nightmares brought to life) are quite striking in their design, and the film remains a feast for the eyes of any or all who take the 80 minutes to give it a watch.

He directed Wind River (August 4), which looks like it's taking the «Jeremy Renner in a wintry cabin» section of The Bourne Legacy (the best part of that movie) and turning it into its own feature film.

The «Diaries» section contains three subsections; «Producer's Photo Diary» (4 minutes) offers a series of on - set photos taken by producer Jerry Bruckheimer; Actor Lee Arenberg chronicled his experiences on the film in the 10 - minutes «Diary of a Pirate»; and «Diary of a Ship» (11 minutes) details how the replica ship Lady Washington was readied for the film.

Having just premiered in the out - of - competition section of the 2014 Sundance Film Festival (taking place January 16 - 26 in Park City, Salt Lake City, Ogden and Sundance, Utah) is the low - key The Voices, a genre film starring Amityville Horror «s Ryan Reynolds.

Using high - quality film stills and boxed sections focusing on major themes and personalities, Lace takes the reader through the early blackface actors, the servant roles so prevalent in Depression - era cinema, the broadened awareness of African Americans following WWII, the blaxploitation films of the 1960s, and the impact of Spike Lee's 1989 film, Do the Right Thing.

Unlike the rest of the game where you can take your time to consider your choices and weigh your options, from your lofty position of director atop a film set, the «DO N'T MOVE» sections drag you into these characters.

We've been taking stock of our film collection, too, with help from an A.W. Mellon Foundation grant, so it seemed like an opportune moment to share a selection of posters from an amazing series of artist talks and screenings hosted by the Carnegie Film Section (1970 — 1980), later the Department of Film and Video (1980 — 2003).

Despite getting expelled from art school and essentially blacklisted by the Communist party in Bucharest, the Romanian artist Geta Brătescu, who is representing her country's pavilion in Venice as well as taking part in the Athens section of Documenta, has churned out a steady stream of film, photography, drawings, and even books for decades.

Taylor - Wood shot each section of the orchestra in different takes and these individual films will be projected onto multiple screens within the gallery space, playing with the viewer's spatial perception of both the music and each section of the orchestra.

He acted for HMRC in Proteus and Samarkand v HMRC -LRB-[2017] EWCA Civ 77), a judicial review challenge to tax decisions taken on film finance schemes; in Eastenders v HMRC [2014] UKSC 34, [2014] 2 WLR 1580 (which concerned the for use of the power to detain goods under section 139 of the Customs and Excise Management Act 1979); and in European Brand Trading v HMRC [2016] EWCA Civ 90 (as to the jurisdiction of the Upper Tribunal to determine whether seizure of goods for non-payment of excise duty was lawful).