Sentences with phrase «shooting film portraits»

I've been shooting film portraits that are a little bit like the Warhol screen tests.

Not exact matches

But the film's final shot suggests Welles's Falstaff represent more than an overblown self - portrait.

Cooper and his director of photography Masanobu Takayanagi (who also worked on the filmmaker's last two movies) paint a visually striking but harsh and brutal portrait of the scenery here, placing an emphasis on long shots of desolate landscapes and closeups of human anguish in order to create the film's dismal mood.

As the first film shot in Atikamekw, a dialect of the Algonquian Cree language, it is an engaging portrait of a young man who finds himself in an awful situation, one in which he's forced to come to terms with his actions.

There's sweetness and sadness in a film that makes hearts soar with its Bowie - set dance through the New York streets, and invites ample cringing in its protagonist's awkward encounters, but mostly there's recognition of the authenticity of its immaculately - shot quarter - life crisis portrait.

Frank desperately desires the power that Morton's money and influence commands, and the film becomes, in part, a portrait of his failure to straddle the line between old world (shoot first, ask questions never) and new world (wielding money as a weapon) criminality.

Paul Thomas Anderson's latest film, Phantom Thread, a portrait of a fictional fashion designer in the couture scene of 1955 London, indulges in similar revels, placing the film firmly in the tradition of the melodramatic women's pictures of the 1940s: it's filled with achingly vivid close - ups (Anderson also shot the film) of shining colored threads, needles piercing thick fabric, rough - edged hand - sewn labels, intricate lace patterns, and rich cloth falling in sculptural folds.

This Is Not a Film (directed with Mojtaba Mirtahmasb, 11), shot while Panahi was under house arrest in his Tehran apartment, is a tantalizing hybrid of documentary self - portrait and contemplative fiction, at once an act of rebellion and a singular example of film as legal loophole: Panahi was effectively telling his persecutors, «You never specified that I couldn't make a film like this, because you never could have anticipated me making it.»

Beginning with shots of the violent evisceration of a truck — guts, fluids, and all — the film becomes a moving portrait of idiosyncratic characters and the force of community in the midst of a profusion of carefully dissected and categorized automobile detritus.

The White Ribbon (Sony)-- Winner of the Palm D'or at the 2009 Cannes Film Festival and Oscar nominee for Best Foreign Language Film and Best Cinematography, Michael Haneke's portrait of rural life in Germany before World War II is a beautifully shot film that evokes nostalgia in the austere black - and - white imagery while revealing a corrupt culture under the surface.

Whether you like the film or not, this is a revealing portrait of how a film gets shot and how the realities of shooting conditions challenge the filmmakers and affect the finished production, and joins the growing list of superior documentaries on filmmaking created specifically for home video releases.

The Manson Family isn't a perfect film by a long shot (framing stories are the pits), but it portrays atrocity as atrocity with the mean precision of John McNaughton's Henry: Portrait of a Serial Killer.

With his underappreciated first English - language film, a relationship drama shot near his island retreat of Fårö, Bergman delivered a compelling portrait of conflicting desires.

The hotel suite he's in to answer questions about the film, King Cobra, is filled with personal publicists, film reps, a photographer shooting Vanity Fair portraits, his co-stars — Christian Slater and Garrett Clayton — as well as the film's director, Justin Kelly.

There are many extraordinary moments, beautiful shots and intoxicating rushes of pure teenage adrenalin in British filmmaker Andrea Arnold's fractured portrait of American teenagers — which makes it all the more frustrating that her fourth film stops short of being more than a fitfully exciting, overlong experiment.

The relationships and events amount to a credible portrait of modern city and family life, but it's the intimate, improvised shooting style (16 mm, natural light, all on location) and Michael Nyman's evocative, memorable score (this often feels like a film made to music) that define the film and give it the sense of immediacy and compassion that make it so enduring.

Sherman first shot onto the New York art scene in the 1970s with her «Untitled Film Stills,» a series of black - and - white film noire style portraits of Sherman herself, donning stereotypical female roles like damsel in distress or femme fatale.

For the portraits, shot primarily in black - and - white film, she asks her subjects to look at her directly in the eye, effectively breaking down the hierarchy of photographer and subject.

Goldschmied & Chiari selected for The National Museum of Women in the Arts, Washington, D.C., biennial exhibition series «Women to Watch,» June 5 - Sept 13, 2015, http://nmwa.org/press-room/press-releases/national-museum-women-arts-announces-artists-featured-biennial-exhibition Rachel Higgins in group exhibition «Negative Space,» curated by Gabrielle Garland and Stacie Johnson, The Knockdown Center, Maspeth, NY, Feb 28 - April 12, http://knockdown.center/event/negative-space/ Rachel Higgins in group exhibition «I Serve Art,» curated by Sara Reisman, Richard & Dolly Maass Gallery, Visual Arts Building, SUNY Purchase, Feb 17 - Mar 27, https://www.purchase.edu/Departments/AcademicPrograms/Arts/artdesign/richardanddollymaassgallery.aspx Josh Slater film «A Short Coma,» and interview featured in The Creators Connect, http://www.thecreatorsconnect.com/meet-josh-slater/ Rachel Higgins in group exhibition «Flat by Fiat,» Brooklyn, Jan 31 - Feb 21, 2015, open by appointment Goldschmied & Chiari: Untitled Portraits listed in «Feature Shoot Recommends: Top 10 Photo Events and Happenings in New York (Jan. 19 - 25),» by Ellyn Kail, Jan 19, 2015 http://www.featureshoot.com/2015/01/feature-shoot-recommends-top-10-photo-events-happenings-new-york-jan-19-25/ Goldschmied & Chiari: Untitled Portraits reviewed in the New Yorker Jan 12, 2015 http://www.newyorker.com/goings-on-about-town/art/goldschmied-chiari Loring Knoblauch's review «Goldschmied & Chiari: Untitled Portraits @kristenlorello» in Collector Daily Jan 12, 2015 http://collectordaily.com/artists/sara-goldschmied-and-eleonora-chiari/ Giacinto Occhionero in group exhibition, «You Don't Bring Me Flowers (+ The Mistress Project), Jan 24 - Mar 7, 2015, http://www.68projects.com/category/exhibitions-future/ Goldschmied & Chiari in group exhibition «Florilegia,» at Grimaldi Gavin, London, Jan 16 - Feb 28, 2014, http://www.grimaldigavin.com/index.php?method=section&action=zoom&id=160&lng=1&forceID=1e3f75e0c66514dbd92d42cc43bbfd19

New Zealand - born Thompson, 30, is shortlisted for a silent black - and - white 35 mm film portrait of Diamond Reynolds, whose boyfriend was shot by police in Minnesota — a shocking event she livestreamed on Facebook.

She shot and edited the film In the Street with Janice Loeb and James Agee, providing a moving portrait of her still photography.

A portrait of Fujiwara's secondary school art teacher, Joanne Salley, who was fired after students found and circulated photographs of her topless, the film showcases Salley's diverse roles and identities, albeit through clichéd shots of her modeling and working out, as well as through teary scenes in which she discusses her difficult childhood and the loss of her teaching job.

The exhibition will also present recent portraits, interviews and film footage, including some moving image pieces shot in Lampedusa and Sicily showing interviews with the people he photographed in 2015.

The black - and - white film is a silent portrait of Diamond Reynolds, the Minnesota woman who in July 2016 used Facebook Live to broadcast the moments immediately after Philando Castile, her partner, was shot by police officer Jeronimo Yanez during a traffic stop.

Includes candid personality shots (playing tennis at home, dressed as a pirate in manacles, etc.) and film portraits and scenes from Montana Moon, Rain, Today We Live, Ice Follies of 1939, Johnny Guitar, Autumn Leaves and more.

In quiet, contemplative tones and shot in black and white, My Education: A Portrait of David Hilliard uses multiple camera angles to reveal different, contrasting views of the same subjects, and the film raises questions and invites discussion about a fraught moment in American history that continues to ripple through society.

Now the artist, who has established a career making portraits of women in lonely, haunting environments — and who has shot numerous fashion campaigns and editorials, including for Bottega Veneta and W Magazine — unveils Face in the Crowd at the Corcoran Gallery in Washington, D.C., alongside a short film starring Elizabeth Banks.

The images in this collection include photographs, artist portraits, film stills, production shots, slides, chromes, negatives, artist drawings, and contact sheets.

In this work Shulie (1997) Subrin remade, almost shot for shot, a rediscovered 1967 film produced by four male graduate students about a young female art student, 22 year - old Shulamith Firestone, in an attempt to create a portrait of the «Now» generation.

Frank W. Ockenfels 3 (BFA 1983 Photography) One of the most sought - after portrait photographers in America; work has been featured in Rolling Stone, Time, Entertainment Weekly, Us, Premiere, Esquire, New York Magazine, Spin; shot album covers for David Bowie, REM, Queen Latifah, Shawn Colvin, Willie Nelson, Jackson Browne, Melissa Etheridge, Don Henley; created images for television shows such as Mad Men, Wanted and for films such as Coraline, Wolfman, the Harry Potter series