Betty is currently on the Board of Directors of Deep Dish TV and Third World Newsreel, two progressive media arts centers that distributes and exhibits
social issue films.
Part
social issue film, part thriller, the doc is full of complexities and gray areas that are embodied by a truly bizarre and elusive character.
Not exact matches
In 2014, he founded Participant Media, a production company that finances and produces
social -
issue films and documentaries.
«Formula One has
issued a new set of
social media guidelines allowing teams and drivers to
film and record their activities to bring the sport closer to the fans.
It also included an evening session going beyond economics and political science to look at how times of fiscal austerity were reflected in
film, cartoon and gallery art, with experts exploring these
issues from the perspective of
social history.
The group used media, such as television adverts, Disney
films, press articles, image bank photography to
social media, to stimulate debate about the particular
issue being explored.
* documentary filmmaker - I make
films about
social issues * teacher - I teach socially conscious filmmaking to children...
Not to say that there isn't other talents who tackle similar projects and important
social issues in
film (Shane Meadows and Mike Leigh spring to mind) but there really isn't anyone quite like Ken Loach.
Both
films integrated
social issues into their narrative fabric quite naturally, even though Creed was angled more as a sports drama.
Despite an arc that feels reminiscent of similar
films that came before it, the
film's focus on timely
social issues make it stand out from the pack.
A lot of my peers have been incredible with embracing
social issues but I would like to see more of it in US
film.
But
films in 2017 offered explorations of far more pressing
issues, even when not directly dealing with the world's increasingly fractious
social order.
«Black Nativity» juggles a variety of contemporary
social issues, and at times it's hard to tell who the
film is pointing its fingers at.
The very fact that this movie tries, dynamically, to do the same will itself outrage some viewers:
Social -
issue films are supposed to be square, dull, and single - note.
If we can say that the 48th New York
Film Festival offered
films that were for the most part concerned with
social issues, we certainly can not accuse the selection committee of putting together a one - note program, or of being restricted only to socially conscious
films produced within the traditions of
film realism.
One of the reasons that I love fantastic genre
film is that it can often find the most relevant and interesting metaphors for dealing with
issues of
social life, be they cultural, political, or sexual.
«Get Out» director - producer Jordan Peele received the Stanley Kramer award for a
film that raises awareness of
social issues.
The IDA also presented the career achievement award on Saturday to Lourdes Portillo in recognition of Portillo's body of work which spans nearly 40 years and includes
films about Latin American experiences and
social justice
issues.
The
film seems to live up to its «cultural phenomenon» praise as a visual masterpiece, with an emotional story arc, women empowerment,
social and political
issues, and Oscar - worthy performances especially from Michael B. Jordan's Erik Killmanger.
Aguilar: The
film focuses on the
issue of obesity, do you think this is a real
social problem in Mexico or are the unrealistic beauty standards placed by the media what turn into a problem?
The latter, in particular, seems underdeveloped with Dag and his co-writer Ladinigg seeming to throw it into proceedings for the sake of reminding the audience that this is an important
film dealing with serious
social issues.
I did not expect the
film to touch on as many
social issues and dilemmas as it does and these
issues are inhabited by a great side cast including Aidan Gillen, Chris O'Dowd, Domhnall Gleeson and Kelly Reilly.
Yet for all the
film's interest in race and
social issues, Changing Lanes demonstrates a level of respect for its audience rare and gratifying, with speeches untainted by proselytizing and themes presented with an even - handed regard for reality and logic.
Every year, the SR Socially Relevant (TM) Film Festival New York highlights
films using the medium to raise awareness for vital
social issues of the day.
IN THE LAND OF BLOOD AND HONEY is the winner of the Producers Guild of America's 2012 Stanley Kramer Award, which honors
films whose «achievement or contribution illuminates provocative
social issues in an accessible and elevating fashion.»
It's a
film that is more concerned about creating mood, atmosphere, symbolism and metaphor with its images and sounds, than a strong narrative or character exploration, and therefore lacks that sucker - punch it perhaps requires in highlighting these political and
social issues.
Four of the nominated
films lean hard on pressing
social issues, always a plus, and no two overlap in subject matter, but the best documentary in this category, Lucy Walker's Waste Land, doesn't lean hard on our
social issues.
Also, the
film tries to address some kind of political and
social issues about big corporations in bed with world governments regarding natural resources like clean water.
While showcasing New York's
issues with homelessness, poverty,
social unrest, and a slew of other
issues that were plaguing the city in the late 80s, the
film still retains Chaplin's sense of humor, albeit in a much darker and grittier tone.
GATTACA brought up many
social issues while also being an entertaining
film, and this is exactly what GOOD KILL is.
It is impossible to discuss the best
films of the year without considering some big
social and cultural
issues.
A romantic comedy, yes, but the
film had a lot more to it than just the main genre it fit into; the soundtrack was fun and complemented the scenes well, as well as the fundamental
social issues addressed in modernized and traditional South Africa.
Notably absent the kind of condescension that can occur when an experienced filmmaker takes on a high school story, here Famuyiwa doesn't just reorient the high school
film around the experience of a young black self - confessed geek, but riffs on
social and class
issues, and the riddles of perception versus reality during those difficult teenage years too.
Although Black Star is not intended as a direct response to the current
social climates in the UK and US, Clark says that a number of the
films in the programme speak directly to what's happening today: «John Singleton's seminal Boyz n the Hood is a prime example: it's impossible to watch the
film and not see very clear connections to contemporary
issues of police brutality and gentrification.
But this year a choice selection of such
films have found their way to Sundance, at a time when the period
film has gained considerable currency as an illuminator of contemporary
social issues.
It's a sequel that has all of the laughs of the first
film with the added depth of a
social issue picture.
October 5, 2016 •
Filmed live at OPB in Portland, Ore., the long - running rock group tackles
social and political
issues with firebrand zeal.
Stray Dog is not one of those single -
issue documentaries dealing with a big public
social issue, but many of these
issues come up naturally, and the
film presents them in a way that leaves it up to the viewers to come to their own positions.
That leaves some of the other
social justice / hot button
issue films perhaps on the outside looking in.
This is, after all, a
film based on the Gene Roddenberry television series from the 1960s that used its futuristic setting as a way to comment on the
social and global
issues of the time.
The picture was an unexpected surprise hit, but instead of tackling big - budget franchises for an encore, Blomkamp decided to create a big - budget sci - fi
film once again tackling many of the same
social issues, this time hovering around healthcare and immigration.
There's a nice go at
social issues, but it feels like a stretch in an attempt to give the
film some sort of reason to exist outside of bringing in easy money for the studio.
The jury only wishes that German feature
films would portray burning
social issues and events with a similar lightness of touch and craftsmanship.
«It manages to confront important cultural and
social issues, but is, at its core, an incredibly suspenseful and entertaining
film.»
The graphic brutality, the warped sexuality, the disconcerting twists on revenge and redemption seem completely out of character for the filmmaker behind such seminal work as «She's Got ta Have It» and «Malcolm X.» Yet that is precisely what makes this jagged
film from a director usually bound up in
social issues so interesting to consider.
And that's what Luis Buñuel did in that
film was to take a huge
social, cultural
issue and reduce it to a single room.
Although the
film does tackle some gender
issues (Kildare's profession has not progressed as he is «not the marrying kind», while Elizabeth is determined to prove women can make it without the help of a man) The Limehouse Golem is more a riveting Victorian thriller than feminist
social commentary.
«We wanted to make the
film entertaining and funny at the same time as we're dealing with complicated
social issues,» says Ostlund of his
film, about a suave museum curator (Claes Bang) whose life unravels when his wallet and phone are stolen.
In 100 Years of Japanese Cinema he basically turns himself into an academician, and not a very good one at that, giving us a pocket
social history of 20th - century Japan in relation to
film, in which aesthetic
issues play almost no role at all.
The Free Zone is a series of programs based on the socially engaged contemporary
film production aimed at addressing current
social and political
issues f...