Sentences with phrase «static shot of»

A one - screen version of the work that premiered last year at Dia: Beacon in upstate New York, it features an extended static shot of the choreographer — like a living sculpture — sitting in a chair.

In New York the camera move continuously through three landscapes; in L.A. the camera cuts between two urban landscapes and ends on a static shot of the city.

An excerpt of sounds and score plays through once over a static shot of the prison for the Blu - ray and DVD's main menu.

Why is there a 15 - second static shot of a penis?

Why is there a 15 - second static shot of a vagina?

That said, it is Nicholson, his fascinating character, and Payne's empathy toward him that ultimately rules over the entire film; a simple, silent, static shot of his face is one of the most beautiful, powerful, indelible images of the 2002 movie year.

Certainly, his latest film exhibits many of his most characteristic features: an early static shot of a concert audience once again emphasises spectatorship as a primary concern; we meet, as so often, a bourgeois family about to experience severe suffering; Emmanuelle Riva follows Isabelle Huppert, Juliette Binoche and Naomi Watts in giving an extraordinary performance in response to psychological terror; and violence, with its attendant guilt, comes as a shocking intrusion into this world.

The menu is a static shot of the hotel which only sometimes attaches some yodel score.

The Blu - ray's menu plays an excerpt of end credits score over a static shot of Fagin and his crew scooting, with the title logo at least given a taxi cab checkered border.

Somewhere is a movie that requires patience to watch and surely required patience to make.The film opens with a two - minute - long static shot of a sportscar circling a dusty racetrack.

There were three cameras in the studio but nobody manning them, so viewers channel surfing on the far shores of the city's cable system were treated to static shots of the whole panel behind a plain wood veneer desk — no cuts from one speaker to the next, and however ready the guests might have been, no close - up was available.

Refraining from applying a didactic form and eschewing the traditional trappings of a more conventional documentary such as talking heads interviews, instead Wiseman allows At Berkeley's 4 hour running time to speak for itself: static shots of a lone groundskeeper cutting the campus grass give way to glimpses of a budget cut meeting where it's revealed that said groundskeeper is Berkeley's sole grass cutter.

Explosions cause the camerawork to become appropriately handheld and edgy, shifting from the unflashy framing and mostly static shots of the rest of the film.

Writer / director Hallie Meyers - Shyer gives the movie a wacky and unlikely premise, the easily resolved conflicts that drag on to fill time, and, at times, a visual aesthetic of static shots of rows of over-lit actors.

With a colossal running time of 485 minutes (nothing Lav Diaz fans will be too surprised about), A Lullaby To The Sorrowful Mystery is made of static shots of various characters lamenting, musing, longing, confessing, discussing, sharing, divulging, singing, listening, and crying over the intolerable cruelty suffered by the Filippino people under an oppressive Spanish rule.

Action shots, in which cows walk around and eat, are interspersed with static shots of the monochromatic sky.

Not exact matches

The ingenious scooped pass of Aaron Ramsey over the away side's static defence found the Ivorian attacker and he slipped his shot beneath the body of Asmir Begovic to make the score 1 - 0.

While I wouldn't normally suggest someone buy a hair brush for $ 70, if you have a problem with more tangles than normal or lots of static, then this might be worth a shot for you.

It was a static camera shot of the beach with almost no political messaging beyond his campaign logo.

If you're looking for a static target instead of moving shooting targets for sale, this Xsteel one might be just right for you.

Hamaguchi arranges most sequences around a handful of static, roomy medium shots that subtly suggest emotional dynamics through camera and actor positioning.

Miss Julie is a rather strange experience, with its consistently static medium shots of the three actors, as they roar their lines at one another.

While the milieu of The Strongest Man might be overly familiar to those who watch a lot of indie films (lots of static, symmetrically composed shots, a cast of disaffected, ennui - filled characters), Riches invests enough humanity in the story to make it worth seeking out.

The Latasters rarely put a foot wrong - from their static opening shot in the town of Hapert to the final frames of Miss Kiet in her classroom, this is a beautifully - judged piece.

Is it a combination of length and deliberate pace, or a favoring of long, static shots vs. montage and whip pans?

Alternating between static shots that emphasize the decrepit landscape and traveling shots in which the camera is fixed to the front of the wheelchair, writer - director David Robert Mitchell finds a terrifying means of conveying necessary exposition.

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.

I mean, the opening shots of black static were so amateurish I was sure it was a short preceding the feature.

In the last decade or so, beginning with Bryan Bertino's 2008 «The Strangers,» horror movies have increasingly built tension not through rapid editing but with static wide shots in which a flicker of movement portends the onset of danger — a technique institutionalized through the security - cam aesthetic of the «Paranormal Activity» series.

If you think static camera shots in Volume 2 were annoying, Volume 3's The Tale of the Chaffinches would do you in.

Like Lanthimos, Warmerdam tempers the inherently twisted narrative with a flat, static visual style of medium and long shots, long takes, natural lighting, and minimal camera movement.

«I knew I wouldn't have enough time for camera movement or a whole lot of action... I had a whole bunch of people and made it like Nashville where you can always cut away to another little sub-plot, and it seems to be moving even though the shots are static.»

The film flatters us by leaving exposition and backstory to our knowledge of anthropology — in fact, Animal Kingdom is best indicated by its unwavering reserve — a reluctance, almost — to say too much when slow, fluid tracking motions and static, medium - distance establishing shots may suffice.

But its fragmented narrative structure, played out via flashback through the reading of jumbled correspondence, produces a dissonant effect at odds with the gentle nature of the director's fixed - mount static shots, pans, and zooms.

Though Ozu was discovered relatively late in the Western world, his trademark rigorous style — static shots, often from the vantage point of someone sitting low on a tatami mat; patient pacing; moments of transcendence as represented by the isolated beauty of everyday objects — has been enormously influential among directors seeking a cinema of economy and poetry.

So, you had Phil Morrison, the director of «Junebug,» talking about the static, empty interior and exterior shots he «lifted» from Ozu, as a way of giving his movie some breathing room.

White Night is a old - fashioned survival horror, made of mysterious monsters, puzzles and static shots.

If Lady Bird is, as Gerwig asserts, a «love letter to Sacramento,» then this montage of everyday, easy - to - take - for - granted sights is the big S.W.A.K. on the envelope, an unmistakable declaration of affection; the static shots throughout the movie of old neon signs from Gunther's, the Tower Theatre and Club Raven could be considered the missive's heart - shaped punctuation marks; and the purposeful use of light, about which Gerwig was particularly exacting (she dutifully studied the Sacramento landscapes of renowned contemporary painters Gregory Kondos and Wayne Thiebaud to make sure the color and intensity were just right), is suitably analogous to the fine mist of perfume that will linger after the pages have been folded away.

Buzzing along towards impending disappointment, the camera eyes static horizon shots, with endless stretches of bleak farmland serving as visual commentary of the washed up wasteland that industry America has become.

While the near - ubiquitously quiet and heavily colour - graded static shots amplify the mood of hopelessness, Solondz allows for the occasional flourish that, rather than add needless quirk, brings a deeper sense of sadness overall.

Through highly ordered static images that unfold in a variety of shot distances, the film suggests that achieving a coherent perspective on any subject matter necessitates an innovative, and evolving, approach to constructing one's vision of the world.

Visually, The Florida Project owes much of its approach to cinematography to Wes Anderson — the colors recall The Grand Budapest Hotel, and the numerous long shots where the camera holds still, placing the children as small specks moving across a static background from a frontal viewpoint, are very Anderson-esque.

The hallmarks of his rough - edged, location - shot style (gritty textures, slurred motion, blown - out source lights, and oversaturated colors) are analogous to the calculated use of distortion and feedback in commercial music: the surface static keeps the dance beat and pop melodies from seeming saccharine.

Not that anyone could have made much with such a talky script, and directing so static, a camera might as well have been mounted on a tripod by Pacino to shoot most of the scenes.

Barely updated from a relatively early Warner Blu - ray, the main disc here begins playback of the film right away and doesn't so much feature a traditional menu as a screen - sized list of bonus features (placed in front of a static Pacino shot) that pops up after the film is completed.

The basic menu attaches a little piano score to a static design that places some of the poster's color behind the cover two - shot.

The Tribe is a magnificent example of long - take cinema, sometimes using static shots, sometimes using a Steadicam to follow characters through the labyrinthine school corridors, or into an extremely elaborate group setup.

Though Grau's eye constructs a kind of internal framing within static shots — Maud at home with her husband and child — to represent the feeling of entrapment that existed even at home.

A Ghost Story unfolds in long, static shots, most of them without faces to hang onto.

Whereas the earlier films, mostly shot by Dietrich Lohmann, often framed the groups or members of the group in static tableaux in order to highlight their solidarity and opposition to a lone outsider, this film (Fassbinder's ultimate collaboration with Michael Ballhaus) uses an almost constantly moving camera and a remarkable succession of framing and fracturing devices within the camera frame to underscore the shifting alliances, individual isolation, and internal struggles of the characters.