Sentences with phrase «story structure of the film»

The moderately successful artistic pursuits of this sculptor and retired Bard College professor, coupled with the short story structure of the film, lay the foundation for its exploration of the way in which history and perception become intertwined with identity and how people often cling to an idea of themselves, be it objective fact or socially constructed fiction.

Not exact matches

In a neat piece of narrative structuring on Tanovic's part, this David - and - Goliath story is told partially through the eyes of a film crew making a documentary on Ayan's astonishing findings.

New Nightmare is more aggressive in both scope and structure, allowing it to comment on the art of story telling in a way that so few films do.

The film is by no means terribly long, at least when you compare it to its 1969 musical counterpart, so it's not like storytelling drags its feet for ages, but make no mistake, the fact of the matter is that plotting's structure is something of a mess that meanders along repetitiously and, well, is to be expected, because, really, where does this story have to go?

There are parallels here that can be drawn to Fincher's ZODIAC, another story of murder that became a tangled web of conspiracy, but Fincher knew how to structure his film.

For that 80 % of the film which constitutes the story, the structure and dialog create a mood of nervous terror which the other 20 % nearly blows away.

Inventively structured, the documentary alternates between her early adulthood and her final months, her sad demise casting a shadow over the story and giving the film an air of classical tragedy.

Rather than the typical inciting incident of a film's typical narrative structure, Yang's screenplay builds its story organically, painting a portrait of flawed, tender humans.

Though it does have its own version of a three - act structure, this film is not a conventional narrative that will fit into a tidy box and it's not a story so much as an experience.

To head Jay off at the pass, narrative film and documentary film play in different ballparks in terms of story structure, buget, industry standard residuals.

I love the narrative structure of the film, telling two different stories about the parents of a boy who is supposedly killed - in - action, and the story of the boy on assignment at a remote military outpost (where nothing happens all day).

One of the significant devices used in the structure of the film is the flashback to the story of how Tom and Violet first meet.

The nested story structure and changing aspect ratios are a delightful touch, giving Grand Budapest Hotel a sense of time passed, and making the love and loss in the film all the more resonant.

Watching Hanna, it's easy to see why there was so much buzz around Seth Lochhead and David Farr's screenplay in the few years before the film went into production; the story of the mysterious young warrior is structured in a way that immediately draws the viewer in, and keeps us constantly guessing as the details of her enigmatic past steadily come into... read more

It's a great looking movie with and the story has an interesting, if not as original as Roger Ebert seemed to think it was, structure, with Fiennes's story told in flashback to Binoche until it reaches the beginning point of the film.

First off, as alluded to above, the film adheres very closely to its predecessor in terms of its story structure, so if you've seen the 1976 film, you'll likely be bored in seeing the same scenes play out in ways that are vastly inferior.

The film is about Wilson, and only incidentally about the music, which is fine because, despite the typical rise and fall structure of his story (drugs are bad!)

, is to sift through the mess of character and story that seems to have no structure whatsoever, to the point that even the «official synopsis» on the back of the film gets it totally wrong.

«I wanted story, structure,» Milos said about his film adaptations of E.L. Doctorow's Ragtime and Peter Shaffer's theatrical bonfire Amadeus.

With an approach that emphasises internal feelings and character journeys, over more obvious things like narrative structure and story arcs, this Brazilian - German film challenges audiences to explore a series of important issues in ways movies...

About the resilience of one man's mind, body, and spirit in the face of unending pain and indignity, Angelina Jolie «s POW prestige piece («a true story», according to the film's intro) is an excruciating watch, but the too neatly - packaged structuring and presentation act as something of a blockade between us and Zamperini's mind.

But our favorite performance in the film comes from actress Nelly Tagar, whose Daffi is at the centre of two of the three stories in the film's triptych structure.

To tell this story, Howard — together with screenwriter Charles Leavitt — adopts the familiar film - within - a-film structure, with the action beginning in 1850 with Melville (Ben Whishaw) visiting Nantucket to see Tom Nickerson (Brendon Gleeson), the very last survivor of the Essex and the only man who knows the true story of what went on.

From his attention - grabbing debut with «Reservoir Dogs» (1992), a deviously clever heist film where the heist is never seen and the drama is all in the conversation and the ingenious structure, to his acclaimed «Inglourious Basterds» (2009), his thrilling rewrite of World War II history as a magnificent movie fantasy, Tarantino has gone his own way, snatching up ideas strewn through decades of film history and hundreds of genre movies like a magpie, rethinking them completely, and weaving them into entirely new stories that unfold at a leisurely pace so he can enjoy every word and gesture along the journey.

Arabian Nights is inspired by the structure of the eponymous Middle Eastern folk tales but re-imagined as a modern story about the Portuguese's struggle with a crumbling economy, and it may come to be considered the definitive film about the global financial crisis.

Oliver Lyttleton, The Playlist «There is a vein of dark humour running through Lanthimos» earlier films, but «The Lobster» embraces it wholeheartedly: the film's a blend of the works of Charlie Kaufman and Luis Buñuel, an uproarious yet deadpan satire concerning societal constructs, dating mores and power structures that also manages to be a surprisingly moving, gloriously weird love story.»

Subverting the very elements in which the narrative is structured upon and supplanting it with an anaemic love story brings a certain morality to the film that is absent in the novel and it is doubtful that Taylor Johnson's film adaptation of Fifty Shades of Grey will satisfy even its most ardent fans.

What is most striking about this and the film's structure is its use of modern technology to silently help tell the story.

Instead of crafting deft plot twists, the film relies on random behavior and a confusing structure designed to dole the story out in tiny bits over the entire running time.

This may be a problem with the structure, of trying to tell each of their three stories in one film, which is also trying to be two different films — the silly, male - oriented gross - out comedy and the silly, female - oriented romantic comedy.

But look beyond just the gleam of War Horse, and you'll find a beautiful and structured poem of a film that rhymes its characters and storylines, while telling its story exactly in the way one would expect Spielberg to do so.

They Came Together structures itself as Joel and Molly telling the story of how they met to a pair of friends (played with great reactionary humor from Bill Hader and Ellie Kemper spattered throughout the movie) over dinner and as their story unfolds Wain and company (the film was co-written by Michael Showalter) try to cram in as many daggers to the sides of rom - com cliches as they can in an 80 - minute period.

Experimental film often eschews sequential narrative structure in favour of evoking an emotional journey; the viewer is meant to be engaged by the aesthetic or imagery rather than by the characters or story.

However, aside from a few jokes — which unfortunately don't always land where they're supposed to — and a handful of enticing action sequences — especially the ones surrounding Flash and Wonder Woman — the film, as a whole, feels simplistic in structure and lazy in execution, with the story lacking substance, ingenuity and enough heart to leave a lasting impression.

It's not exactly a story you'd think would lend itself to musical staging, but Minnelli, who pretty much invented the structure of narrative musical storytelling with Meet Me In St Louis, has not lost his touch even in this, his penultimate film, as the numbers seamlessly ingratiate themselves into the plot.

Perhaps if Clooney had handed the script over to someone to work on the structure of the story, we'd have a film that would secure across - the - board raves instead of the mixed feelings it has gotten from most.

The Romanian filmmaker whose films explore moral dilemmas with strong formal structures, discusses his latest film, The Fixer, which looks at the impact that journalists have on the subjects of a sex scandal story, as well as his own moral dilemma as a filmmaker.

What I can promise is a powerful, towering, yet intimately - told epic with excellent performances, a unique structure, and a story that's told with as much passion and angst as the myriad of sons in the film, all of whom become the fathers of their own legacy, whether they want to or not.

While very, very similar to Paris Je» Taime in both structure, mood and style, one thing that the film does differently is give it's audience a sense of connections between some of the characters and their otherwise separate stories.

This shouldn't be taken so much as a comment on the quality of the film, as it is more of a reaction to the structure of the story.

Pinchot and Gruber structure the film around two story arcs - a detailed account of the Entebbe action and a biographical sketch of Netanyahu from his birth in New York to his childhood in Cheltenham and his service in Israel, with testimonals from family members, friends, and formative figures in the young soldier's life.

Illogically taking place entirely on the first day of camp — they mount an entire theatrical production in a day, for example — the structure of the new «Wet Hot American Summer» allows Wain and his team to play with the back stories of beloved characters from the film.

How do you structure a film based on a true story that lasted 69 days, occurred 5 years ago, and was followed live on TV by half of the global population?

Without bogging itself down in exposition or clogging itself with an overuse of special effects, this film had a solid structure that kept the story going.

The story of a modestly successful improv comedy troupe that is pulled apart when one of its members (Keegan - Michael Key) is offered a job on a big, SNL - like sketch show, the film is nicely structured, gently witty, and it boasts an excellent cast (also including Birbiglia, Gillian Jacobs, Chris Gethard, Kate Micucci, and Tami Sagher).

It's completely fine to tell a story out of sequence, even keep your audience in the dark but this film is obnoxious in its structure...

Besides using an ill - advised flashback story structure that gives away the movie's ending, some of his editing and film techniques just kill the action dead in its tracks.

It's a touch disappointing that the film's biopic structure proves as constraining as it does; most of the story beats play out as you'd expect them to in a film like this one.

[4] Writing in 2005, David Braben described the narrative structure of current videogames as «little different to the stories of those Harold Lloyd films of the 1920s», and considered genuinely open - ended stories to be the «Holy Grail we are looking for in fifth generation gaming».

The film avoids the structure of story and narrative, built instead as a musical composition, creating an ambiguous psychic space for the viewer to enter.