Sentences with phrase «structure of the film works»

The basic structure of the film works and director Jaurne Collet - Serra does the best he can with redundant material.

Not exact matches

People complain about Marvel's servicing of its connected universe, but the Justice League set - up in this film makes Iron Man 2 look like a strongly structured work of a single vision.

But Out 1 was one such film, an unforgivingly experimental work of serpentine narrative structures and conspiratorial cul - de-sacs that demanded the repeat viewings and deep immersion a home video release could afford.

The first half of the film is a well - structured inter-cutting of Valerie Wilson's intelligence work in the Middle East with the Washington - based analysis and application of such intelligence.

It may follow the same exact structure as many of the other films, but it's a structure that works, and Ridley Scott has made sure to include this in his most recent visitation to the franchise he helped create.

Magnolia is so unique in its structure that there really isn't a single star stealing the show: there are more and less inspired performances, perhaps, but the majority of the roles are so convincing and well - performed that the film basically works fine as the highlight reel of each and every cast member's career.

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.»

Terry Notary's daring work as a man living as a monkey (not too far - fetched considering his past roles in «Kong: Skull Island» and «War for the Planet of the Apes»), is the film's most enthusiastic and earnest scene that can stand brilliantly as a short film rather than a part of the film's ultimately flawed structure.

The film's bizarre structure, starting with tons of exposition and character development, and spiraling into a courtroom drama magically works through Leigh's even - keeled touch.

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.

All the films are structured around work or the lack of work.

Instead, right down to the nearly synonymous title we get a lurid, silly «Prisoners» me - too (and that film itself was far from flawless) in which the only additions are a flashback - and - forward structure that never works, the kind of contrivance in which a laptop camera accidentally left transmitting records a crucial conversation (perfectly framed) and a crude, distastefully regressive subtheme which suggests that well, of course that this is what happens to girls and to women (even successful, intelligent, independent women) when they are left alone even for a moment by their menfolk.

Director Sidney Lumet - working from Kelly Masterson's screenplay - has infused Before the Devil Knows You're Dead with a complex, time - shifting structure that doesn't work quite as well as one might've hoped, though there's little doubt that it effectively keeps the viewer guessing through the majority of the film's running time.

Instead, right down to the nearly synonymous title we get a lurid, silly «Prisoners» me - too (and that film itself was far from flawless) in which the only additions are a flashback - and - forward structure that never works, the kind of contrivance in which a laptop camera accidentally left transmitting records a crucial conversation (perfectly framed) and a crude, distastefully regressive sub-theme which suggests that, well, of course this is what happens to girls and to women (even successful, intelligent, independent women) when they are left alone even for a moment by their menfolk.

Margot Robbie provides equally great work in the lead, and the film does a whole lot to challenge the conventional structure of a biopic.

There is a pretty clear three act structure at work in Life of Pi, partially because of the bizarre choice of a framing device to introduce and conclude the film.

British film director Steve McQueen's 2008 debut film, Hunger, is notable for many reasons: It is a great film, a great debut film, uses an innovative narrative structure, uses interesting cinematography in concert with its soundtrack, makes the best use of ambient sound to have the best non-musical soundtrack I've heard in a long time (if not ever), is the work of a black artist that is not obsessed with black only topics, and shows a maturity and grace that goes beyond even the first films of directors like David Gordon Green, in George Washington, and Terrence Malick, in Badlands.

A 22 1/2 - minute alternate ending that is included on the DVD changes a few shots, the entire structure of the film, and very little emotionally - three extremes that should not be working in conjunction.

Its fine - grained structuring that relies on repetitions, doublings, mirroring and minor variations on major motifs — reminiscent of the work of Korean filmmaker Hong Sang - soo — renders the film very robust.

My main problem with these found footage films is that while the initial concept is very novel and could lead to exciting formal experiments, none of the filmmakers working with it seem to be willing to deviate from traditional narrative and structure.

It's not the most plot - heavy of films, dancing from skit - like episode to episode, a structure reminiscent of the aforementioned «Frances Ha,» a parallel further underlined by the black - and - white photography (if anything the 35 mm work here, by photographer Sara Mishara, is even better than in Noah Baumbach «s film).

While critiquing and questioning the work against very traditional ideas of dramatic tension, structure, character, dialogue, and so on, other questions are continually asked: What do you want this film to say?

With Wiseman's films, it's often tempting to try and work out the underlying structure, even while you're watching them, to break them down into discrete sequences, and thereby discern the broader thematic movements or acts (depending on your artistic analogue of choice).

And... the query letter sample structure below is what I used to get book deals with houses like: Simon & Schuster, St. Martin's, Hyperion, Prentice - Hall, Workman, Andrews - McMeel, Entrepreneur, Barron's, Amacom, and more... resulting in millions of books being sold, as well as works being picked up for TV, stage, and feature film (with companies like Paramount Pictures and DreamWorks).

Of course time exists very clearly in painting, although in the opposite way to music or film; it's telescoped into the structure of the work, and expands into its constituent elements only after the whole has been experienceOf course time exists very clearly in painting, although in the opposite way to music or film; it's telescoped into the structure of the work, and expands into its constituent elements only after the whole has been experienceof the work, and expands into its constituent elements only after the whole has been experienced.

In more recent works, Fraser goes to extremes of self - instrumentalization in order to perform the very power structures she criticizes, most notoriously in Untitled (2003), a film showing her bedding an anonymous art collector.

Their work mined the cultural consciousness of post-war America, heavily embracing the mediums of photography and film that structured both the cultural and political mindset of the nation at the time.

Taking the movie poster as a model, Asher eliminated the image and expanded the production information to focus on the film's structure and on the people whose work shaped the raw material of the documentary subject matter.

This screen and its pattern forms the structure of the video and sound work shot and assembled by Williams, less a film than an animated graphic composition that draws from the histories of weaving, capitalism, technical systems, and landscape.

This comes with an obtuse, unparsable press release, which piles on references to Nelson's work from the nineties, the film «Solaris», philosopher Thomas Metzinger, and analyzes his work through structures of time and psychic forces.

Yet the popular cultural fear of the spider reinforced in films such Arachnophobia (1990) sets up a duality inherent in a work structured on contradictions: it is both repellent as a cultural memory and attractive as a glistening material presence.

Mark Themann (Germany / Australia) Go Into This Space presents an evocative single screen DVD work, a silent film that consists of phasing texts, interrupted by flashing color fields, and utilizing structures of invocation and evocation.Location One is a not - for - profit organization devoted to the convergence between visual, performing and digital arts in a time of rapidly changing technology.

In this inventive publication, Atlas's own commentary accompanies exquisite images that capture the structure and flow of his work in film, video, dance, and performance.

He co-founded temporarycontemporary after graduating from Goldsmiths College and has since gone to develop a series of curatorial infrastructures and artist support structures along side his film works.

One of Ledare's films, initially commissioned for Manifesta 11, will screen here in connection with the Swiss Institute's current show of work involving social systems and power structures.

All have thought seriously about the form of their work, and the three film - makers combine images from the past with more recent footage as a way of playing with conventional narrative and visual structures.

Addressing the structure of the medium, the nature of the cinematic experience, the relationship between still and moving image, the quality of illusion, the power of narrative, the live act and its representation, Wallinger's film and video works have explored an astonishing thematic range with great intelligence and originality.

It is not translation per say that structures the work of Bethan Huws, rather it is the investigation of procedures of displacement and the search for origins in language that has led to her interest in translation as one of clearest ways of making them manifest (procedures of displacement and the search for origins are also found in her installations, in Scraped Floor, and in her readymades, watercolours, and films).

Barba's work explores the material properties of film, such as the celluloid filmstrip, projection and sound apparatus, while at the same time probing the structure of cinematic narrative and its relationship to memory itself.

Drawing on anthropologist Mary Douglas's interpretations of sociologist Ludwik Fleck, the exhibition juxtaposes works that were produced in collective environments in the 1990s with new structures and films produced alone; as such the exhibition reflects on the contradictions that arise between the individual and the group in relation to the production of art.

Working with composers and film / theatre crews, Ayoung Kim utilises storytelling and narrative structures to evoke alternative forms of reading, listening and thinking about our present human condition.

His investigations into linguistic structures and visual systems have resulted in a wide body of work that includes books, films, videos, performances and audio works.

As a group, the vertical projected works continue McCall's exploration of sculptural form, durational structure, and the possibility of representing the corporeal, which began in 1973 with his seminal film, Line Describing a Cone.

Kyle Jenkins is an Australian artist who uses paintings, collages, photographs, objects, Marquette's, books, films, wall paintings and works on paper as a way of expanding upon the aesthetic possibilities of structures and how these are a way of examining the world as a series of abstract representations, compositions and constructions.

A LIKENESS HAS BLISTERS Artists: Aki Sasamoto and Agnes Martin Curated by Leora Morinis Bringing together performance, sculpture, film, text, and cooking, A LIKENESS HAS BLISTERS explores the form, logic, and capacity of metaphor in and through the work of Aki Sasamoto and Agnes Martin, and within the structure of the exhibition itself.

Through his work Grant opens a dialogue on geopolitical issues with colorful landscapes, structures and technology drawn from ideas of various utopian and dystopian fictions, drawing influences from the constructivist / supremacist movement, Persian miniaturists, op, pop, advertising, comics, science fiction films, and contemporary low - brow.

Using visual subject matter that was wholly abstract, filmmakers could create works that, while occasionally interpreted as apolitical and «safe,» actually utilized complex structures and challenged viewers to reexamine the narrative basis — and in some cases the very materiality — of film.

Featuring a work of the same name, «The Calling» (2014) is a three - channel film about alternative structures of language that connect at times disparate and remote communities.

His work can be divided into two strands: composite film portraits of historically marginalised figures such as R.D. Laing and investigations into the deeply ingrained structures and predispositions that underpin our perceptual and phenomenological experience of image and sound.

Inspired by histories of modernist abstraction, architecture and the perceptual and organizational structures of nature, Mangrané's work encompasses drawing, sculpture, light, and film elaborated as part of poetically scripted environmental spaces.