Sentences with phrase «white film showing»

Its a few minutes of grainy black and white film showing a couple making love, and muttering a few inaudible comments.

Not exact matches

When the White light shines through the film of the bubble, the light is reflected and dispersed, splitting white light into its different wave length and showing all the colWhite light shines through the film of the bubble, the light is reflected and dispersed, splitting white light into its different wave length and showing all the colwhite light into its different wave length and showing all the colours!

The film is subtle in its appreciation of Mandela's abiding greatness: his popular and personal touch, showing how he insisted on having white protection officers among suspicious black ones and in keeping on the white civil servants who had served his white predecessor and who feared the sack from their new black president.

In a show of force intended to reassert himself as a catalyst of voter passion and populist fury, Trump drew thousands of supporters to his Long Island rally, filling a cavernous film studio with many of the blue - collar white voters who have powered his bid and are crucial to his winning statewide.

The artifacts are part of an oral history project shown in 1986 that were digitized from black - and - white film, capturing children in the Bronx from 1895 to the early 1980s, all done by Georgeen Comerford.

Labour MP Dianne Abbott wore an unusual bright blue suit with white detailing on the BBC current affairs show filmed in west London last night.

The film, which premieres tonight at the University of Wyoming in Laramie, will be accompanied by a touring photo exhibit showing black - and - white shots of some 40 female scientists donning beards, by photographer Kelsey Vance.

In a classic study often dubbed the «Invisible Gorilla» test, researchers showed participants a film clip of several people passing a basketball back and forth and asked them to count the number of passes between players in white and to ignore the players in black.

Seeing it depicted in black - and - white in French film Angel - a by director Luc Besson just showed how magnificent it still looked even when it wasn't in colour.

He showed up frequently in the films of Humphrey Bogart, most memorably as the white - suited gent in Casablanca (1942) who turns to Bogart after the arrest of Peter Lorre and sneers «When they come to get me, Rick, I hope you'll be more of a help.»

Mr Pleasence most definitely steals the show throughout this film no doubt, Welsh as usual is nothing more than eye candy in a tight white jumpsuit.

Also impressive is director Wenders» use of his and Lisa Rinzler's shoots in Assisi, black - and - white, deliberately faded and silent film, showing an actor playing St. Francis who at the key point in his life heard God tell him to restore a dilapidated church — which I believe he did thinking that God's will is more important than his father's rage at the saint's alleged throwing away his money.

He benefited hugely from his association with Foxworthy, who featured the comic in an occasional supporting role on his sitcom The Jeff Foxworthy Show; the two then teamed up with Larry the Cable Guy and Ron White for the mega-successful Blue Collar Comedy Tour, which spawned its own concert film in 2003.

He frequently showed up in the films of directors Cecil B. DeMille and John Ford; in Ford's Young Mr. Lincoln, he played small - town lout Scrub White, whose murder sets in motion the film's classic courtroom finale.

When we go into a film of this sort, we expect to see White People Behaving Badly, but to view an African - American who shows such antagonism toward his own people, it becomes a more startling sight — and it must be tougher for an actor to take on such a part.

However, when we examine 2 of his latest films (white ribbon and cache), it seems to me what stands out is his ability to use the concept of mystery and show the viewer that in cinema, as in life, there are things beyond our understanding, and nihilism isn't so bad if you can accept that.

Tarantino, who began the film in black and white before switching to color, plays with formats here, too; to suggest the claustrophobia of being buried, he shows The Bride inside her wooden casket, and as clods of earth rain down on the lid, he switches from widescreen to the classic 4x3 screen ratio.

The White House seems cushy and inviting here, like a grand hotel — it's easy to imagine flopping around on the presidential bed — and the warm way the setting is visualized melds with the film's impish attempt to show us the human side of America's ruling elite.

John Cho, who drew my attention for the first time when he appeared in «Harold & Kumar Go to White Castle» (2004), shows another side of his talent here in this film, and he has an unaffected onscreen chemistry with his co-star Haley Lu Richardson, who previously played a substantial supporting character in «The Edge of Seventeen» (2016) and will probably advance further considering her charming presence on the screen.

Their essential scumbaggery is duly punished with symbolic prison sentences which help to perpetuate the myth that white collar crime is victimless, even when the film shows that it clearly isn't.

«And so what better way than to show the silent - movie period in black - and - white [35 mm] negative,» he said, «and for the»70s we looked to the urban reality grit of New York films like Mean Streets, The French Connection and Midnight Cowboy — a much rawer look.»

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.

Infidelity is something we are shown as very black and white, the film segues a bit too simply into the affair and might have felt richer had it explored in more detail the emotional circumstances of that segue - it just looks too easy.

The film is written by the same creative quartet that work on Jamie's television show, so they know the character inside and out, and how much you find funny will also greatly depend on whether or not you know white kids like Brad Gluckman yourself, the well - off white kid who wants so desperately to be down with the hip hop lifestyle.

Former documentarian Michael Campus (Christmas Cottage, Z.P.G.) takes a more personal approach to Robert J. Poole's oft - revised, oft - improvised - off - of script, showing these characters as fully realized people, each with his or her own strengths and weaknesses, all a bunch of gray areas instead of the black and white, both figuratively and literally, of other Black cast films to come out at the same time.

Director Rupert Sanders, producer Joe Roth and stars Charlize Theron and Kristen Stewart were on hand to talk about Snow White and the Huntsmen (opening June 1) before showing some clips from the film.

The sister, Anne, played by the singer Zendaya, falls in love with Phillip Carlyle (Zac Efron), a wealthy white actor who invests in Barnum's show for reasons the film is completely unable to explain.

, which shows black - and - white B - roll footage of an aged Curtiz (this was one of his last films) directing his actors on the set.

The best scenes in White God show Hagen's early solidarity with the street dogs into whose company he's been forced; surely no recent fiction film has conveyed with such respect the way animals interact on their own terms.

Meanwhile, the two race relations films end on entirely optimistic notes, with «Guess Who's Coming to Dinner» presenting an interracial couple as the wave of the future, and «In the Heat of the Night» showing a formerly racist white police chief (Rod Steiger) and a black detective (Poitier) coming to a place of mutual respect and acceptance.

This is not a film that was in need of restoration, thanks to fine stewardship of the Sony archive under the able leadership of Grover Crisp, and it shows: crisp and clean with rich black and white

It also shows just how little the industry seems to care about the critical sentiment that has built up against Martin McDonagh's film in recent months, much of it directed specifically at Rockwell's Dixon, an ill - tempered white police officer with a fondness for beating up black suspects.

Biracial, militant radical film student Samantha White (Tessa Thompson) hosts a controversial radio show called Dear White People where she routinely calls out the racist practices of her school and its White student body.

Since retiring from show business, Day has devoted herself to her first love with the Doris Day Animal Foundation.This documentary details her dramatic life story and career, guided by Doris along with famous friends (Betty White, Clint Eastwood) and admirers (film critics Roger Ebert and Molly Haskell).

The jokes here are classic Woody Allen, and the fact that he chose to shoot the film in black - and - white shows a particular confidence.

Unfortunately, the evidence shows that white people are reluctant to watch minority - dominated films.

Starring Carey Mulligan, Garrett Hedlund, Mary J. Blige and Jason Mitchell, the Netflix film shows the interconnected lives of a black family (the Jacksons) and a white family (the McAllans) living and working on the same farmland as both see relatives return home from the war.

• We did an entire program in celebration of black - and - white cinematography in May 1989, and filmed the show itself in black and white.

TCM is showing Chabrol's first two films Sunday night and Monday morning: both noir gems in black and white: the riveting «Le Beau Serge» (1958) and the masterly «Les Cousins» (1959).

Shot on a combo of 35 mm and 16 mm, the black and white Academy cropped image contains plenty of detail and contrast, even showing an adequate amount of film grain.

To counter the common rap that he makes the same film over and over, The Day After, which competed for the Palme d'Or, is one of his most melancholic works, filmed in moody black and white, while Claire's Camera, shown out of competition, is its tonal opposite, a light and sunny divertissement shot on the fly during last year's Cannes.

White's familiar yet flithy animated style has reimagined scenes from 30 films and shows never meant for animation.

The one aspect with a chance of setting the film apart — racial differences, as Lance takes over the body of a rich, white guy — shows up only in lame, surface laughs.

The trailer also won't erase skepticism toward Wright's assertion that the film will challenge «preconceived notions» by being «multiracial,» since it basically just shows a bunch of white people playing dress - up.

In the process of showing us this transformation, Majidi takes us into a world that most of us will never see except on film — an Iranian industrial city, its white skyscrapers dwarfed by mountains in the background.

Made in 1992 and shown at the Sundance Film Festival in 1993, this black & white 16 mm short plays out similarly to the first third of the film it inspires, with the bookstore heist described but not seen.

Directed by Liza Johnson and starring Kevin Spacey and Michael Shannon, the film imagines the comical details behind The King's famous photograph with President Nixon after he showed up at the White House in 1970 seeking to be deputised by Nixon into the Bureau of Narcotics and Dangerous Drugs.

Read our review of Get Out, an analysis of how the film deconstructs racism for white people, and an exploration of how its nominations show the Academy's shifting relationship to horror.

The film shows the Point of View of a young white drug dealer in Tokyo who is killed by the police and spends the length of the film floating around time and space, seeing how his life and death has affected those around him.

The color footage used in the film is primarily of Auschwitz in 1955, coming off as a ghost town of ghastliness; the older, black - and - white scenes are the ones inspiring anger and revulsion, showing in rapid succession the rise of the Third Reich, the building of the camps, and the atrocities committed therein.