Sentences with phrase «white film stills»

I think it's fair to say that I bought Cindy Sherman in her first exhibition in a group show, with some of her black - and - white film stills framed together in those days as a collage of 10 images, and went on to buy much of her work for the next few years.

The double portraits are based on black and white film stills.

Artist Statement My recent paintings include portraits of couples based on black and white film stills as well as paintings that re-envision artwork by other painters.

Bee, a painter, editor, and book artist, has recently worked on a series of oil paintings depicting colorized black - and - white film stills from noir films, such as Pickpocket (1959), Criss Cross (1949) and Trouble Ahead (1935).

A Production Gallery (5:15) runs classy character - sorted black & white film stills (including seven from a deleted scene) and production photos in screen - filling 16:9 while excerpts of Morricone's score play.

Not exact matches

Instead, black - and - white stills from Warner Bros. films adorn the walls (Cineplex struck an exclusivity deal with the studio on the decor).

Although White is absolutely right about the tendency of today's animated films (Tangled included) to pander to the most annoying and depressing aspects of popular culture even as they ignore or deny the richer, deeper culture from which most classic fairy tales emerged, the animated features that Disney brought to the screen when Uncle Walt himself still oversaw the studio made a point of drawing considerable aesthetic, emotional, and narrative power from specifically Christian aspects of the culture that, even today, America shares with Europe.

I still use film too but I have rolls of undeveloped film because I can't afford to get them developed at the moment or find time to go into the darkroom (I have got mostly black & white).

How could he leave out the wonderful Alec Guinness film The Man in the White Suit (about a chemist who invents a fabric that never gets dirty, never needs ironing, never wears out — and nearly causes a revolution because it is too perfect) Fortunately, Perkowitz does include The Day the Earth Stood Still (the film in which Patricia Neal delivers one of cinema's most famous geek catchphrases: «Gort!

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.

Although in many respects a more stylish, authentic, tougher - minded film than «Hotel Rwanda,» director Michael Caton - Jones» respectable and well - intentioned Beyond the Gates (aka Shooting Dogs) still falls into the trap of filtering an inherently African story through the eyes of a noble white protagonist — in this case, two of them.

Wenders» choice to pepper the film with stories about Pope Francis» namesake, the venerated Saint Francis of Assisi, already feels off - kilter for such a present - focused feature, and get weirder still when they turn into flickering, black and white recreations of the saint's journey to God.

Some of his most notable film credits include TYRANNOSAUR, SNOW WHITE AND THE HUNTSMAN, JACK THE GIANT SLAYER, WAR HORSE, SHERLOCK HOLMES: A GAME OF SHADOWS, HANCOCK, MISSION: IMPOSSIBLE III, V FOR VENDETTA, MIAMI VICE, THE ILLUSIONIST, 21 GRAMS, and GANGS OF NEW YORK, among others, and most recently could be seen in THE WORLD»S END and STILL LIFE.

Since the controversy erupted, director Laura Brownson and team exclusively filmed with Rachel, her sons and her adopted sister Esther, capturing the intimate, vérité life story of a damaged character who lands squarely in the cross-hairs of race and identity politics in America — and exploring how that character still provokes negative reactions from millions who see her as the ultimate example of white privilege.

Still, the cast — which also includes Tom Wilkinson, Ruth Wilson, William Fichtner, Barry Pepper, Helena Bonham - Carter and James Badge Dale — is strong, it looks gorgeous, it'll carry a score by Jack White, and we remain fond enough of the original «Pirates» film that we'll always be hopeful that Verbinski & co. can do the same thing for the big budget Western.

Like White / Arteta did for Jennifer Aniston (The Good Girl is still her best film work), Hayek delivers one of her most impressive performances.

Even while spending quality time with John, Emily, President Sawyer, Finnerty, and the head of White House security, Martin Walker (James Woods), you still know what's coming, but Emmerich doesn't just hand over the action as quickly as most films, giving «White House Down» an impressively effective build before unleashing the ultimate display of DC destruction.

In «Brad's Status», a movie that distances itself from the usual Stiller films, writer - director Mike White walks the fragile line between humor and heartbreak.

Hooper's film still works as a product of its era, but the premise of an overly generic white suburban family haunted by supernatural spirits in a PG - 13 throwdown isn't something that translates well to the modern age.

But though Kassovitz sticks to black - and - white in the body of the film - black - and - white still says verite to us, even though news footage is now invariably in colour - he doesn't restrict the camera's role to passively registering events.

Dodgeball: A True Underdog Story has become a sports cult film of sorts — one of the best of the Frat Pack movies — telling the story of the scrappy dodgeball team at Average Joe's gym, led by Peter La Fleur (Vince Vaughn), going against Ben Stiller's White Goodman and the formidable Purple Cobras from his Globo Gym.

He's helped by a very entertaining cohort of co-stars which include holdovers from the previous films like Ving Rhames (Pulp Fiction), Simon Pegg (Shaun of the Dead) and Jeremy Renner (Kill the Messenger), and newcomers like Alec Baldwin (Still Alice), Sean Harris (Harry Brown) and Rebecca Ferguson («The White Queen «-RRB-.

The 1980s drama that countless others have attempted to mimic still holds considerable sway close to three decades later, with French film Little White Lies (Les petits mouchoirs) the most recent film to follow in its footsteps.

Emulating the film's design, the scored menu tastefully displays clips and stills in squares and rectangles against white.

I still remember my astonishment, sustained throughout the film, at his feature debut The Element of Crime — this blasted black - and - white world served up in curry - sauce monochrome, with an obviously English detective making his way through an obviously not - English city trying to solve a series of crimes — a climate of crime, really — which as I recall never did reach any identifiable conclusion.

This universal rite of passage inspired her screenplay for Lady Bird, which she started crafting in 2011, soon after shooting scenes for her title role in the film Frances Ha at the Sacramento airport, at her childhood home in River Park, where her parents still live, and at Burr's Fountain, a frequent haunt in Gerwig's youth for its hot dog sandwiches on white bread and ice cream frosts.

«Cold War» Pawel Pawlikowski (Main Competition) Pawlikowski's last film, «Ida,» won the foreign - language Oscar, and stills from this film have the same gorgeous black - and - white look and disconcerting, nearly square aspect ratio.

By the end of the film, Gosling is still wearing that satin jacket but, like Bruce Willis» vest in Die Hard, it can't really be called white any more — much like Driver's own reputation.

Still, the train itself is a principal character, chugging along full speed from New York's Grand Central Station to points north in Westchester County where it was filmed on location in Ardsley, Dobbs Ferry, Hastings, Irvington and White Plains.

Still, «White God» is one of the most buzzed about foreign films of 2015, and so you really should see it just to be up on the conversation.

Also on board is a two - minute theatrical trailer, a three - minute cache of black - and - white production stills and publicity photos (the quality is well above the norm for this stuff), and a 30 - second radio promo for the film.

Still, she says, «Do I think all of the four main people in the film should have been white with blonde hair and blue eyes?

Perhaps, but I still think Bennett Miller's film would have been recognised for its greater depth, for its willingness to work in the grey areas rather then depicting its story in black - and - white.

The form was invented by Disney eighty years ago, with «Snow White and the Seven Dwarfs» (1937), a film I still think has never been surpassed, and when you watch something as transporting as «Snow White» — or «Bambi,» or «Toy Story,» or «Beauty and the Beast» — every gesture and background and choreographed flourish, from the facial expressions to the drip - drop of water, flows together with a poetic unity.

After the usual rigamarole about shooting challenges and directorial perfectionism, someone asked Zhang Yimou what he thought the film was about, which he either answered honestly or deftly dodged by asserting that what he wanted people to take from the film, long after they've forgotten the plot, are the memories of certain images: two women in red fighting among swirling yellow leaves, two sorrowful men flying and dueling on a lake as still as a mirror, a sky of black arrows, a desert moonscape haunted by lonely figures in white.

Even though it acknowledges it, the film still boils down to a white savior narrative.

It's a little rough in places, and there are repeated character animations throughout the film, as well as certain sequences traced from earlier films, such as Snow White and the then still recent Jungle Book.

In a Hollywood cinema landscape that still mostly revolves around white hegemony, Ryan Coogler's Creed was a huge breath of fresh air, a motivational, moving film about a black man that didn't involve poverty or gangs.

While some Academy voters are still clearly showing reluctance to embrace films that don't feature exclusively old white men puffing cigars, if last year's Moonlight victory taught us anything, it's that change is on the horizon, bitch.

White's new film gets at the heart of a man (played by Ben Stiller) going through a midlife crisis.

Those films include Michael Pearce's «Beast,» starring Johnny Flynn; Mike White's «Brad's Status,» which stars Ben Stiller and Jenna Fischer and is the only American film in the section; Clio Barnard's «Dark River,» with Ruth Wilson and Sean Bean; Nabil Ayouch's «Razzia,» from the French - Moroccan director of «Mektoub» and «Whatever Lola Wants»; and Warwick Thornton's «Sweet Country,» a period western starring Sam Neill and Bryan Brown that will close the Platform section.

The film has happy endings for all involved, but I still felt my stomach twist at the white - washed cluster of women in comedy, and how a man's portrayal of them resulted in shell - shocked, nervous, and unmotivated characters (despite the constant hints at the hard work they do off screen).

Whatever one has to say about the idea that they kind of want real fans to own two versions of the same film just to have all the special features, «Snow White» is still a timeless classic.

But revisiting the film, I was irked less by any perceived preening desire to be «authentic» than I was absorbed by the power of its story — though the movie's one go - for - broke stab at regional poetry, a black - and - white squirrel - centric dream sequence scored to a chorus of chainsaws, still falls completely flat.

Choosing «Production Gallery» from the Production Archive menu takes you to a 1 1/2 video montage of black & white stills from the film, set to instrumental music of the title song.

He has a special connection with Gail, who at the start of James White is still recovering from a tough fight with cancer — which returns aggressively halfway through the film.

One sequence resembles the unveiling of the dream city of Shangri - La in Frank Capra's Lost Horizon, another recalls the casino action in half a dozen Bond films, while still others rescue the exotic excitement of jungle - adventure fantasies from the colonial condescension of Great White Hunter movies.

Sure, other MCU films have taken advantage of changes in setting to spice up the visual side of things (to a point), but at the end of the day, there's still white people at the forefront of these movies and white culture is the dominant motif everywhere you look.

This has the effect of making the film dreamlike but still mostly coherent, set in an undefined past and featuring a largely interchangeable ancillary cast of near identical white people.

Among the names we find Josh Mond (who broke out big with James White in 2016), 2018 SXSW winners Nijla Mu» min and Olivia Newman (read our piping hot First Match review) along with Ana Asensio (Grand Jury prize for Most Beautiful Island in 2017), and Celia Rowlson - Hall whose MA is still a topical film discussion point in my spheres.