Sentences with phrase «white filmmakers like»

Last summer's «Detroit,» a violent re-creation of the 1967 race - related riots in the Motor City, drew criticism over white filmmakers like Bigelow and Boal telling a story primarily about African - American issues.

Films by white filmmakers like Detroit, and more recently, the hotly contested Three Billboards Outside Ebbing Missouri, have the habit of only treating the bodies of black people as miserable and / or broken things.

Not exact matches

The white family who, like so many others at the time, flees from South Africa in The Day the Mercedes Became a Hat also draws empathy from the filmmaker, who as a resident of South Africa herself, realized that there were whole generations of Caucasian immigrants who knew no other home.

Born in Sweden and currently based in New York, Jordenö, like Livingston, is a white cis queer woman, but she preempts the charges that have bedeviled the Paris director; Kiki is much more of a collaboration between filmmaker and subjects than its predecessor.

The filmmakers successfully integrate snippets from Nixon's infamous, mafia - like audio tapes over the image of a shadowy figure in a White House window.

Daniel Mecca, The Film Stage Too often the filmmakers rely on lowest - common - denominator prison rape jokes and lazy plotting to allow for action - comedy set pieces, resulting in a poorly - constructed scene at a White Supremacist stronghold and a sloppy third act that feels like an afterthought.

An integral part of the moving into his third decade, White Bird In A Blizzard is a French funded thriller and much like Kaboom, this is a welcome switch of pace for the filmmaker.

Shot on the streets of New York, like so many of his major works including The Driller Killer, Ms. 45 and Bad Lieutenant — and beautifully filmed in black and white, The Addiction sees the filmmaker on his own terms and at his very best: raw, shocking, intense, intelligent, masterful.

One of the most important filmmakers of the last quarter - century, Haneke feels like an auteur tailormade for Criterion's deep analysis, although I've always felt like he was a filmmaker who believed the work speaks for itself, refusing to answer questions about films open to interpretation like «Cache» or «The White Ribbon.»

The filmmakers walk out into a courtyard that looks like a giant red and white checkerboard.

The Filipino writer - director Lav Diaz is the definition of a «not for every taste» filmmaker: His movies are stark, long (like, four - plus hours long), and patience - testing, filmed mostly on black - and - white digital video in static master shots.

The filmmakers barely even try to draw comedy from the ugliness of lines like that and «In culinary news, the roasted white skin of innocent bystanders is fast becoming a soul - food staple» — one of those wacky decontextualized news snippets that were clearly added in post-production, like far too many of the film's gags.

A couple weeks ago Claire White at Bitch Flicks examined the gendered response to Coppola's work and how criticisms like «too pretty» have been used to ding her when that never seems to affect filmmakers like Damien Chazelle.