Sentences with phrase «white sections of the film»

The black - and - white sections of the film, which depict the build - up to the Bride's wedding, are also handled pretty well.

Not exact matches

Neither fast nor furious, this film belongs in the section of the supermarket where blah - white labels and big block lettering denote brandless cigarettes, vodka, crushed pineapple and, in this case, action picture.

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.

A world premiere at the recent Los Angeles Film Festival in its L.A. MUSE section, for films by up - and - coming filmmakers that either take place, were filmed in or inspired by the city of Los Angeles, «Supremacy» unfolds in 1992, and centers on Tully (Joe Anderson), a member of the Aryan Brotherhood who gets out of prison after 15 years on a robbery charge and is picked up by Doreen (Dawn Olivieri), a fellow white supremacist.

The film opens on a note of creation — as evidenced by the name of the score's opening track — with a liquid black pupil slowly penetrating a pearly white sclera, accented by the nervous swirls of a string section.

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 first section of the film is an expositional wonder, as not only are the main characters (including Secretary of State William Seward (David Strathairn), Republican poobah Preston Blair (Hal Holbrook), radical abolitionist Thaddeus Stevens (Tommy Lee Jones) and various members of the White House - hold, among others) introduced and motivated, but the political issues involved are explained with a detail, clarity and respect for the audience's intelligence that's extremely rare in a Hollywood film.

Alison Maclean's Crush, Steven Spielberg's Jurassic Park, dying in film, Jack Carson, Jerome Boivin's Baxter and Barjo, special section on Robert Altman's Short Cuts, John Woo interviewed, Armond White on visual illiteracy and Simi Valley aesthetics, examining race in the cinema of John Ford

Have you seen Hidden Figures [the 2016 film about African - American women working at NASA], when Octavia Spencer gets a book about IBM from the white section of the library and teaches a whole group of women how to program computers?

The montage of elements — from translucent sectioned windows which resemble the sprockets on a filmstrip, to the empty cinema space with its luminescent white screen and a series of artworks being prepared for installation — form a matrix of visual representation that highlight the relationship between, film, architecture and art.