Sentences with phrase «work as auteur»

The second film of Francois Truffaut's «Hitchcock Period» (and the Nouvelle Vague legend's first English - language feature), Fahrenheit 451 is swathed in dread and melancholy — a sense belying cinematographer Nicolas Roeg's bright, elemental colour scheme and simply blocked mise - en - scéne, though a sense completely in line with Roeg's subsequent work as auteur.

Not exact matches

It's as exhilaratingly honest and unshackled a work as many have come to expect from this auteur of cringe comedy, one that foresees, absorbs, and responds to all possible bile that might be directed its way, knowing full well of the muck it dredges up.

It doesn't hurt that it was also selected as Denmark's Foreign Language Oscar Entry, a distinguished honor, considering it beat out works from more prestigious auteurs.

After all, the 71 - year - old French auteur, whose film Beau Travail remains one of the great works of the last few decades, has taken an especially grim turn as of late, with movies like Bastards, White Material and The Intruder exploring some of the darker sides of contemporary humanity.

He's still working to rebrand himself as something beyond a torture - porn auteur, and he may have convinced himself that this movie, with its talk - radio debates, wants you to «make up your own mind» about its hero's odyssey.

Unlike Chaplin and Keaton, they were not themselves great auteur directors, or worked with any; the same could be said of Laurel and Hardy and the Marx Brothers, but their respective phenomena overrided the impact of any decision - making body behind the camera, as a hurricane is to a weatherman.

She regards the aforementioned Ruiz — with whom she recently introduced their fourth collaboration, the Balzac adaptation «Nucingen Haus,» at the London Film Festival — as a close mentor, and is quick to compile a list of auteurs she has long desired to working with, including Steven Soderbergh, Danny Boyle and Mike Leigh.

Planet Terror's not nearly as smart as it thinks it is; Death Proof's smarts are so edged and complicated that they could only be the product, unintentional, of an auteur who's assimilated the undertow of his favourite films and, rarest of the rare, is able to reproduce those undertows in works that, however familiar, are completely original.

It showcases the stunning naturalistic performances that would become a hallmark of Pialat's work, and immediately cemented him as one of France's best emerging auteurs.

Very much a genre stylist in the mold of golden - age Hollywood directors like Anthony Mann or Raoul Walsh, Uchida showed little discernible personal style to mark him as an auteur in the French critical mold, but the uniformly high quality of his works and his ability to succeed in a variety of genres mark him as a filmmaker very ripe for (re) consideration by critics.

The precision at play is stunning, as there is a distinct sense of control over every scenario, marking this as the auteur's tightest work.

This tribute to Schepisi's important contribution as an Australian and international filmmaker, a distinctive auteur and jobbing filmmaker, covers his early work in documentary (his fascinating short on The Age newspaper, People Make Papers), the mercurial critical reception of his groundbreaking opus The Chant of Jimmie Blacksmith, the representation of landscape across his first three Australian features (specifically in the partisan and compassionate Evil Angels, 1988), his initial project in the United States (the elemental and mythic Western, Barbarosa), the now iconic Six Degrees of Separation, and the importance of adaptation and collaboration across his cinema.

I'm a bit taken aback (as ever) by some of the filmmakers who've been shunted into other sections, but at least after all the well - justified complaints that last year's Palme competition was mostly made up of subpar work by established auteurs, they haven't gone that route again (or, at least, not quite so pronouncedly).

«Midnight in Paris» McAdams teamed up with Owen Wilson (again) and Woody Allen for the 2011 Oscar winner «Midnight in Paris,» kicking off a stretch of prestige films in which she worked with auteur director such as Terrence Malick on «To the Wonder,» Brian de Palma on «Passion» and Wim Wenders on «Every Thing Will Be Fine.»

When respected filmmakers like Wes Anderson (Fantastic Mr. Fox) and Tim Burton (Corpse Bride, Frankenweenie) have embraced the medium, expectations have been somewhat different, with critics approaching the works as part of their auteurs» oeuvres.

There are auteurs offering up work considerably below the bars they've set (Woody Allen and «Whatever Works,» Pedro Almodovar and «Broken Embraces»), as well as indie hopefuls that could make an unexpected splash, like «Frozen River» and «Away from Her» in years past (Guillermo Arriaga's «The Burning Plain,» for instance, or Alessandro Camon and Oren Moverman's «The Messenger,» both extremely deserving).

Eubanks» skill as a filmmaker seems commensurate with the impact of his story; his work here is higher - minded than mere low - budget viscera, but not as thoughtful, or thought through, as the material of budding auteurs like Neill Blomkamp or Rian Johnson.

Since first emerging in the mid -»80s, working with legendary auteurs such as Jean - Luc Godard and Andre Techine, Juliette Binoche has consistently been one of the most compelling screen presences of her generation.

Abderrahmane Sissako, one of the underrated auteurs currently working, has never made a film as formally impressive and socially significant as this.

It is within this section that I hoped to see new works by established auteurs, such as Denis, Reygadas, Dumont.

Extras begin with «Tribes of the Moon» (72 mins., HD), a 2013 documentary gathering together key cast members such as Doug «Pinhead» Bradley, Sheffer, and Bobby, for starters, to reflect on collaborating with Barker and the auteur's body of work.

Having already sampled some of John Carpenter's bad «90s work, his largely derided return to feature filmmaking only sent me further in retreat, back to the «70s and «80s work that suggested him as one of the great, personal auteurs in an increasingly bloated mainstream landscape.

But its best description may be that it allies itself to Steven Spielberg's Catch Me If You Can, Zhang Yimou's House of Flying Daggers, Alexander Payne's Sideways, Michael Mann's Collateral, and Martin Scorsese's The Aviator as works of genuine auteurs that are more perfect encapsulations of leitmotif than they are unique unto themselves.

Look closely at Audiard's work, however, and you can see that he creates entire cinematic worlds as distinctive as any proffered by more obvious «auteurs» like Pedro Almodóvar and Wong Kar - Wai.

The dapper auteur behind such idiosyncratic and polarizing works as The Royal Tenenbaums and The Darjeeling Limited opens his latest feature, a continuously surprising and delightful adolescent romance set in 1965, in what appears to be a dollhouse.

Over the years, IFC Films has worked with established and breakout auteurs, including Steven Soderbergh, Gus Van Sant, Spike Lee, Richard Linklater, Miranda July, Lars Von Trier, Gaspar Noe, Todd Solondz, Cristian Mungiu, Susanne Bier, Olivier Assayas, Jim McKay, Larry Fessenden, Gregg Araki, Jacques Rivette, Claude Chabrol, as well as more recent breakouts such as Andrea Arnold, Mia Hansen Love, Corneliu Porombiou, Joe Swanberg, Barry Jenkins, Lena Dunham, Aaron Katz, Daryl Wein and Abdellatif Kechiche.

As an artist, renaissance man and auteur in the making, Steve's work has been compared to the work of David Lynch and Matthew Barney.

Already they're branding the film, setting it up as the work of an auteur.

Director Alexander Hall is nobody's idea of an auteur; the rest of his filmography has been largely forgotten, and the Oscar nomination he received for his functional work here (notable primarily for depicting heaven as a dry - ice limbo) looks downright absurd nestled alongside the likes of Orson Welles (Citizen Kane), Howard Hawks (Sergeant York), and winner John Ford (How Green Was My Valley).

A bit of a double edged sword for a prolific auteur like Allen, as he sticks with his strengths as a filmmaker but when you've made as many films as he has about this subject, it's difficult to find enough wiggle room to emerge with an original work.

Resnais is also given a nice showcase via a lengthy, vintage Q&A session from 1961, where the camera stays on the director, and Resnais answers queries regarding his disuse of the possessive credit («A Film By»), views on the Auteur theory, his rather humbling self - classification as a working editor, and his reply on the ever popular question by cinema tightwads, «Is Cinema dead?»

Until a couple of tired romantic roundelays — Jasmine takes up with a wealthy widow played by Peter Sarsgaard, while Ginger strays with speaker - installation guru Louis C.K. — turn up in the last act, as they do in most of Allen's weaker comedies, this is an uncharacteristically focused work from the auteur.

Previously collaborating with Tarantino on Django Unchained, as one of several costumers working under costume designer Sharen Davis (The 5th Wave, Get On Up), Hoffman has found a fruitful collaborative relationship with the auteur and had a lot of fun tinkering with western archetypes on Tarantino's latest.

Twenty talking heads taking turns to discuss the great auteur as inter-titles recount his biography in between sounds a bit boring, but Magnusson and Pallas» work is anything but — if not inventive, the film is well structured and funny, thanks to the charismatic speakers.

Anderson may have erred on the side of density for what will most likely be considered a stoner film, and it's not likely to earn respect as his best film by any means, but there's always pleasure in watching an auteur work.

Scorsese, it goes without saying, directs this with the fervour of a true auteur — perhaps not the most distinctive film he's made stylistically speaking, but still propelled by inspired musical choices, bold voiceover work, kinetic camera movements and a general structural playfulness (such as the fake television ads planted throughout the film).

Though I still think the Academy dropped the ball in some areas (Best Actress, in particular, could have been a far richer and more diverse race had the likes of Sally Hawkins and Kristin Scott Thomas been invited), it's true that, while 2008 hasn't been as rewarding for auteur works as some previous years, we've seen a lot of films either wholly constructed around their performances («The Wrestler» being a prime example) or saved by them (for my money, Anne Hathaway and Rosemarie DeWitt are the most focused elements of «Rachel Getting Married»).

Covering the full range of the department's output in the last ten years, he has worked with established auteurs and filmmakers as well as with up - and - coming talent new to the cinema.

As with any great auteur, Jeff Nichols finds away to reinvent himself as a filmmaker with Mud: a wistful coming - of - age tale discernibly influenced by Huckelberry Finn and the early works of Terrence MalicAs with any great auteur, Jeff Nichols finds away to reinvent himself as a filmmaker with Mud: a wistful coming - of - age tale discernibly influenced by Huckelberry Finn and the early works of Terrence Malicas a filmmaker with Mud: a wistful coming - of - age tale discernibly influenced by Huckelberry Finn and the early works of Terrence Malick.

I disliked the Franco - directed version of The Sound and the Fury so much that I'd sworn never to watch another if his auteur works unless I had to, and as for The Room, I was aware it was a phenomenon, but that was the extent of it.

But its eerie photographic effects, off - beat narrative and stylish direction set it apart from its contemporaries and mark it as the work of an auteur with a clear, specific vision.

In her varied and long career, Moreau has worked with such legendary auteurs as Luis Buñuel, Michelangelo Antonioni, Orson Welles (who once called her «the greatest actress in the world»), and Rainer Werner Fassbinder, and she continues to work today, in films by some of contemporary cinema's most revered names, such as Amos Gitai, Tsai Ming - liang, and François Ozon.

The lauded auteur is leaving the cinema world on a high note, however, as Stray Dogs is as gorgeous, boundary - pushing, and incomparable as his previous work (What Time is it There?

With Courtney B. Vance providing omniscient narration (and a superb, bombastic score from Alexander Desplat), a score of the auteur's regular players have key voice work moments, from Bill Murray, Bob Balaban, Ed Norton and Jeff Goldblum as a pack of helpful mutts, to Scarlett Johansson and Harvey Keitel as love interest and savior.

Yesterday brought about the home media version of contemporary comedy overseer Judd Apatow's latest feature This Is 40 (2012), a divisive work that has many examining (and questioning) the director's status as an auteur and cultural talking - point of class and privilege.

Many an actor has failed to make the auteur's dialogue work, as they can often come across as sounding like Allen's proxies, but all involved succeed in making each character his or her own.

With the Duplass brothers producing, the series expectedly takes on the mumblecore auteur - siblings» dry, awkward tone and works as a kind of comedy of humiliation, to varying degrees of success.

My suspicions were wrong, as Funny Games is very clearly the work of a deterministic auteur, if a...

Ragnarok director Taika Waititi, an auteur of Māori and Russian - Jewish descent, is one of New Zealand's premier cinematic exporters, although unlike such Caucasian contemporaries as Jane Campion and Peter Jackson, his work bleeds the hues of indigeneity.

Screenwriter Charlie Kaufman, the only screenwriter working today who could be perceived as an auteur, tackles this quandary and develops the dilemmas that accompany it in Eternal Sunshine of the Spotless Mind.