Beyond the Lights, is a romantic drama film Directed by Gina Prince-Blythewood. The film premiered in September 2014 at an international film festival held in Toronto, and this followed by its release on November 14th, 2014 in the United States. The film is one of the strangest music industry romance based films, alternating between the entertainment business, wisdom and heartfelt flourishes. Yet, Gina Prince-Blythewood manages to show all the elements of her play into an irrefutably entertaining package.
Inauspiciously, the film starts with a conversation set in the 1990s as Noni; the British scholar presents a stunning rendition Nina in flair competition. Flash-forwarded to the present day; Noni has packaged herself into a lubricious amalgam unendingly decked out with a stripper gear as well as a purplish weave. Although her inauguration album is yet to be dropped, Nina has already shown several hits besides her rapper boyfriend who is Kid
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In this case, the director proves herself to be a master of epic, romance, and intimacy in terms of both spoken and unspoken kind. Partially, this is because she does not fear the aspect of slowing down and watching her characters, preserving some time from the busy work of narration. Her patience with the characters pays off since she is able to capture the world in one exchange of glances. In addition, her characters have a method of speaking to the world and displaying the truth as they do so. The notion of how we can achieve the control of our lives becomes an important theme in “Beyond the Light.” This is because, as Kaz joins Noni’s world he starts to realize how the industry works out its tricks; how it steals her identities and talents and also how the celebrity culture presents a real-time commentary on all of what she does. Kaz starts to cede control. Influenced by his father, he starts pursuing
This film absolutely deserves to be recognised as it has a positive impact on both the indigenous and white community and how we can gain
On October 14th, 2016 in class we watched “Two Spirits” by Lydia Nibley. Basically the film explored the cultural context behind a tragic and senseless murder of the main character. Fred was part of an honored “Navajo” youth who was killed at the age of sixteen by a man who bragged to his friends that he was nothing but a “fag”. While walking home from a carnival he was chased by one of his friends. Once his friend caught up to Fred, he pulled him down from a mountain and smashed his head with a heavy rock. Fred laid there for five days straight where two young boys found his body lying there. He was labeled as a “two-spirit” who was possessed of balancing masculine and feminine traits. In the film, there are two parts that are put together effortlessly like the people it discusses. Most of the documentary focuses on Fred’s murder, but the real issues in the film were those of the lesbian, gay, and transgender community and how its members were viewed in a
It is in conclusion of viewing Radiance that gave the impression that it composed such significant issues to the public. The delicate subjects that needed to be expressed were efficiently presented by Deborah Mailman, Rachelle Maze and Trisha Morton-Thomas. Such a modern approach concerning the issues was constructed for the viewer and this film and will be remembered by many as a masterpiece in Australian cinematography directed by Perkins. The movie itself, and is agreed personally, that it is perfectly clear that there is a strong cultural and political message demonstrated to the public.
Twilight of a Woman’s Soul is a film directed by Evgini Bauer in 1913 and is about a rich young and beautiful woman named Vera and her dark secret. In the scene that this paper analyzes the main character Vera is explaining to her husband-to-be, Prince Sergei, how she killed a man that raped her a few years in the past. In the middle of the scene, there is a flashback to when Vera is raped by Maximus, a poor person someone she is trying to help. Both the argument and the flashback are shot with one camera angle in one room but they remain some of the most powerful parts in the entire movie. The director uses of various forms of montage, camera angles, and mise-en-scène to add to the level of of complexity of this seemingly basic scene. The overall message of this scene is no matter how much you think
Love is something that humans have sought and desired for a long time and to us it seems as if love has been around since our dawning. We express this love in many different forms. We express love through writing, gift giving, art, and cinematic productions. But at what point does the expression of love lose its value? The Best of Me and Before Sunrise are examples of how one can go about expressing the meaning of love. They are both cinematic productions laced with the woes of love, but the way these two stories unfold before the viewer are subtly and, to some, even strikingly different. Before Sunrise veers off the well beaten path of clichéd love stories and rides on newfangled roads whereas The Best of Me stays in line with what is usually churned out in adaptation to a Nicholas Sparks novels. There was a large difference within budgeting for these two movies. $2,500,000 was put in place as the budget for
During the opening six minutes of Nicholas Roeg’s film Don’t Look Now, the viewer experiences a dynamic mixture of film techniques that form the first part of the narrative. Using metaphor and imagery, Roeg constructs a vivid and unique portrayal of his parallel storyline. The opening six minutes help set up a distinct stylistic premise. In contrast to a novel or play, the sequence in Don’t Look Now is only accessible through cinema because it allows the viewer to interact with the medium and follow along with the different camera angles. The cinematography and music also guide the viewer along, and help project the characters’ emotions onto the audience because they change frequently. The film techniques and choppy editing style used in Don’t Look Now convey a sense of control of the director over the audience and put us entirely at his mercy, because we have to experience time and space as he wants us to as opposed to in an entirely serial manner.
In the documentary “Fed Up,” sugar is responsible for Americas rising obesity rate, which is happening even with the great stress that is set on exercise and portion control for those who are overweight. Fed Up is a film directed by Stephanie Soechtig, with Executive Producers Katie Couric and Laurie David. The filmmaker’s intent is mainly to inform people of the dangers of too much sugar, but it also talks about the fat’s in our diets and the food corporation shadiness. The filmmaker wants to educate the country on the effects of a poor diet and to open eyes to the obesity catastrophe in the United States. The main debate used is that sugar is the direct matter of obesity. Overall, I don’t believe the filmmaker’s debate was successful.
The film, Out in the Night documents a 2006 case in which a group of young African American lesbians were accused of gang assault and attempted murder. The film portrays how unconscious bias, institutional discrimination and racism contributed to the convictions of seven African American lesbian women. Three of the women pleaded guilty to avoid going to trial, but four did not. Renata Hill, Patreese Johnson, Venice Brown, and Terrain Dandridge maintained their innocence and each were charged with several years in prison. I cried through out the documentary because it dawned on me that it’s not safe for women, especially gay women of color. The four-minute incident occurred in Greenwich Village where Dwayne Buckle sexually and physically harassed
Besides an initial voiceover narration introducing Ray Kinsella (Kevin Cosner), his beloved wife Annie (Amy Madigan), and their young daughter Karin, this is the first scene in Field of Dreams, released in 1989 and directed by Phil Alden. The voice-over establishes the expectation of the film as being a sensible story about a loving couple trying to run a family farm in Iowa, and the subsequent scene (pictured above) quickly deconstructs that expectation. While working in his field one night, Ray hears a voice whispering “If you build it, he will come.” From then on, there are no more misconceptions about Field of Dreams being anything but an unapologetic fantasy in which an Iowa farmer mows down his fields to build a baseball diamond where
“There once was a time in this business when I had the eyes of the whole world! But that wasn't good enough for them, oh no! They had to have the ears of the whole world too. So they opened their big mouths and out came talk. Talk! TALK!” (Sunset Boulevard). The film Sunset Boulevard directed by Billy Wilder focuses on a struggling screen writer who is hired to rewrite a silent film star’s script leading to a dysfunctional and fatal relationship. Sunset Boulevard is heavily influenced by the history of cinema starting from the 1930s to 1950 when the film was released.
When the lights come up the audience is immediately thrown into an old and dingy movie theatre complete with popcorn strewn across the floor. It is within this set that deep social commentary is made throughout the
The world before her is a film of hope and dreams for Indian women. We examine two girls with different paths but one goal in common, empowerment. This term conveys a wide range of interpretations and definitions one of them being power over oneself. Both Prachi and Ruhi manifest a will for female empowerment but both have distinct views on how this is achieved. Prachi believes the way to achieve empowerment is through her mind and strength, while she still confines to tradition views of Indian culture. Ruhi desires to achieve female empowerment by exposing her beauty in a non-conservative way while maintaining her Indian identity.
The Unbearable Lightness of Being is a film that illustrates not only the struggles of living in a communist country in the 60’s,but also the development and maturing of the characters that struggle to understand themselves and find what they want most in life. The movie follows the lives of Tomas, Teresa, and Sabina and follows their interactions with one another and with the world around them. One can deduce the change in the characters throughout the film and also find the most interesting and redeeming characteristics they have. Lastly, the film is full of sexual scenes that allow the viewer to look deeper into the characters and how they develop throughout the film.
1980. Warner Bros. Directed by Stanley Kubrick. Music by Wendy Carlos and Rcachel Elkind. Cinematography by John Alcott. Editing by Ray Lovejoy. With Jack Nicholson, Shelley Duvall, Danny Lloyd.
It is impossible to talk about a Wes Anderson movie without acknowledging its stunning color palettes and quirky storytelling style. In one of his most exemplary works, Moonrise Kingdom, Anderson uses a warm color scheme that blends bright and desaturated colors that ranges from golden yellow, vermillion red, creamy beige, light brown, to even a hint of teal. His color scheme, which is reflected throughout the film’s props, sets, costumes, title design, and camera filters, effectively evokes nostalgia, establishes the summer-like, dreamy mood of the film, and creates a distinct contrast between the different moral values of his characters. However, in the chaotic stormy escape scene and in the costume of Social Services, the visual design deviates greatly from the film’s primarily warm color palette and instead, immerse their visual elements in a deep, dark blue color to show the contrasts in the mood of the story as well as the attitudes of the characters. Overall, Anderson’s visual