Serious cinematic recognition came in France where he'd long been admired, in two films at the turn of the 80s: Alain Corneau's Série noire (A Hell of a Girl transposed from Chicago to a Parisian suburb) and Bertrand Tavernier's Coup de torchon (Pop 1280, the tale of a corrupt southern sheriff shifted to French colonial Africa), a film highly regarded for its moral perversity by Jean Genet.
Bennett feels spoiled by the comfort of his years at the National, knowing where the best seats and nearest loos were, during a period when he worked with director Nicholas Hytner on an adaptation of The Wind in the Willows, followed by a string of Bennett originals, including The Madness of George III and The History Boys, which lifted him to international theatrical and cinematic recognition.
With this in mind, an honest recognition of cinematic propaganda, we shouldn't be shocked by Frank Miller's comments about Occupy Wall Street.
Is there no room, in the recognition of cinematic excellence, for movies that don't wear their politics or morality on their sleeve — that touch less obvious, more nuanced chords?
In 2004 she was awarded an honorary Italian Golden Globe in recognition of her cinematic achievement.
Before that, The Help, Precious, Beasts of the Southern Wild, and Hustle and Flow snuck into the cinematic consciousness enough to get recognition in the early part of the calendar year.
The United States, ensconced in the imperial parochialism of Hollywood and spoon-fed exquisite art-house morsels from the international festival circuit, has lagged behind the rest of the world in its recognition of India's cinematic supremacy.
There are, though, a select group of exceptions, narrative documentaries that enjoy critical recognition and the special approval of a cinematic release.
The top awards were handed out to Marjane Satrapi's Chicken With Plums for Best Narrative Feature, Asghar Farhadi's A Separation for Special Jury Award, Ismaël Ferroukhi as Best Director from the Arab World for Free Men, and Ziad Hamzeh and Ridha Behi as Best Producers from the Arab World for Always Brando "in recognition of their determination to realize their cinematic dream against all odds".
The film festival, Homo-Harlem: A Cinematic Retrospective Friday, June 19th-Saturday, June 27th, sponsored by the Maysles Institute Cinema at 343 Malcolm X Boulevard in the Harlem section of New York City, 219th-Saturdayisponsored recognition of this distinguished accomplishment.
If Collet-Serra's film has any cinematic unconscious at all, it's found in the story of a bubble of anonymity pierced by familiarity, of recognitions abused.
