#Eimer Ni Mhaoldomhnaigh

[sesiondemadrugada]

The Banshees of Inisherin (Martin McDonagh, 2022).

#martin mcdonagh #the banshees of inisherin #colin farrell #ben davis #mikkel e.g. nielsen #mark tildesley #tim devine #christine fitzgerald #paul ghirardani #virginia reina #michael standish #eimer ni mhaoldomhnaigh

[edsonlnoe]

F O U N D A T I O N 2 0 2 1 Alfred Enoch as Raych Foss / Lou Llobell as Gaal Dornick Costume Design by Eimer Ni Mhaoldomhnaigh

#Foundation #TV #Alfred Enoch #Lou Llobell #Costume Design #Eimer Ni Mhaoldomhnaigh #Raych Foss #Gaal Dornick #Vestuario #Preparing to Live #1x02 #Season 1 #Josh Friedman #David S. Goyer #Andrew Bernstein #Edits

[cressida-jayoungr]

One Dress a Day Challenge

January: Red Redux

Love and Friendship / Kate Beckinsale as Lady Susan Vernon

In the country, Lady Susan continues to wear demure mourning gowns, but on a trip to London, she lets loose with this spectacular ruby-red satin.

Costume Designer Eimer Ni Mhaoldomhnaigh had this to say about the costumes for this film, which were apparently done on quite a tight budget:

"So this is a little novella that she [Jane Austen] wrote, one of the first things that she wrote, so it’s set earlier than most of her big novels like Pride and Prejudice and all of those. So we decided to set the film a little bit earlier also, like late 1780s or 1790s, so the fashion between 1790 or even the mid 1790s really changed quite dramatically. A lot of it was influenced by the French revolution, historical events that were happening at the time.... I really kind of pushed for setting it in the late 1780s. It’s a comedy as well, these big dresses, these really lend themselves to--there’s such a drama about those costumes. I just felt  that it would really add to the performance, the door would open and she went swoosh into the room (laugh) and this huge dress, o my gosh, these dresses are built for something like this, for drama and comedy and fun."

#love and friendship #red dresses #kate beckinsale #one dress a day challenge #one dress a week challenge #love & friendship #lady susan #lady susan vernon #18th century costumes #18th century fashion #18th century style #austen adaptations #movie costumes #2016 films #2016 movies #1790s fashion #1790s #Eimer Ni Mhaoldomhnaigh

[badgaymovies]

The Banshees of Inisherin (2022)

The Banshees of Inisherin by #MartinMcDonagh starring #ColinFarrell and #BrendanGleeson, " the film’s pleasures are too great to resist and none of its risky ventures are forgiven with any difficulty,"

MARTIN McDONAGH Bil’s rating (out of 5): BBBB Ireland/United Kingdom/USA, 2022. Blueprint Pictures, Film 4, Fox Searchlight Pictures, Metropolitan Films International. Screenplay by Martin McDonagh. Cinematography by Ben Davis. Produced by Graham Broadbent, Peter Czernin, Martin McDonagh. Music by Carter Burwell. Production Design by Tim Devine, Christine Fitzgerald, Paul Ghirardeni. Costume…

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#Barry Keoghan #Ben Davis #Blueprint Pictures #Bríd Ní Neachtain #Brendan Gleeson #Carter Burwell #Christine Fitzgerald #Colin Farrell #David Pearse #Eimer Ni Mhaoldomhnaigh #Film 4 #Fox Searchlight Pictures #Gary Lydon #Graham Broadbent #Ireland #Jon Kenny #Kerry Condon #Martin McDonagh #Metropolitan Films International #Mikkel E.G. Nielsen #Pat Shortt #Paul Ghirardeni #Peter Czernin #Sheila Flitton #TIFF 2022 #Tim Devine #United Kingdom #Venice 2022

[rosalyn51]

NEW still photographed by Patrick Redmond

Screen International NEWS First look at Anthony Hopkins and Matthew Goode in ‘Freud’s Last Session’ BY MICHAEL ROSSER 11 APRIL 2023

Babylon Berlin star Liv Lisa Fries has joined Anthony Hopkins and Matthew Goode in the cast of Freud’s Last Session, which is in its final stages of filming in Ireland.

A first look at the film, in which Oscar-winner Hopkins plays Sigmund Freud and Goode plays author C.S. Lewis, has been released by WestEnd Films, which handles sales alongside US-based CAA Media Finance.

German actress Fries plays Freud’s daughter in the film, which is set on the eve of the Second World War and sees the founder of psychoanalysis invite Lewis to debate the existence of God.

Further cast announced today includes Jodi Balfour, known for Apple+ series For All Mankind; Stephen Campbell Moore of Epix recent adaptation of War Of The Worlds; Jeremy Northam, who played UK prime minster Anthony Eden in Netflix’s The Crown; and Orla Brady of Star Trek: Picard and Into The Badlands.

Freud’s Last Session is being directed by Matt Brown and was written by Mark St. Germain with revisions by Brown, based on the play by the same name. Producers are Alan Greisman, Rick Nicita, Meg Thomson, Brown, Hannah Leader, and Robert Stillman. Irish producers are Tristan Orpen Lynch and Aoife O’Sullivan of Subotica Productions.

The project reunites Oscar-winning production designer Luciana Arrighi with Brown, having previously collaborated on 2015’s The Man Who Knew Infinity. Cinematographer Ben Smithard, who previously worked on The Father with Hopkins, has also joined the project.

Costume designer Eimer Ni Mhaoldomhnaigh, Bafta award-winning make-up designer Morna Ferguson (The Wonder) and editor Paul Tothill (Atonement) complete the creative team.

WestEnd Films and CAA Media Finance announced several sales last year that saw Sony Picture Classics secure a multi-territory deal, including North America.

The film is an Ireland-UK co-production made with support from Screen Ireland and the UK Global Screen Fund.

Financing has been provided by Media Finance Capital, LipSync Productions, M.Y.R.A. Entertainment and a pool of independent financiers including 14 Sunset, Movieland Entertainment, the Solomon Directive, the Travelling Picture Show and Lipper/Daly Entertainment.

*Like Jeremy Northam, Jodi Balfour plays Mrs. Kennedy in The Crown. Matthew is Lord Snowdon. Stephen Campbell Moore is in the Downton Abbey movie. Ben Smithard is the DOP. GOODE connections!!! Can’t wait.

#matthew goode #anthony hopkins #freud's last session #sigmund freud #c s lewis #matthewgoode #henry talbot #downton abbey movie #downton abbey #a discovery of witches #jeremy northam #jodi balfour #liv lisa fries #anna freud #freud's last session movie #the crown netflix #the crown #thecrownnet #goode performance

[chinchillasorchildren]

2022 Golden Chinchillas

Costume Design

Winner: Corsage (Monika Buttinger)

The Nominees

The Banshees of Inisherin (Eimer Ni Mhaoldomhnaigh)

Benediction (Annie Symons)

Elvis (Catherine Martin)

The Northman (Linda Muir) [Runner Up]

Three Thousand Years of Longing (Kym Barrette)

#best of 2022 #costume design #corsage #monika buttinger

[fuckyeahcostumedramas]

James McAvoy & Anne Hathaway as Thomas Lefroy & Jane Austen in “Becoming Jane” (Film, 2007).

#james mcavoy #anne hathaway #becoming jane #perioddramaedit #jane austen #thomas lefroy #fashion #brown hair #blue eyes #brown eyes #18th Century #eimer ni mhaoldomhnaigh

[costumeloverz71]

Lady Susan Vernon (Kate Beckinsale) Pink ruffled dress.. Love & Friendship (2016).. Costume by Eimer Ni Mhaoldomhnaigh.

#lady susan vernon #kate beckinsale #love & friendship #eimer ni mhaoldomhnaigh

[costumedump]

Costume For Kate Beckinsale As Lady Susan Vernon

Love & Friendship

Costume Design- Eimer Ni Mhaoldomhnaigh

25th Annual Art Of Motion Picture Costume Design Exhibit At FIDM

#love & friendship #lady susan #period costume #costume design #eimer ni mhaoldomhnaigh #art of motion picture costume design #fidm

[godspol]

the GENIUS of these looks!!!! Eimer Ni Mhaoldomhnaigh i owe you my entire life

#srsly i have so much to say abt the fashion in this movie #also the MAKEUP!!!! ALWAYS PERFECT!!!!! #but my hands hurt and i need to make gifs so im saving my energy #im seeing pics of these fits on display somewhere but i cant for the life of me figure out where?? #anyway theyre national treasures #not peaky #bop #charlie makes a post

[sesiondemadrugada]

The Banshees of Inisherin (Martin McDonagh, 2022).

#the banshees of inisherin #martin mcdonagh #brendan gleeson #kerry condon #ben davis #mikkel e.g. nielsen #mark tildesley #michael standish #eimer ni mhaoldomhnaigh #the banshees of inisherin (2022)

[claudia1829things]

"LITTLE WOMEN" (2017) Review

"LITTLE WOMEN" (2017) Review There have been a good number of adaptations of Louisa May Alcott's 1868-69 novel, "Little Women". Although it was not the first adaptation ever made, the first one I had ever seen was the two-part 1978 miniseries that aired on NBC. But the most recent adaptation I have seen also aired on television. It was Heidi Thomas' three-part miniseries that aired on the BBC in 2017.

For some reason "LITTLE WOMEN" - or at least this adaptation - has failed to win any acclaim in compare to the 1994 and 2019 movies. At least with the American press. The British press, on the other hand, seemed very impressed by Heidi Thomas' adaptation. Frankly, this situation seems like a case of national pride - a British television producer adapting a famous American novel. As for the American press - what can I say? Was this version of "LITTLE WOMEN" really that mediocre? Or was this a case of American journalists resenting the very British Heidi Thomas adapting Alcott's novel? I certainly had some quibbles regarding "LITTLE WOMEN". In an effort to be more politically correct, the miniseries featured two minor African-American characters - a badly wounded Union soldier and a wig maker in Concord, Massachusetts. I had no problems with the wig maker's presence. But I definitely had a problem with the presence of the wounded black soldier being nursed by Mr. March, the four protagonists' father, during the miniseries' first half hour. "LITTLE WOMEN" began right before Christmas 1861. The Union Army did not begin recruiting black soldiers until the mid-July 1862. The 2017 miniseries also featured another historical blooper. Sometime during the second episode, one of the characters mentioned the Battle of Ball's Bluff being recently fought. This is impossible, considering the battle was actually fought at least two months before the story began. I had a few other quibbles regarding "LITTLE WOMEN". As much as I had enjoyed his performances as the March family's neighbor, Mr. March, I must admit that I found Michael Gambon's American accent rather sketchy. Thomas made a mistake that many other adaptations made - she allowed one actress, namely Kathryn Newton, to portray the youngest March sibling, Amy. Newton is an excellent actress, but there were times when she seemed a bit too old to be portraying a pre-teen and later early teens Amy. The 1949 MGM movie allowed Amy, as portrayed by the 16-17 year-old Elizabeth Taylor, to be older than Beth. The production barely got away with this. But only the 1994 movie had cast two actresses to portray Amy - Kirsten Dunst (who was roughly 11 to 12 years old when that movie was shot) and later, Samantha Mathis. One last problem - or should I say quibble - bothered me about "LITTLE WOMEN". Hairstyles. Especially the hairstyles worn by one Josephine "Jo" March. I understand that Jo is considered the "tomboy" of the March family. And I could understand the casual or loose style in which she wore her hair during the first half of the story . . . and inside the family home. But there were times when she wore her hair in a similar manner when she was outside. And "tomboy" or not, I just cannot see Jo being so relaxed with her hair - at least not in public and not during the 1860s. Sometimes, I feel that this effort to portray Jo as a "free spirit" went a little too far. The American press had more problems with "LITTLE WOMEN". The main theme behind their dissatisfaction seemed to be criticisms of the production's "faithful" adaptation of Alcott's novel. In other words, the miniseries is a stridently conservative adaptation. It lacked - at least according to Sonia Sariya of "Vanity Fair" magazine - progress. Critics accused the miniseries of following Alcott's novel by allowing all of the sisters to adhere to the social dictates of mid-century United States. As I write this, I am trying to so hard not to punch my fist through my computer screen or scream in frustration. "LITTLE WOMEN" is an adaptation of a novel that was published in 1868, not 1968 or 2018. Or perhaps they were pissed that Jo ended up married to Professor Bhaer, which did not happen in Alcott's original ending (before it was changed). I keep forgetting that many of today's feminists believe that the only way a woman can achieve her dream or be "fulfilled" is by avoiding matrimony altogether. I also find it odd that none of these critics have demanded the same fate for the protagonists featured in any of the Jane Austen adaptations, including the recent movie, "EMMA". So, why dump this nonsense on this particular production? Because it was a British adaptation . . . of an American novel? I came away with the feeling that the overreaching theme for "LITTLE WOMEN" seemed to be personal self-satisfaction for its four major protagonists. This adaptation featured the first time Elizabeth "Beth" March, third and most reserved sister, being portrayed as someone who suffered from social anxiety disorder, instead of mere shyness. I had once come across an article on the Internet that claimed the recent 2019 movie adaptation had finally done justice to the youngest March sister and not portray her as a villain. I could only shake my head in confusion. I have never regarded Amy as a villain. Certainly not in this or any of the other adaptation of "Little Women". Yes, Amy could be vain, coddled and a bit spiteful. But she had to struggle to overcome some of her negative traits and at the same time, develop into a strong-minded woman who knew what she wanted in life - to become an artist and live a life beyond genteel poverty. The same could be said for the oldest March sister, Margaret "Meg". She starts out as a young woman, who is already regarded as ideal in the story. Some have criticized Meg for her desire for domestic bliss. Superficially, I believe there is nothing wrong with this. After all, it is a woman's right to choose what she wants in life. However, like Amy, Meg also harbored a desire to be both socially acceptable and wealthy. I never had a problem with Amy attaining this position, because I have always suspected she was emotionally suited to such a lifestyle. I believe Meg was a different story. I believe Meg had to learn to attain her desire for domestic bliss in a way that suited her, instead of Amy. And she had to realize that kowtowing to her great-Aunt March's demands for all of the March sisters to marry the "right men" (namely wealthy) and take their places within the upper-classes was not the way. At least for her. Meg's encounter with Laurie's British upper-class friends, the Vaughns, may have finally allowed her to question her previous desire to be socially acceptable. While viewing this miniseries, it had occurred to me that Josephine "Jo" March might the most complicated of the four sisters. Many admire Jo for her artistic ambitions to be a writer and her independent spirit. But I thought Heidi Thomas did an excellent job in conveying how Jo can sometimes be her own worst enemy. Despite her ambition to be a novelist, she was willing to waste her literary talents to create cheap melodramas to help support the family. Initially, I saw nothing wrong with this. However, Jo seemed doomed to continue wasting her talent with writing cheap melodramas. She probably would have continued this path if her parents and Professor Bhaer had not encouraged to take a chance and embrace her true artistic potential. Another aspect of this production that really impressed me was how Heidi Thomas made Jo's rejection of Laurie's marriage proposal more plausible. Clearer. This was especially apparent in scenes that featured Jo's quiet rejections of Laurie's romantic overtures, her final rejection of his marriage proposal and her conversation with her mother on why Laurie could never be the right husband for her. But it is obvious that Jo's biggest problem was her fear of losing her family - not only to death, but also to love and marriage. This explained her hostile attitude toward Meg's romance with John Brooke. Jo seemed to be afraid of growing up. And she seemed to dread that growing up would eventually mean losing her sisters. "LITTLE WOMEN" features some differences from Alcott's novel. Did these changes hurt the miniseries' narrative? Well, I some issues with Thomas' erroneous mentions of historical events of the Civil War. On the hand, I thought her portrayal of Beth suffering from social anxiety disorder was something of a masterstroke. The miniseries did not feature a great deal of Alcott's religious additions to the story . . . something I did not miss. There were other aspects from Alcott's story that was also missing - the family newspaper, the Pickwick Club, and the sisters' amateur dramatics. But honestly? I did not miss them. Earlier, I had criticized some of the hairstyles worn by actress Maya Hawke, during her portrayal of Jo March. However, I certainly cannot criticize Eimer Ni Mhaoldomhnaigh's costume designs. I do not regard them as among the best 1860s costumes I have seen on television or in the movies. But I thought they were pretty solid, as shown in the image below:

Knowing that this adaptation of Alcott's novel was a British production, I thought Susie Cullen's production designs did a first-rate job in converting the Ireland locations into mid-19th century Massachusetts, New York City and Great Britain. Considering the miniseries was shot in Ireland, perhaps Ms. Cullen's job proved to be easier than I had originally assumed. I certainly enjoyed Piers McGrail's photography for the miniseries. I found it beautiful, thanks to the colorful and sharp images. One of the best aspects of "LITTLE WOMEN" - at least for me - proved to be its cast. The 2017 miniseries featured solid performances from supporting players that include Julian Morris as John Brooke, Meg March's future husband; Helen Methven as the March family's housekeeper Hannah; Adrian Scarborough as Amy’s teacher, Mr. Davis; Kathleen Warner Yeates as Aunt Carroll; Richard Pepple as a local Concord wigmaker; along with Felix Mackenzie-Barrow and Mei Bignall as the visiting Vaughn siblings. But there were supporting performances that impressed me. Dylan Baker gave the most memorable portrayal of Mr. March, the sisters' father, I have seen on-screen. It helped that his character was never in danger of being pushed to the background, unlike other adaptations I have seen. Mark Stanley gave a very charming and intelligent performance as Professor Bhaer, the German scholar whom Jo befriended while working as a governess in New York City. Stanley made it very easy for me to see how Jo would find Professor Bhaer so attractive. I really enjoyed Angela Landsbury's portrayal of Mr. March's aunt, Aunt March. The actress did such a marvelous job in conveying the character's forthright and controlling nature. Michael Gambon's portrayal of the Marches' neighbor, the elderly Mr. Laurence. Gambon did an excellent job of developing the character from a reserved and forbidding man grieving over a recently deceased child to a wise and compassionate friend and grandparent. If I had to choose my favorite on-screen Mrs. March aka "Marmee" I have seen, the honor would go to Emily Watson. I really enjoyed how Watson portrayed Marmee as this wise, yet pragmatic woman struggling to keep her family together. Another excellent performance came from Jonah Hauer-King, the story's "boy-next-door" who became a close friend of the March sisters. I cannot deny that Hauer-King gave one of the most complex performances in the miniseries. He did an excellent job in conveying the positive aspects of Laurie's personality - including his charm and loyalty to the March famiy; and the character's more negative aspects - namely his impatience, his inability to understand Jo's intellectual pursuits and his own quick temper. Naturally, I had to turn my attention to the four actresses who portrayed the March sisters. Thanks to Thomas, actress Annes Elwy was given the opportunity to portray the reserved Beth March from the prospective of one suffering from social anxiety disorder. And Elway did an excellent job of conveying Beth's emotional disorder and the struggles she endured to overcome it. Earlier, I had complained that Kathryn Newton was too old to portray Amy March during the first two years of the war. And I stand by this complaint. But I cannot deny that I ended up enjoying Newton's performance of the ambiguous Amy anyway. And I am thankful she did not make the mistake of exaggerating her performance to portray a character seven to eight years younger - something that many actors and actresses tend to do. Someone had once complained that Willa Fitzgerald's portrayal of the oldest March sister, seemed "too mature". And I do not understand this complaint. Meg was not only the oldest sibling, but possessed a personality that led her to occasionally behave like a "quasi parent" to her younger sisters. And Fitzgerald did a first-rate job in portraying his aspect of Meg's personality and her role within the March family hierarchy. As for Maya Hawke - questionable hairstyle aside - I truly enjoyed her performance as the story's main protagonist, the artistic and tomboyish Josephine "Jo" March. She did a superb job in capturing the many complex textures of Jo's personality. More importantly, Hawke also did an excellent job of developing Jo from this gawky and outgoing personality to someone forced to grow into adulthood - even if a little reluctantly. It is a pity that Hawke's performance was never acknowledge with an acting nomination of any kind. In fact, it is a pity that very few have been able to truly appreciate this adaptation of Louisa May Alcott's novel. The three-part miniseries seemed to be overshadowed by two recent adaptations - Gillian Armstrong's 1994 film and Greta Gerwig's 2019 production. I am not putting these two films down. But as far as I am concerned, Heidi Thomas' miniseries strikes me as worthy as those two films. In fact, I feel it is just as worthy as other adaptations of the novel - including the 1933 film and the adaptation released in 1949. I honestly did not believe I would enjoy this adaptation as much I did. And I have to give kudos to Heidi Thomas for creating a superb adaptation. She was aptly supported by excellent direction from Vanessa Caswill and a first-rate cast led by Maya Hawke. I look forward to viewing this adaptation in years to come.

#little women #louisa may alcott #little women bbc #little women 2017 #heidi thomas #u.s. civil war #gilded age #period drama #period dramas #costume drama #vanessa caswill #maya hawke #kathryn newton #willa fitzgerald #annes elwy #emily watson #jonah hauer king #julian morris #michael gambon #angela lansbury #dylan baker #mark stanley #eleanor methven #adrian scarborough

[cressida-jayoungr]

One Dress a Day Challenge

June: Weddings

Love and Friendship / Morfydd Clark as Frederica Vernon and Xavier Samuel as Reginald de Courcy

Frederica wears a cream or pale yellow gown with a yellow sash, pearl earrings, and a gold ribbon in her hair. Reginald wears a sage-green coat over an embroidered waistcoat of similar color, and buff-colored knee breeches.

It's a shame we don't get to see what Lady Susan and Sir James wore for their wedding, though!

#love and friendship #wedding costumes #morfydd clark #xavier samuel #movie costumes #one dress a day challenge #one dress a week challenge #period film #18th century costumes #1790s #1790s fashion #1790s style #18th century style #18th century fashion #2016 films #2016 movies #Eimer Ni Mhaoldomhnaigh #austen adaptations #lady susan

[badgaymovies]

Jimmy's Hall

Jimmy’s Hall

BBB.5 (out of 5) True story of Jimmy Gralton (Barry Ward), who returns to Ireland in 1932 after ten years of exile in America, a dedicated socialist with no religious sentiment; in an Ireland whose civil war has been won by a British-backed, Catholic church-approved government, this makes him an immediate target for enemies.  His appearance on Emerald shores combined with his reopening his famed…

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#Aileen Henry #Aisling Franciosi #Andrew Scott #Anna Crossley #Barry Ward #Brían F. O&039;Byrne #British Film Institute #Cannes 2014 #Chris MacManus #Colm Gormley #Conor McDermottroe #Denise Gough #Diane Parkes #Donal O&039;Kelly #Eimer Ni Mhaoldomhnaigh #Element Pictures #Fergus Clegg #Film4 #France #Francis Magee #George Fenton #Hugh Gallagher #Ireland #Irish Film Board #Jim Norton #Joe Lafferty #John Colleary #John Cronogue #John McCarrick #John O&039;Dowd

[rosalyn51]

From Screen Ireland

First Look Image of Irish / UK Co-Production Freud’s Last Session Released

Posted: 11th April 2023

WestEnd films has today released the first image of Anthony Hopkins and Matthew Goode in Freud's Last Session, an official Irish / UK co-production proudly supported by Fís Éireann / Screen Ireland and the UK Global Screen Fund.

The two award-winning actors star as the legendary psychoanalyst Sigmund Freud and writer and academic C.S. Lewis, prior to his Chronicles Of Narnia fame. Set on the eve of the Second World War, when at the end of his life, Freud invites iconic author C.S. Lewis to debate the existence of God. Interweaving past, present and fantasy, the film explores Freud’s unique relationship with his daughter Anna, and Lewis’ unconventional relationship with his best friend’s mother.

Filming is at its final stages in Ireland.

The film is being directed by Matthew Brown (The Man Who Knew Infinity) and written by Mark St. Germain (The God Committee) with revisions by Brown, based on the play of the same name. It is produced by Alan Greisman, Hannah Leader, Rick Nicita, Robert Stillman, and Meg Thomson. Irish producers are Tristan Orpen Lynch and Aoife O’Sullivan of Subotica Productions (Aisha, Joyride). Niamh Fagan is executive producer for Screen Ireland.

The project reunites Academy Award-winning Production Designer Luciana Arrighi (Mrs. Harris Goes To Paris, Howards End) with director Matthew Brown, the two previously collaborated on The Man Who Knew Infinity. Cinematographer Ben Smithard (The Son, Downton Abbey) who previously worked on The Father with Hopkins has also joined the project. Costume Designer Eimer Ni Mhaoldomhnaigh (The Banshees of Inisherin, Love & Friendship), BAFTA award winning Make-Up Designer Morna Ferguson (The Wonder), and Editor Paul Tothill (Atonement) complete the creative team.

Westend Films and CAA Media Finance are handling sales for the film. Sony Pictures Classics have bought the rights for North America, the Middle East, Turkey, India, Eastern Europe, (excluding CIS) Asia (excluding China, Korea and Japan), Latin America and worldwide airlines, and WestEnd have also struck deals across Australia (Sharmill Films), Scandinavia (Scanbox), Italy (Adler), Benelux (Just Entertainment), Portugal (NOS), Israel (United King) and Greece (Spentzos).

#GoodE buZZ #FreudsLastSession #can’t wait 

#matthew goode #anthony hopkins #freud’s last session #sigmund freud #c s lewis #matthewgoode #henry talbot #a discovery of witches #freud's last session movie #cinematographer #ben smithard #dop #downton abbey movie #the father #the son #new film #coming soon #filming location #ireland #dublin #screen ireland #uk global screen fund #goode performance

[frockflicksfeed]

Costume Designer Eimer Ni Mhaoldomhnaigh: The Frock Flicks Guide

Irish costume designer Eimer Ní Mhaoldomhnaigh might not be a big name (though she has a big Gaelic name!). Much of her work has been in Ireland on smaller films. But you may recognize a lot of these movies and the big-name actors in them, in particular the frock flicks. From reading interviews with her,... Read more → from Frock Flicks https://ift.tt/3DxuekD via IFTTT

#IFTTT #Frock Flicks