#Piers McGrail

[joealwyndaily]

Conversations with Friends has received 7 nominations at this year's Irish Film and Television Awards, including:

BEST DRAMA “Bad Sisters” “Conversations with Friends” “Derry Girls: The Agreement (Extended Special)” “Smother” “The Dry” “Vikings: Valhalla”

DIRECTOR - DRAMA “Bad Sisters” – Dearbhla Walsh “Conversations with Friends” – Lenny Abrahamson “Maxine” – Laura Way “Severance” – Aoife McArdle “Smother” – Dathaí Keane “The Dry” – Paddy Breathnach

SCRIPT - DRAMA “Bad Sisters” – Sharon Horgan “Conversations with Friends” – Mark O’Halloran “Derry Girls: The Agreement (Extended Special)” – Lisa McGee “Smother” – Kate O’Riordan “The Dry” – Nancy Harris “Top Boy” – Ronan Bennett

LEAD ACTRESS - DRAMA Alison Oliver – “Conversations with Friends” Caitriona Balfe – “Outlander” Dervla Kirwan – “Smother” Roisin Gallagher – “The Dry” Sharon Horgan – “Bad Sisters” Siobhan McSweeney – “Holding”

SUPPORTING ACTOR - DRAMA Brian Gleeson – “Bad Sisters” Ciarán Hinds – “The Dry” Daryl McCormack – “Bad Sisters” Michael Smiley – “Bad Sisters” Moe Dunford – “The Dry” Tommy Tiernan – “Conversations with Friends”

CINEMATOGRAPHY “Conversations with Friends”  –  Suzie Lavelle “How To Tell A Secret”  –  Eleanor Bowman “It Is In Us All”   –  Piers McGrail “The Dry” – Cathal Watters  “Vikings: Valhalla” –  Peter Robertson

SOUND “Aisha”   “The Banshees of Inisherin” “Conversations with Friends” “The Sparrow” “The Wonder”

The show takes place May 7 in Dublin

#conversations with friends #joe alwyn #alison oliver #lenny abrahamson #IFTA awards

[sesiondemadrugada]

The Canal (Ivan Kavanagh, 2014).

#the canal (2014) #ivan kavanagh #rupert evans #antonia campbell-hughes #piers mcgrail #albi sheridan #robin hill #stephanie clerkin #the canal

[scenesandscreens]

Giri/Haji (2019)

Directed by Julian Farino & Ben Chessell

Cinematography by David Odd & Piers McGrail

#scenesandscreens #Piers McGrail #David Odd #Ben Chessell #Julian Farino #Yoshiki Minato #Katsuya #Jamie Draven #Togo Igawa #Mitsuko Oka #Tony Pitts #Anna Sawai #Tony Way #Charlie Creed-Miles #justin long #Sophia Brown #Yūko Nakamura #kelly macdonald #Yōsuke Kubozuka #will sharpe #aoi okuyama #masahiro motoki #takehiro hira #giri/haji #giri #haji #duty #shame

[genevieveetguy]

The Image You Missed, Donal Foreman (2018)

#Donal Foreman #Arthur MacCaig #Piers McGrail #Michael Buckley #Ohal Grietzer #Christopher Colm Morrin #2018

[filmaticbby]

Kelly + Victor (2012) dir. Kieran Evans

#kelly + victor #kieran evans #cinematography #piers mcgrail #british cinema #julian morris #antonia campbell-hughes #film still #movies #romance #aesthetic #screencap

[icollectimages]

The Canal (2014)

Country: Ireland / United Kingdom

Written & Directed by: Ivan Kavanagh

Cinematography by: Piers McGrail & Albi Sheridan

Edited by: Robin Hill

Produced by: AnneMarie Naughton

Music by: Ceiri Torjussen

Production Design by: Stephanie Clerkin

Art Direction by: Patricia Douglas

#The Canal #Movie #Ireland #United Kingdom #Ivan Kavanagh #Piers McGrail #Albi Sheridan #Robin Hill #AnneMarie Naughton #Ceiri Torjussen #Stephanie Clerkin #Patricia Douglas #The Orchard #2010s #Horror #Thriller #Mystery

[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

[turkishdelight9999]

A scene by Giri/Haji. (2019, dir. Ben Chessell, Julian Farino) 

Cinematography by Piers McGrail and David Odd

#girihaji #mood #moodboard #tv #netflix #duty shame #giri haji #aesthetic #dark #beach #seaside #sea #ocean #funeral #uk

[ponapisach]

Douglas 'Graba' Armstrong (Cosmo Jarvis) to kawał dryblasa. Największy w wiosce. Kiedyś był bokserem, nawet walczył o tytuły, reprezentował hrabstwo. Musiał jednak zejść z ringu, bo był zbyt brutalny, a zła sława niesie się za nim po dziś dzień. To człowiek zrodzony z przemocy, bije się od kiedy pamięta i dostał o kilka razu za dużo w głowę. To widać i słychać. Graba jest dzisiaj jak młotek, ale nie taki do wbijania gwoździ pod wiszące obrazki, a raczej takim od mostowych pali. Sam z siebie nie uderzy, ale w rękach Deversów, rodziny, która trzęsie okolicą, robi krzywdę każdej wskazanej przez nich osobie. Wyjątkowo mocno owinął go sobie wokół palca młody Dympna (Barry Keoghan), bratanek herszta bandy.

Graba ściąga więc haracze, egzekwuje należności, wymierza kary za drobne i większe przewinienia, które mieszkańcy miasteczka, detaliści i inni kontrahenci dopuścili się względem „rodziny”, która trudni się rozprowadzaniem narkotyków w regionie. Jest wykorzystywany i manipulowany.

Ale Graba zaczyna myśleć i gdzieś pod tymi kilkoma centymetrami twardej skóry bije serce. Mała iskra może wzniecić pożar, tak mówią, a Graba chciałby więcej czasu spędzać ze swoim kilkuletnim, opóźnionym w rozwoju synkiem. Zleceniem na zabójstwo rodzina Deversów chce Grabę już na zawsze związać paktem krwi.

Kino należące do nurtu, który zwykłem nazywać "okruchami życia" od zawsze zajmowało miejsce szczególne w moim sercu. To opowieści o prawdziwym życiu z nizin społecznych, często z kryminalnego półświatka. Te historie, jeżeli są opowiadane szczerze i bez fantazjowania, odczuwa się bardzo mocno i charakteryzuje je ogromna siłą rażenia, nawet jeżeli nie są (to nie jest warunek) rozpasane brutalnymi scenami.

Taki był (między innymi) angielski Nic doustnie Gary'ego Oldmana, amerykański Do szpiku kości Debry Granik, polski 300 mil do nieba Macieja Dejczera. W mig można rozpoznać wspólny mianownik tego kina, to potencjał płynący ze społecznych dramatów przedstawionych bez cienia fałszu. I nie chodzi tutaj o konkretną przynależność gatunkową, bo Calm with horses Nicka Rowlanda biegnie gdzieś na krawędzi neo-noir, ale nie raz ogląda się w kierunku brytyjskiej braci z Kenem Loachem na czele. To nie jest więc kino stricte społeczne, chociaż słychać tu echa wyspiarskich filmowców społeczników.

Calm with horses przedstawia dramat mężczyzny, który mało rozumie, ale jednego jest pewny, nie uda mu się zejść z tej drogi. Może chociaż uratuje innych? Może te lata spędzone na ringu i blizny na ciągle zakrwawionych dłoniach czemuś służą? Przykro jest jednocześnie patrzeć na twarz byłego boksera, do którego docierają w jego dorosłym życiu podstawowe prawdy o życiu, gdy jest o kilkadziesiąt zakrętów za daleko. Wspaniale przy tym spisał się Cosmo Jarvis w roli Douglasa. To oszczędna gra, zniuansowana, ale też miejscami mocno fizyczna. Drobny Jarvis, mam wrażenie patrząc na zdjęcia aktora, zmuszony był grać postać z o wiele większą posturą. Do tego dochodzi pewna wada wymowy Graby, ucieczki wzrokiem, niepewność, poddawanie się sugestiom innych. Aktor stworzył jednego z tych okaleczonych życiowo bohaterów, którzy budzą się zbyt późno, jak Randy „The Ram” Robinson (Mickey Rourke) z filmu Wrestler Darrena Aronofsky'ego. To ten sam silny na zewnątrz, ale zalękniony w środku mężczyzna, który żałuje ostatecznie prawie wszystkiego co dotąd uczynił. Smutny, gorzki, cholernie surowy i nie dający w gruncie rzeczy nadziei na to, że jutro wzejdzie dla głównego bohatera słońce.

#piers mcgrail #calm with horses #nick rowland #barry keoghan #ned dennehy #niamh algar #cosmo jarvis

[scannain]

#Review: The Cured

#Review: The Cured ★★★★ - A fantastic horror filled with moving performances and a story with many threads to pull on.

The Cured stars Sam Keeley, with Ellen Page, and Tom Vaughan-Lawlor and follows the aftermath of a virus outbreak that hit Ireland. This outbreak devastated the population of our small country but as the film opens the audience learns that the infected have been cured. There is one major complication however the infected remember everything. Combine this torturous issue for the “victims” with a…

View On WordPress

#David Freyne #Ellen Page #IFC Films #Piers McGrail #Sam Keeley #The Cured #Tom Vaughan-Lawlor

[mellowyknox]

Guinness “Irish Wheat”

Agency: Quaker City Mercantile

Production: Tool of North America Los Angeles Director: Phillip Montgomery Cinematographer: Piers McGrail Editor: Phillip Montgomery Colorist: Gary Curran

Year: 2017

#guinness #beer #alcoholic drinks #craftsmanship #quaker city mercantile #tool of north america #factory #phillip montgomery #piers mcgrail #gary curran #2017 #typography

[sesiondemadrugada]

Son (Ivan Kavanagh, 2021).

#son #son (2021) #ivan kavanagh #andi matichak #luke david blumm #piers mcgrail #robin hill #john leslie #emily davis #catherine koehler #tora eff

[aristocratslog]

Stuffed from Theo Rhys on Vimeo.

A musical film about a taxidermist who dreams of stuffing a human and a man she meets online, so afraid of ageing he volunteers to be her specimen. An unexpected romantic spark between them complicates their plans.

humantaxidermy.me/

imdb.com/title/tt13918214/ instagram.com/stuffed_film

************************************************************************************************************ CAST Araminta - Alison Fitzjohn Bernie - Anthony Young ︎ CREW Director - Theo Rhys Music & lyrics - Joss Holden-Rea Writer(s) - Joss Holden-Rea, Theo Rhys Cinematographer - Piers McGrail Production designer - Liz El-Kadhi Editor - Ed Cheesman

Producer(s) - Freddie Barrass, Theo Rhys Exec producer - Myles Payne

**Full credits: humantaxidermy.me/credits2

FESTIVALS: WINNER - SXSW 2021 - Audience Award WINNER - SXSW 2021 - Special Jury Recognition for Bold Short WINNER - Nashville Film Festival 2021 - Graveyard Shift - Best Short Film WINNER - BIFAN 2021 - Best Short Film WINNER - BIFAN 2021 - Audience Award WINNER - Prague Shorts Fest - Audience Award WINNER - North Bend Film Festival - Best Short Film WINNER - North Bend Film Festival - Best Performance (Alison Fitzjohn) WINNER - Crested Butte Film Festival - Best narrative short; comedy or musical

OFFICIAL SELECTION - Frightfest 2021 OFFICIAL SELECTION - Karlovy Vary Film Festival 2021 OFFICIAL SELECTION - London Short Film Festival 2021 OFFICIAL SELECTION - Sydney Film Festival OFFICIAL SELECTION - Leeds International Film Festival OFFICIAL SELECTION - Telluride Horror Show OFFICIAL SELECTION - Indy Shorts Film Festival OFFICIAL SELECTION - DeadCentre Film Festival OFFICIAL SELECTION - L'Étrange Festival 2021 OFFICIAL SELECTION - Concorto Film Festival OFFICIAL SELECTION - Les Arcs Film Festival OFFICIAL SELECTION - Courts Mais Trash 2022 OFFICIAL SELECTION - Loudoun Film Festival OFFICIAL SELECTION - Alexander Valley Film Festival OFFICIAL SELECTION - Indie Street Film Festival OFFICIAL SELECTION - Lausanne International Film Festival OFFICIAL SELECTION - Alpinale Film Festival OFFICIAL SELECTION - Sound Unseen OFFICIAL SELECTION - 24fps International Short Film Festival OFFICIAL SELECTION - Jecheon International Music & Film Festival OFFICIAL SELECTION - Copenhagen Short Film Festival

[lesterplatt]

Stuffed from Theo Rhys on Vimeo.

A musical film about a taxidermist who dreams of stuffing a human and a man she meets online, so afraid of ageing he volunteers to be her specimen. An unexpected romantic spark between them complicates their plans.

humantaxidermy.me/

imdb.com/title/tt13918214/ instagram.com/stuffed_film

************************************************************************************************************ CAST Araminta - Alison Fitzjohn Bernie - Anthony Young ︎ CREW Director - Theo Rhys Music & lyrics - Joss Holden-Rea Writer(s) - Joss Holden-Rea, Theo Rhys Cinematographer - Piers McGrail Production designer - Liz El-Kadhi Editor - Ed Cheesman

Producer(s) - Freddie Barrass, Theo Rhys Exec producer - Myles Payne

**Full credits: humantaxidermy.me/credits2

FESTIVALS: WINNER - SXSW 2021 - Audience Award WINNER - SXSW 2021 - Special Jury Recognition for Bold Short WINNER - Nashville Film Festival 2021 - Graveyard Shift - Best Short Film WINNER - BIFAN 2021 - Best Short Film WINNER - BIFAN 2021 - Audience Award WINNER - Prague Shorts Fest - Audience Award WINNER - North Bend Film Festival - Best Short Film WINNER - North Bend Film Festival - Best Performance (Alison Fitzjohn) WINNER - Crested Butte Film Festival - Best narrative short; comedy or musical

OFFICIAL SELECTION - Frightfest 2021 OFFICIAL SELECTION - Karlovy Vary Film Festival 2021 OFFICIAL SELECTION - London Short Film Festival 2021 OFFICIAL SELECTION - Sydney Film Festival OFFICIAL SELECTION - Leeds International Film Festival OFFICIAL SELECTION - Telluride Horror Show OFFICIAL SELECTION - Indy Shorts Film Festival OFFICIAL SELECTION - DeadCentre Film Festival OFFICIAL SELECTION - L'Étrange Festival 2021 OFFICIAL SELECTION - Concorto Film Festival OFFICIAL SELECTION - Les Arcs Film Festival OFFICIAL SELECTION - Courts Mais Trash 2022 OFFICIAL SELECTION - Loudoun Film Festival OFFICIAL SELECTION - Alexander Valley Film Festival OFFICIAL SELECTION - Indie Street Film Festival OFFICIAL SELECTION - Lausanne International Film Festival OFFICIAL SELECTION - Alpinale Film Festival OFFICIAL SELECTION - Sound Unseen OFFICIAL SELECTION - 24fps International Short Film Festival OFFICIAL SELECTION - Jecheon International Music & Film Festival OFFICIAL SELECTION - Copenhagen Short Film Festival

[artwalktv]

A musical film about a taxidermist who dreams of stuffing a human and a man she meets online, so afraid of ageing he volunteers to be her specimen. An unexpected romantic spark between them complicates their plans. https://bit.ly/3nD5OAp https://imdb.to/3nIKEke https://bit.ly/3bknZVK ************************************************************************************************************ CAST Araminta - Alison Fitzjohn Bernie - Anthony Young ︎ CREW Director - Theo Rhys Music & lyrics - Joss Holden-Rea Writer(s) - Joss Holden-Rea, Theo Rhys Cinematographer - Piers McGrail Production designer - Liz El-Kadhi Editor - Ed Cheesman Producer(s) - Freddie Barrass, Theo Rhys Exec producer - Myles Payne **Full credits: https://bit.ly/3BotGfT FESTIVALS: WINNER - SXSW 2021 - Audience Award WINNER - SXSW 2021 - Special Jury Recognition for Bold Short WINNER - Nashville Film Festival 2021 - Graveyard Shift - Best Short Film WINNER - BIFAN 2021 - Best Short Film WINNER - BIFAN 2021 - Audience Award WINNER - Prague Shorts Fest - Audience Award WINNER - North Bend Film Festival - Best Short Film WINNER - North Bend Film Festival - Best Performance (Alison Fitzjohn) WINNER - Crested Butte Film Festival - Best narrative short; comedy or musical OFFICIAL SELECTION - Frightfest 2021 OFFICIAL SELECTION - Karlovy Vary Film Festival 2021 OFFICIAL SELECTION - London Short Film Festival 2021 OFFICIAL SELECTION - Sydney Film Festival OFFICIAL SELECTION - Leeds International Film Festival OFFICIAL SELECTION - Telluride Horror Show OFFICIAL SELECTION - Indy Shorts Film Festival OFFICIAL SELECTION - DeadCentre Film Festival OFFICIAL SELECTION - L'Étrange Festival 2021 OFFICIAL SELECTION - Concorto Film Festival OFFICIAL SELECTION - Les Arcs Film Festival OFFICIAL SELECTION - Courts Mais Trash 2022 OFFICIAL SELECTION - Loudoun Film Festival OFFICIAL SELECTION - Alexander Valley Film Festival OFFICIAL SELECTION - Indie Street Film Festival OFFICIAL SELECTION - Lausanne International Film Festival OFFICIAL SELECTION - Alpinale Film Festival OFFICIAL SELECTION - Sound Unseen OFFICIAL SELECTION - 24fps International Short Film Festival OFFICIAL SELECTION - Jecheon International Music & Film Festival OFFICIAL SELECTION - Copenhagen Short Film Festival

#Videos & Films

[newstinxahoi]

Các hãng bán lẻ Mỹ loay hoay với núi hàng tồn sau phá sản

Kể cả khi giảm nửa giá sản phẩm, việc thanh lý trong mùa dịch cũng khó khăn do người Mỹ giảm chi tiêu và ngại ra ngoài.

Ngành bán lẻ truyền thống của Mỹ vốn đã gặp khó vài năm gần đây. Vì thế, đại dịch xuất hiện như giọt nước tràn ly, khiến hàng loạt thương hiệu như J.C.Penney, Neiman Marcus, Brooks Brothers, Lord & Taylor phá sản và nhiều hãng khác phải đóng bớt cửa hàng. Tuy nhiên, trong bối cảnh người Mỹ ngại mua sắm tại các cửa hàng và không dám chi tiêu, việc thanh lý cũng trở nên khó khăn.

Các công ty đang giảm bớt số cửa hàng cho biết việc thanh lý hiện khác biệt rõ rệt so với trước đại dịch. Họ đã giảm giá mạnh sản phẩm, từ 40% trở lên thay vì 20% như thông thường, kèm nhiều ưu đãi khác. Tuy nhiên, số tiền thu được vẫn kém 25% so với khi đại dịch mới bắt đầu.

"Giống như là anh tổ chức tiệc và chẳng có ai tới cả", Jim Schaye - CEO Eaton Hudson cho biết, "Mọi người không đổ xô đến J.C. Penney hay Lord & Taylor để mua hàng thanh lý như trước đây. Kể cả khi giảm giá 60%, họ vẫn nói rằng: Thế thì sao? Tôi không cần nên không mua đâu".

New York & Co đang thanh lý toàn bộ 378 cửa hàng sau khi công ty mẹ phá sản. Ảnh: REX

Tuần trước, Gap thông báo sẽ đóng 200 cửa hàng. Ascena Retail Group - công ty mẹ của Ann Taylor, Lane Bryant và Justice dự định đóng gần 1.600 cửa hàng trong quá trình phá sản. Chuỗi trung tâm thương mại Lord & Taylor đang thanh lý toàn bộ cửa hàng. Pier 1 Imports, Modell’s, Stage Stores và New York & Co cũng vậy. Tổng cộng, các hãng bán lẻ được dự báo đóng cửa kỷ lục 25.000 cơ sở năm nay, theo Coresight Research.

Thông thường, một đợt bán thanh lý kéo dài trong 9 tuần. Nhưng hiện tại, thời gian này dài hơn 30%, theo Michael McGrail - COO Tiger Group - một trong các công ty quản lý việc thanh lý cho J.C. Penney, New York & Co. và Modell’s cho biết. Dĩ nhiên, thời gian còn tùy thuộc vào loại hàng. Trong mùa dịch, đồ thể thao, nội thất và gia dụng có xu hướng bán nhanh hơn là quần áo, giày dép và trang sức. "Chắc chắn là người tiêu dùng sẽ quay lại, nhưng không phải là 100%", ông nói.

Một vấn đề khác càng khiến tình hình phức tạp. Đó là hàng triệu người Mỹ đang thất nghiệp. Và kể cả những người có việc làm cũng giảm chi cho hàng hóa không thiết yếu. Doanh số các cửa hàng quần áo đã giảm 37% so với năm ngoái. Trong khi đó, doanh số hàng điện tử, nội thất và đồ dùng gia đình cũng giảm ở mức hai chữ số, theo Bộ Thương mại Mỹ.

Hệ quả là các công ty thực hiện việc thanh lý phải thay đổi. Thay vì trả trước tiền hàng cho các hãng bán lẻ như thông thường, họ chuyển sang mô hình trả phí. Theo đó, các hãng bán lẻ sẽ nhận được một phần tiền sau khi việc bán hoàn tất. Đại dịch cũng khiến họ phải làm thêm nhiều việc khác, như mua đồ bảo hộ, hay tuyển và đào tạo nhân viên cửa hàng.

Ian Fredericks - Phó giám đốc cấp cao tại tập đoàn bán lẻ Hilco Merchant Resources cho biết nhiều nhân viên ngại quay lại làm việc tạm thời, đặc biệt khi họ đã bị cho nghỉ không lương và nhận trợ cấp thất nghiệp. Nhiều người khác thì lo ngại vấn đề an toàn và sức khỏe. Công ty này đã phải tuyển và đào tạo hàng trăm nhân viên cho việc bán thanh lý mùa dịch.

"Chúng tôi ngày càng phải làm việc này nhiều hơn, do các cửa hàng không đủ nhân viên để hỗ trợ khách hàng trong những ngày này. Khi một dự án hoàn tất, chúng tôi có thể chuyển họ sang dự án khác cùng khu vực", ông nói.

Các sản phẩm thời trang chuyên biệt như vest nam đặc biệt khó bán, kể cả khi giảm nửa giá, Frederick cho biết. Họ còn phải đối mặt với nhiều thách thức nữa. "Mọi người không cần phải ra ngoài nữa. Còn nếu họ đến trung tâm thương mại thì chỉ vì cần mua đồ gì đó đã tính trước. Thời trang chuyên biệt không nằm trong số đó".

Và dù người Mỹ đang mua sắm online nhiều hơn, việc thanh lý lại không theo kịp xu hướng này. Rất nhiều hãng bán lẻ có website khá cũ, không thể xử lý các đơn hàng mua online lớn hoặc không có lựa chọn mua và đến cửa hàng nhận đồ. Thậm chí, với hãng bán lẻ có hiện diện lớn trên Internet, họ thường không muốn làm tổn hại danh tiếng của mình bằng cách giảm giá lớn trên mạng.

"Có quá nhiều thứ không chắc chắn. Ví dụ anh đang bán thanh lý mà trung tâm thương mại lại đóng cửa chẳng hạn", Schaye cho biết, "Chúng tôi đang rất khó khăn".

Cuối tháng 7, nhân viên tại một cửa hàng của Catherines ở Tây Virgina được thông báo công ty mẹ đã nộp đơn xin phá sản và đóng cửa chuỗi thời trang này. Họ ngay lập tức treo biển thanh lý, ban đầu giảm 40% và sau đó đến 95%.

Tuy nhiên, thanh lý mùa dịch có nhiều hạn chế. Chỉ 5 khách hàng được vào một lúc. Nhân viên cũng phải lau dọn quầy thu ngân sau mỗi giao dịch. Phòng thử đồ cũng bị hạn chế, khiến một số người mua phải thử đồ ngay trên sàn.

"Chúng tôi chỉ muốn làm xong việc này thôi", Lyndsey Fought - nhân viên bán thời gian tại đây cho biết, "Chúng tôi rất buồn khi mất việc sau hơn 2 tháng nghỉ không lương. Rồi cửa hàng lại đóng cửa. Cảm giác không dễ chịu chút nào".

Hà Thu (theo Washington Post)