Griot Editorial and video postproduction boutique Postique have added account executive Rachel Pierson
Griot Editorial and video postproduction boutique Postique, which are divisions of Farmington Hills, Mich.-headquartered Grace & Wild, have added account executive Rachel Pierson to their collective sales force. She was producer/head of sales for STS Editorial, Southfield, Mich., when it merged with Griot in January. She now takes on new business duties and maintains a client base for Postique and Griot….Liz Wilson has come aboard Kansas City-based editorial and visual effects shop T2 as an account executive….Production designer/art director Tony Fanning has wrapped production design on the feature film Nancy Drew and is now available for spots and music videos via The Montana Artists Agency, Los Angeles….Production designer Jennifer Williams is available through the Sheldon Prosnit Agency, Los Angeles, after finishing work on director Alfonso Curaron’s film, The Children of Men….
Review: Writer-Director Andrea Arnold’s “Bird”
"Is it too real for ya?" blares in the background of Andrea Arnold's latest film, "Bird," a 12-year-old Bailey (Nykiya Adams) rides with her shirtless, tattoo-covered dad, Bug (Barry Keoghan), on his electric scooter past scenes of poverty in working-class Kent.
The song's question — courtesy of the Irish post-punk band Fontains D.C. — is an acute one for "Bird." Arnold's films ( "American Honey," "Fish Tank") are rigorous in their gritty naturalism. Her fiction films — this is her first in eight years — tend toward bleak, hand-held verité in rough-and-tumble real-world locations. Her last film, "Cow," documented a mother cow separated from her calf on a dairy farm.
Arnold specializes in capturing souls, human and otherwise, in soulless environments. A dream of something more is tantalizing just out of reach. In "American Honey," peace comes to Star (Sasha Lane) only when she submerges underwater.
In "Bird," though, this sense of otherworldly possibility is made flesh, or at least feathery. After a confusing night, Bailey awakens in a field where she encounters a strange figure in a skirt ( Franz Rogowski ) who arrives, like Mary Poppins, with a gust a wind. His name, he says, is Bird. He has a soft sweetness that doesn't otherwise exist in Bailey's hardscrabble and chaotic life.
She's skeptical of him at first, but he keeps lurking about, hovering gull-like on rooftops. He cranes his neck now and again like he's watching out for Bailey. And he does watch out for her, helping Bailey through a hard coming of age: the abusive boyfriend (James Nelson-Joyce) of her mother (Jasmine Jobson); her half brother (Jason Buda) slipping into vigilante violence; her father marrying a new girlfriend.
The introduction of surrealism has... Read More