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Stills from Shirley, Ammonite, Swallow, and The Assistant displaying their costume design, in front of a yellow and pink swirling background.

Seventh Row Editors / January 10, 2021

Seventh Row writers on their favourite costume design of 2020

We asked four of our writers to pick their favourite costume design of 2020 and write about why they love it.

Two stills of Théodore Pellerin in Never Rarely Sometimes Always and Théodore Pellerin in Souterrain in front of a blue background.

Alex Heeney / January 9, 2021

FYC: Théodore Pellerin continued to prove himself in 2020

23-year-old Québécois actor Théodore Pellerin delivered two standout supporting performances in 2020, in Never Rarely Sometimes Always and Souterrain.

A still of Vanessa Kirby in Pieces of a Woman in front of a swirling orange background.

Alex Heeney / January 7, 2021

Vanessa Kirby beautifully underplays a showy role in Pieces of a Woman

Thirty minutes into Pieces of a Woman, I was ready to declare Vanessa Kirby a future Oscar nominee for the film.

Seventh Row Editors / January 6, 2021

Ep. 73: Promising Young Woman and The Assistant: Explorations of rape culture

This week on the podcast we discuss two explorations of rape culture that approach the topic in very different way. We look at Emerald Fennell’s stylish revenge thriller Promising Young Woman and Kitty Green’s The Assistant, a portrait of a young woman working in a misogynistic office environment.

A still of Adam Beach in Monkey Beach, in front of a bright orange background.

Alex Heeney / January 5, 2021

FYC: Adam Beach shines in Monkey Beach as a troubled father figure

Adam Beach appears in only a handful of scenes of Monkey Beach, but he leaves such an impression, you’re convinced he was on screen longer.

Two stills of Odessa Young in Shirley and two stills of Elisabeth Moss in Shirley, set against a blue background. The stills display the costume work by Amela Baksic.

Fiona Underhill / January 4, 2021

FYC: Captivating costumes tie Shirley‘s female characters together

Amela Baksic’s costumes aid in setting the various moving parts of Shirley, especially its female characters, in rotation around one another.

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