Oakland News Now – Tag Cloud – “Es arte”, dice una latina que trabaja en la fabricación de sombreros en Texas | Noticias Telemundo | Noticias
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“Es arte”, dice una latina que trabaja en la fabricación de sombreros en Texas | Noticias Telemundo | Noticias | Oakland News Now – Oakland News, SF Bay Area, East Bay, California, World
Oakland News Now – Tag Cloud – “Es arte”, dice una latina que trabaja en la fabricación de sombreros en Texas | Noticias Telemundo | Noticias
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On the occasion of the preview presentation of Farewell Leonora at the Berlinale, Paolo Del Brocco, CEO of Rai Cinema which produces the film together with Donatella Palermo’s Stemal Entertainment, had the opportunity to remember the role of Rai Cinema and 01 Distribution in reconnecting the bond with the public: “Today at the Berlin Film Festival Leonora’s farewell debut by Paolo Taviani, one of the undisputed masters of our cinema, who at the age of ninety gives us a powerful and emotional film, the only one to represent Italy in the competition for the Golden Bear.
Paolo Taviani goes to the affectionate embrace of Rai Cinema and 01 Distribution, always close to auteur cinema, which with the Italian release on February 17th intend to encourage the public to return to cinemas to live an irreplaceable experience. Two years of Covid have left their mark on everyone’s lives and seeing cinema on the big screen can help us look beyond: beyond the pandemic, beyond the small home screens, beyond the limited and solitary horizon of private visions.
The trend of infections gives us hope for the near future, significant signs indicate that we are moving towards a relaxation of the anti Covid measures and this can restore the courage to leave the house and return to the cinema with confidence and security.
In these two years we have not lost heart, working with tenacity and conviction to welcome the audience in the hall with the highest quality of our cinema. Rai Cinema and 01 Distribution have always been the home of great cinema and not even in the darkest days have we thought of failing to achieve this goal.
We have worked with our historical authors, with others younger but already established, with some great international masters whose works we have been waiting for for some time, always alongside the independent producers who have trusted us over the years. The films of Gianni Amelio, Gabriele Salvatores, Pietro Marcello, Pupi Avati, Michele Placido, Francesca Archibugi, Giorgio Rights are ready.
They are also in the pipeline the films of Marco Bellocchio, Matteo Garrone, Nanni Moretti, Roman Polanski, Susanna Nicchiarelli, Alice Rohrwacher, Edoardo De Angelis, Sydney Sibilia and othersto.
Also of great importance i acquisition film by Martin Scorsese, Steven Spielberg, Pablo Larrain.
Naturally, we will continue to produce and distribute large entertainment cinema as well, but we intend to reinforce the idea that the work of Rai Cinema, 01 Distribution and the producers we work with is always in favor of quality cinema.
We send a positive message to all those who work in the world of cinema, we want to reconnect that broken thread with the public by fully recovering their trust. We can do it all together, we have the strength and quality of it ».
Below are the films that will be distributed by 01 Distribution.
GIANNI AMELIO
The Lord of the Ants
Production: Kavac Film, IBC Movie and Tenderstories with Rai Cinema
PUPI AVATI
Dante
Production: Duea Film with Rai Cinema
EDOARDO DE ANGELIS
The commander
Production: Indigo, O’Groove, Wise Pictures with Rai Cinema
MATTEO GARRONE
I Captain
Production: Archimede with Rai Cinema, in co-production with Tarantula Belgique
MANETTI BROS.
Diabolik 2
Production: Mompracem with Rai Cinema
NANNI MORETTI
The Sun of the future
Production: Sacher Film, Fandango with Rai Cinema, in co-production with Le Pacte
GIUSEPPE PICCIONI
Shadow of the Day
Production: Lebowski with Rai Cinema
ROMAN POLANSKI
The Palace
Production: Eliseo Multimedia with Rai Cinema, in co-production with Cab Productions, Lucy Bob, RP Productions
MATTEO OAK
The Sergeant in the Snow
Production: Greenland with Rai Cinema
MARTIN SCORSESE
Killers of the Flower Moon
Production: Appian Way with LFG
STEVEN SPIELBERG
The Fabelmans
Production: Amblin Entertainment with LFG
FRANCESCA ARCHIBUGI
The Hummingbird
Production: Fandango with Rai Cinema in co-production with Les Films des Tournelles
MARCO BELLOCCHIO
The Conversion
Production: Kavac Film, IBC Movie with Rai Cinema
GIORGIO RIGHTS
Lubo
Production: Arancia Film, Rodeo Drive with Rai Cinema
PAOLO LARRAIN
Spencer
Production: Komplizen Films, Fabula, Shoebox Films in association with FilmNation Entertainment with LFG
PIETRO MARCELLO
The flight
Production: Adventurous with Rai Cinema, Charles Gillibet GC Cinema, Match Factory
SUSANNA NICCHIARELLI
Clear
Production: Vivo Film with Rai Cinema, in co-production with Tarantula
MICHELE PLACIDO
The Shadow of Caravaggio
Production: Goldenart Production with Rai Cinema in co-production with Le Pacte and Mact Productions
ALICE ROCHWACHER
The Chimera
Production: Tempesta with Rai Cinema in co-production with Amka Film Productions, AD Vitam Productions
GABRIELE SALVATORES
The Return of Casanova
Production: Indiana Production with Rai Cinema
SYDNEY SIBILIA
Mixed by Erry
Production: Greenland with Rai Cinema
PAOLO TAVIANI
Leonora Farewell
Production: Stemal Entertainment with Rai Cinema
© REPRODUCTION RESERVED
In case of resumption, please quote and link www.e-duesse.it
We would love to give thanks to the writer of this article for this remarkable content
Del Brocco: “Rai Cinema and 01 Distribution, the home of great cinema” – D1SoftballNews.com
On the occasion of the preview presentation of Farewell Leonora at the Berlinale, Paolo Del Brocco, CEO of Rai Cinema which produces the film together with Donatella Palermo’s Stemal Entertainment, had the opportunity to remember the role of Rai Cinema and 01 Distribution in reconnecting the bond with the public: “Today at the Berlin Film Festival Leonora’s farewell debut by Paolo Taviani, one of the undisputed masters of our cinema, who at the age of ninety gives us a powerful and emotional film, the only one to represent Italy in the competition for the Golden Bear.
Paolo Taviani goes to the affectionate embrace of Rai Cinema and 01 Distribution, always close to auteur cinema, which with the Italian release on February 17th intend to encourage the public to return to cinemas to live an irreplaceable experience. Two years of Covid have left their mark on everyone’s lives and seeing cinema on the big screen can help us look beyond: beyond the pandemic, beyond the small home screens, beyond the limited and solitary horizon of private visions.
The trend of infections gives us hope for the near future, significant signs indicate that we are moving towards a relaxation of the anti Covid measures and this can restore the courage to leave the house and return to the cinema with confidence and security.
In these two years we have not lost heart, working with tenacity and conviction to welcome the audience in the hall with the highest quality of our cinema. Rai Cinema and 01 Distribution have always been the home of great cinema and not even in the darkest days have we thought of failing to achieve this goal.
We have worked with our historical authors, with others younger but already established, with some great international masters whose works we have been waiting for for some time, always alongside the independent producers who have trusted us over the years. The films of Gianni Amelio, Gabriele Salvatores, Pietro Marcello, Pupi Avati, Michele Placido, Francesca Archibugi, Giorgio Rights are ready.
They are also in the pipeline the films of Marco Bellocchio, Matteo Garrone, Nanni Moretti, Roman Polanski, Susanna Nicchiarelli, Alice Rohrwacher, Edoardo De Angelis, Sydney Sibilia and othersto.
Also of great importance i acquisition film by Martin Scorsese, Steven Spielberg, Pablo Larrain.
Naturally, we will continue to produce and distribute large entertainment cinema as well, but we intend to reinforce the idea that the work of Rai Cinema, 01 Distribution and the producers we work with is always in favor of quality cinema.
We send a positive message to all those who work in the world of cinema, we want to reconnect that broken thread with the public by fully recovering their trust. We can do it all together, we have the strength and quality of it ».
Below are the films that will be distributed by 01 Distribution.
GIANNI AMELIO
The Lord of the Ants
Production: Kavac Film, IBC Movie and Tenderstories with Rai Cinema
PUPI AVATI
Dante
Production: Duea Film with Rai Cinema
EDOARDO DE ANGELIS
The commander
Production: Indigo, O’Groove, Wise Pictures with Rai Cinema
MATTEO GARRONE
I Captain
Production: Archimede with Rai Cinema, in co-production with Tarantula Belgique
MANETTI BROS.
Diabolik 2
Production: Mompracem with Rai Cinema
NANNI MORETTI
The Sun of the future
Production: Sacher Film, Fandango with Rai Cinema, in co-production with Le Pacte
GIUSEPPE PICCIONI
Shadow of the Day
Production: Lebowski with Rai Cinema
ROMAN POLANSKI
The Palace
Production: Eliseo Multimedia with Rai Cinema, in co-production with Cab Productions, Lucy Bob, RP Productions
MATTEO OAK
The Sergeant in the Snow
Production: Greenland with Rai Cinema
MARTIN SCORSESE
Killers of the Flower Moon
Production: Appian Way with LFG
STEVEN SPIELBERG
The Fabelmans
Production: Amblin Entertainment with LFG
FRANCESCA ARCHIBUGI
The Hummingbird
Production: Fandango with Rai Cinema in co-production with Les Films des Tournelles
MARCO BELLOCCHIO
The Conversion
Production: Kavac Film, IBC Movie with Rai Cinema
GIORGIO RIGHTS
Lubo
Production: Arancia Film, Rodeo Drive with Rai Cinema
PAOLO LARRAIN
Spencer
Production: Komplizen Films, Fabula, Shoebox Films in association with FilmNation Entertainment with LFG
PIETRO MARCELLO
The flight
Production: Adventurous with Rai Cinema, Charles Gillibet GC Cinema, Match Factory
SUSANNA NICCHIARELLI
Clear
Production: Vivo Film with Rai Cinema, in co-production with Tarantula
MICHELE PLACIDO
The Shadow of Caravaggio
Production: Goldenart Production with Rai Cinema in co-production with Le Pacte and Mact Productions
ALICE ROCHWACHER
The Chimera
Production: Tempesta with Rai Cinema in co-production with Amka Film Productions, AD Vitam Productions
GABRIELE SALVATORES
The Return of Casanova
Production: Indiana Production with Rai Cinema
SYDNEY SIBILIA
Mixed by Erry
Production: Greenland with Rai Cinema
PAOLO TAVIANI
Leonora Farewell
Production: Stemal Entertainment with Rai Cinema
© REPRODUCTION RESERVED
In case of resumption, please quote and link www.e-duesse.it
We would love to give thanks to the writer of this article for this remarkable content
Del Brocco: “Rai Cinema and 01 Distribution, the home of great cinema” – D1SoftballNews.com
Centene Corporation (CNC – Free Report) recently unveiled that its subsidiary Louisiana Healthcare Connection has received a new contract from the Louisiana Department of Health. The contract renewal is expected to aid Medicaid beneficiaries of Louisiana.
The new managed care organization contract is expected to come into effect from the beginning of July 2022. The original tenure of the contract is of three years, but it can be expanded to a maximum of another two years.
The recent contract win is likely to enable Centene to continue offering enhanced value-based care to the Medicaid enrollees in Louisiana, thereby paving the way for improved health outcomes throughout the state. In addition to this, the renewed contract will provide a number of new benefits and services for the Medicaid population. Included within the new offerings are community-based services for maternity and early childhood care, respite and housing support to members, and expansion of quality-based advanced payment models with a view to assisting healthcare providers.
With initiatives similar to the latest one, Centene’s presence across the respective states gets further strengthened. It is worth mentioning that CNC boasts of a well-established presence across Louisiana, courtesy of its subsidiary Louisiana Healthcare Connection (the largest Medicaid health plan of the state). The Medicaid managed care program caters to over 540,000 Medicaid enrollees and collaborates with 39,000 healthcare providers stretched throughout the state. Besides Medicaid, CNC provides Medicare and Health Insurance Marketplace plans in Louisiana.
Centene makes use of its value-based care model, innovative technologies and provider collaborations for extending cost-effective healthcare services and programs throughout the United States. Through such a wide array of plans, CNC aims to reach nationwide and thereby eliminate hindrances in the way of members opting for care. A well-diversified healthcare suite and solid nationwide presence have fetched numerous contract wins and deal renewals for CNC. Some of the states that chose CNC for serving members in 2021 include Arizona, Nevada and Ohio. These deals continue to boost the managed care membership metric of Centene, which improved 4% year over year as of Dec 31, 2021.
The Medicaid business of Centene remains well-poised for growth on the back of continued program expansions amid several states, thereby resulting in growing membership. Higher year-over-year membership growth (10.3%) in the Medicaid business was even cited as one of the primary reasons behind the 13% revenue growth of CNC in 2021.
Similar to Centene, other healthcare providers such as UnitedHealth Group Incorporated (UNH – Free Report) , Humana Inc. (HUM – Free Report) and Molina Healthcare, Inc. (MOH – Free Report) boast of solid Medicaid businesses and have been awarded contracts from various states from time to time.
UnitedHealth Group boasts a robust Medicaid business through which it has been devising cost-effective health plans and reaching out to various parts of the nation. Last year, the Medicaid business growth was driven by contract wins in Minnesota, Nevada, Ohio and Tennessee and UNH’s penetration into new regions of Indiana, Kentucky and North Carolina. The number of people served through the UnitedHealth Group’s Medicaid business grew 15.6% as of Dec 31, 2021, from the 2020 figure.
Humana has a strong Medicaid business in place on the back of several contract wins and renewals, which have extended the company’s U.S. footprint and resulted in growing membership. Premiums from HUM’s Medicaid and other businesses climbed 21% year over year in 2021. Concurrent with Centene’s latest contract win announcement, the Louisiana Department of Health also awarded Humana a contract for providing health care coverage to Medicaid beneficiaries in the state.
Molina Healthcare’s Medicaid business continues to benefit from factors such as increased membership and contract wins similar to those in Nevada and Ohio. As of Dec 31, 2021, the Medicaid membership of MOH witnessed growth of 20.3% from the prior-year comparable period. In an effort to boost its Medicaid business, Molina Healthcare completed the buyout of Cigna’s Texas Medicaid contracts at the very beginning of 2022.
Price Performances
Shares of Centene have gained 28% in the past six months, compared with the industry’s rally of 14.7%. CNC currently carries a Zacks Rank #3 (Hold). You can see the complete list of today’s Zacks #1 Rank (Strong Buy) stocks here.
Image Source: Zacks Investment Research
Shares of UnitedHealth Group, Humana and Molina Healthcare have gained 13.7%, 1.8% and 21.4%, respectively, in the past six months.
We would like to say thanks to the writer of this post for this awesome web content
Centene (CNC) Boosts Presence in Louisiana With Contract Win
Centene Corporation (CNC – Free Report) recently unveiled that its subsidiary Louisiana Healthcare Connection has received a new contract from the Louisiana Department of Health. The contract renewal is expected to aid Medicaid beneficiaries of Louisiana.
The new managed care organization contract is expected to come into effect from the beginning of July 2022. The original tenure of the contract is of three years, but it can be expanded to a maximum of another two years.
The recent contract win is likely to enable Centene to continue offering enhanced value-based care to the Medicaid enrollees in Louisiana, thereby paving the way for improved health outcomes throughout the state. In addition to this, the renewed contract will provide a number of new benefits and services for the Medicaid population. Included within the new offerings are community-based services for maternity and early childhood care, respite and housing support to members, and expansion of quality-based advanced payment models with a view to assisting healthcare providers.
With initiatives similar to the latest one, Centene’s presence across the respective states gets further strengthened. It is worth mentioning that CNC boasts of a well-established presence across Louisiana, courtesy of its subsidiary Louisiana Healthcare Connection (the largest Medicaid health plan of the state). The Medicaid managed care program caters to over 540,000 Medicaid enrollees and collaborates with 39,000 healthcare providers stretched throughout the state. Besides Medicaid, CNC provides Medicare and Health Insurance Marketplace plans in Louisiana.
Centene makes use of its value-based care model, innovative technologies and provider collaborations for extending cost-effective healthcare services and programs throughout the United States. Through such a wide array of plans, CNC aims to reach nationwide and thereby eliminate hindrances in the way of members opting for care. A well-diversified healthcare suite and solid nationwide presence have fetched numerous contract wins and deal renewals for CNC. Some of the states that chose CNC for serving members in 2021 include Arizona, Nevada and Ohio. These deals continue to boost the managed care membership metric of Centene, which improved 4% year over year as of Dec 31, 2021.
The Medicaid business of Centene remains well-poised for growth on the back of continued program expansions amid several states, thereby resulting in growing membership. Higher year-over-year membership growth (10.3%) in the Medicaid business was even cited as one of the primary reasons behind the 13% revenue growth of CNC in 2021.
Similar to Centene, other healthcare providers such as UnitedHealth Group Incorporated (UNH – Free Report) , Humana Inc. (HUM – Free Report) and Molina Healthcare, Inc. (MOH – Free Report) boast of solid Medicaid businesses and have been awarded contracts from various states from time to time.
UnitedHealth Group boasts a robust Medicaid business through which it has been devising cost-effective health plans and reaching out to various parts of the nation. Last year, the Medicaid business growth was driven by contract wins in Minnesota, Nevada, Ohio and Tennessee and UNH’s penetration into new regions of Indiana, Kentucky and North Carolina. The number of people served through the UnitedHealth Group’s Medicaid business grew 15.6% as of Dec 31, 2021, from the 2020 figure.
Humana has a strong Medicaid business in place on the back of several contract wins and renewals, which have extended the company’s U.S. footprint and resulted in growing membership. Premiums from HUM’s Medicaid and other businesses climbed 21% year over year in 2021. Concurrent with Centene’s latest contract win announcement, the Louisiana Department of Health also awarded Humana a contract for providing health care coverage to Medicaid beneficiaries in the state.
Molina Healthcare’s Medicaid business continues to benefit from factors such as increased membership and contract wins similar to those in Nevada and Ohio. As of Dec 31, 2021, the Medicaid membership of MOH witnessed growth of 20.3% from the prior-year comparable period. In an effort to boost its Medicaid business, Molina Healthcare completed the buyout of Cigna’s Texas Medicaid contracts at the very beginning of 2022.
Price Performances
Shares of Centene have gained 28% in the past six months, compared with the industry’s rally of 14.7%. CNC currently carries a Zacks Rank #3 (Hold). You can see the complete list of today’s Zacks #1 Rank (Strong Buy) stocks here.
Image Source: Zacks Investment Research
Shares of UnitedHealth Group, Humana and Molina Healthcare have gained 13.7%, 1.8% and 21.4%, respectively, in the past six months.
We would like to say thanks to the writer of this post for this awesome web content
Centene (CNC) Boosts Presence in Louisiana With Contract Win
Film studio a24 has a reputation for showcasing more “avant-garde” fare than the typical film studio. As a result, some moviegoers tend to poke fun at the studio for its seemingly pretentious fanbase. But fans aside, it cannot be denied that a24 has released some of the most thought-provoking and intriguing films of late.
The best part is, a24’s slate represents a wide array of genres and themes, from mind-gutting horror films to evocative indies that make viewers stare at a wall for two hours after. With that being said, here are ten of the best films to date that a24 has released.
Minari
Stories featuring Asian immigrants in America are few and far between these days, and even rarer are those which are able to depict immigrant families with love, authenticity, and engagement. Minari does all of this and then some.
At times heart-wrenching, and at times gut-busting, this film follows the story of a family of Korean immigrants who hope to make a living as farmers in the midwest. The film’s leads, Steven Yeun and Han Ye-Ri (of American and Korean fame respectively), share a powerful dynamic, which only enhances the joy and charm of the cast as an ensemble.
The Green Knight
Although much of this film’s point and plot were lost on those without a prior knowledge of the Arthurian canon, The Green Knight still prevailed as one of the most gripping movies of 2021. Bringing modern twists regarding masculinity and sexuality to a classic tale of chivalry and despair, this retelling is not only faithful—it’s innovative, wondrously so.
This is, in no small part, thanks to Dev Patel’s sincere performance as Sir Gawain. He manages to embody the spirit of this literary hero so well, one can’t help but pity him (as well as grumble in frustration) as he scrapes through his harrowing quest.
Moonlight
There’s a reason everyone spoke so highly of this movie, and why it won so many accolades. Moonlight is nothing short of a masterpiece, with everything about it being utterly artful and genuine. Sometimes, this means it’s difficult to watch, but like all good art, this was the intention. It’s a film that’s meant to make viewers feel. And feel they did: Moonlight won the Academy Award for Best Picture in 2017, as well as Best Supporting Actor for Mahershala Ali.
Moonlight follows the story of sweet-natured Chiron from childhood to adulthood, watching him as he relies on various people to help him deal with strife, both at home and in his community at large. Touching on themes of masculinity, sexuality, and innocence challenged by grief, Chiron’s story is one of the most compelling narratives in modern film.
Lady Bird
Greta Gerwig’s directorial debut is nothing short of a game-changer in the world of coming-of-age stories. While the narrative itself is nothing new—that of a bored, unstimulated suburban girl finding her place in the world—it’s told in a way that’s refreshing, authentic, hilarious, and painstakingly relatable.
Christine “Lady Bird” MacPherson is an incredibly real protagonist, in that she’s both understandable and quite frustrating to watch, particularly when interacting with her mother. All the same, her growth into an independent young woman is handled with a great deal of empathy and objectivism, which is sorely needed during an era where teen dramas are either riddled with callous absurdism, or flagrant pornification.
The Lighthouse
Hold onto your sea caps, this one’s a doozy, but in the best way possible. The Lighthouse (which we called “dark, disgusting, and wonderful” in a review) hearkens back to days spent sick in bed, feeling as though you’re losing your mind. It’s a claustrophobic, neurotic, anxiety-inducing tale of two men who need each other so much, they start to hate one another, and it’s fantastic.
Robert Pattinson and Willem Dafoe clearly had a good time in their roles as salty seamen, as they truly give their all in their portrayals of cantankerous men slowly going mad. Although the film will have you feeling your muscles clench all the way to the end in uneasiness, it will also have you burst out laughing during the many moments of sheer unbridled antagonism shown by Wake and Winslow.
Waves
As the most underrated film on this list, Waves deserves quite a bit more attention than it has received. Similar to HBO’s Euphoria, it tackles heavy subjects such as addiction, assault, and familial strife, yet it does so with quite a bit more grace, feeling, and respect for its teenage subjects.
Following a horrific tragedy within one family, Waves chronicles the experiences that forever changed the lives of the two children in the family: wrestling star Tyler, and his sensitive little sister Emily. It very much feels like a snapshot of the modern teenage experience, with an excellent soundtrack to highlight this point (featuring the likes of Frank Ocean and Animal Collective).
The Farewell
For Asian-Americans such as myself, the gap between one’s American-ness and their Asian-ness can sometimes feel impossible to bridge. But there are times when the two coalesce naturally and poignantly, and no other film exemplifies this experience better than The Farewell.
Signaling Awkwafina’s departure from comedies into dramas, this tear-jerking film follows a family attempting to bring light and joy to her grandmother’s final days as she succumbs to her sickness. Although Awkwafina’s character Billi struggles to feel like a part of it all, ultimately she’s one of the anchors of the whole situation, and the moments of happiness and connection created by the family are utterly tangible to viewers.
Midsommar
As Ari Aster’s sophomoric horror title, many fans of his previous movie Hereditary had high expectations of Midsommar. And in nearly ever single way, Midsommar ultimately rose above its predecessor as one of a24’s best horror films to date.
It has everything: psychological manipulation, cult stuff, gruesome deaths, and even the added caveat of desexualized expressions of feminine suffering. It’s a deeply unsettling and horrific movie that will leave viewers feeling nauseous and awful the day after, but in a way that makes them think, and in a way that sends a message—the message being, if you live your life with no regard for others, you may just end up in a Swedish cult.
Ex Machina
The best sort of sci-fi is the sci-fi that deals with psychology, instead of just focusing on how cool technology could be. Advancements in technology can sometimes be more harmful than productive, and in the case of Ex Machina, they can be downright unraveling.
Following the story of a man falling in love with an android (beautifully and disturbingly portrayed by Domnhall Gleeson and Alicia Vikander, respectively), Ex Machina asks a lot of questions about our relationship to artificial intelligence. The answers it provides are less about AI itself, and more about us, in ways that will stick with us for a long time after our initial viewing.
The Last Black Man In San Francisco
Of all the films on this list, The Last Black Man in San Francisco has the most heart, by far. This is in large part because it’s based on the life of its lead actor and writer, Jimmie Fails, who co-wrote the movie with his childhood best friend, director Joe Talbot.
Anyone who knows anything about San Francisco will strike a chord with this movie, as it reckons with the realities of gentrification and familial roots. As well as this, Fails and his eccentric friend Mont (played by the impeccable Jonathan Majors) have a truly affectionate and memorable relationship, which helps to make Fail’s grandfather’s house feel like a character in and of itself throughout the movie.
(Featured Image: a24)
—The Mary Sue has a strict comment policy that forbids, but is not limited to, personal insults toward anyone, hate speech, and trolling.—
This article includes affiliate links, which may provide small compensation to The Mary Sue.
Have a tip we should know? [email protected]
We would love to thank the writer of this article for this outstanding material
These Are the 10 Best a24 Movies So Far
Film studio a24 has a reputation for showcasing more “avant-garde” fare than the typical film studio. As a result, some moviegoers tend to poke fun at the studio for its seemingly pretentious fanbase. But fans aside, it cannot be denied that a24 has released some of the most thought-provoking and intriguing films of late.
The best part is, a24’s slate represents a wide array of genres and themes, from mind-gutting horror films to evocative indies that make viewers stare at a wall for two hours after. With that being said, here are ten of the best films to date that a24 has released.
Minari
Stories featuring Asian immigrants in America are few and far between these days, and even rarer are those which are able to depict immigrant families with love, authenticity, and engagement. Minari does all of this and then some.
At times heart-wrenching, and at times gut-busting, this film follows the story of a family of Korean immigrants who hope to make a living as farmers in the midwest. The film’s leads, Steven Yeun and Han Ye-Ri (of American and Korean fame respectively), share a powerful dynamic, which only enhances the joy and charm of the cast as an ensemble.
The Green Knight
Although much of this film’s point and plot were lost on those without a prior knowledge of the Arthurian canon, The Green Knight still prevailed as one of the most gripping movies of 2021. Bringing modern twists regarding masculinity and sexuality to a classic tale of chivalry and despair, this retelling is not only faithful—it’s innovative, wondrously so.
This is, in no small part, thanks to Dev Patel’s sincere performance as Sir Gawain. He manages to embody the spirit of this literary hero so well, one can’t help but pity him (as well as grumble in frustration) as he scrapes through his harrowing quest.
Moonlight
There’s a reason everyone spoke so highly of this movie, and why it won so many accolades. Moonlight is nothing short of a masterpiece, with everything about it being utterly artful and genuine. Sometimes, this means it’s difficult to watch, but like all good art, this was the intention. It’s a film that’s meant to make viewers feel. And feel they did: Moonlight won the Academy Award for Best Picture in 2017, as well as Best Supporting Actor for Mahershala Ali.
Moonlight follows the story of sweet-natured Chiron from childhood to adulthood, watching him as he relies on various people to help him deal with strife, both at home and in his community at large. Touching on themes of masculinity, sexuality, and innocence challenged by grief, Chiron’s story is one of the most compelling narratives in modern film.
Lady Bird
Greta Gerwig’s directorial debut is nothing short of a game-changer in the world of coming-of-age stories. While the narrative itself is nothing new—that of a bored, unstimulated suburban girl finding her place in the world—it’s told in a way that’s refreshing, authentic, hilarious, and painstakingly relatable.
Christine “Lady Bird” MacPherson is an incredibly real protagonist, in that she’s both understandable and quite frustrating to watch, particularly when interacting with her mother. All the same, her growth into an independent young woman is handled with a great deal of empathy and objectivism, which is sorely needed during an era where teen dramas are either riddled with callous absurdism, or flagrant pornification.
The Lighthouse
Hold onto your sea caps, this one’s a doozy, but in the best way possible. The Lighthouse (which we called “dark, disgusting, and wonderful” in a review) hearkens back to days spent sick in bed, feeling as though you’re losing your mind. It’s a claustrophobic, neurotic, anxiety-inducing tale of two men who need each other so much, they start to hate one another, and it’s fantastic.
Robert Pattinson and Willem Dafoe clearly had a good time in their roles as salty seamen, as they truly give their all in their portrayals of cantankerous men slowly going mad. Although the film will have you feeling your muscles clench all the way to the end in uneasiness, it will also have you burst out laughing during the many moments of sheer unbridled antagonism shown by Wake and Winslow.
Waves
As the most underrated film on this list, Waves deserves quite a bit more attention than it has received. Similar to HBO’s Euphoria, it tackles heavy subjects such as addiction, assault, and familial strife, yet it does so with quite a bit more grace, feeling, and respect for its teenage subjects.
Following a horrific tragedy within one family, Waves chronicles the experiences that forever changed the lives of the two children in the family: wrestling star Tyler, and his sensitive little sister Emily. It very much feels like a snapshot of the modern teenage experience, with an excellent soundtrack to highlight this point (featuring the likes of Frank Ocean and Animal Collective).
The Farewell
For Asian-Americans such as myself, the gap between one’s American-ness and their Asian-ness can sometimes feel impossible to bridge. But there are times when the two coalesce naturally and poignantly, and no other film exemplifies this experience better than The Farewell.
Signaling Awkwafina’s departure from comedies into dramas, this tear-jerking film follows a family attempting to bring light and joy to her grandmother’s final days as she succumbs to her sickness. Although Awkwafina’s character Billi struggles to feel like a part of it all, ultimately she’s one of the anchors of the whole situation, and the moments of happiness and connection created by the family are utterly tangible to viewers.
Midsommar
As Ari Aster’s sophomoric horror title, many fans of his previous movie Hereditary had high expectations of Midsommar. And in nearly ever single way, Midsommar ultimately rose above its predecessor as one of a24’s best horror films to date.
It has everything: psychological manipulation, cult stuff, gruesome deaths, and even the added caveat of desexualized expressions of feminine suffering. It’s a deeply unsettling and horrific movie that will leave viewers feeling nauseous and awful the day after, but in a way that makes them think, and in a way that sends a message—the message being, if you live your life with no regard for others, you may just end up in a Swedish cult.
Ex Machina
The best sort of sci-fi is the sci-fi that deals with psychology, instead of just focusing on how cool technology could be. Advancements in technology can sometimes be more harmful than productive, and in the case of Ex Machina, they can be downright unraveling.
Following the story of a man falling in love with an android (beautifully and disturbingly portrayed by Domnhall Gleeson and Alicia Vikander, respectively), Ex Machina asks a lot of questions about our relationship to artificial intelligence. The answers it provides are less about AI itself, and more about us, in ways that will stick with us for a long time after our initial viewing.
The Last Black Man In San Francisco
Of all the films on this list, The Last Black Man in San Francisco has the most heart, by far. This is in large part because it’s based on the life of its lead actor and writer, Jimmie Fails, who co-wrote the movie with his childhood best friend, director Joe Talbot.
Anyone who knows anything about San Francisco will strike a chord with this movie, as it reckons with the realities of gentrification and familial roots. As well as this, Fails and his eccentric friend Mont (played by the impeccable Jonathan Majors) have a truly affectionate and memorable relationship, which helps to make Fail’s grandfather’s house feel like a character in and of itself throughout the movie.
(Featured Image: a24)
—The Mary Sue has a strict comment policy that forbids, but is not limited to, personal insults toward anyone, hate speech, and trolling.—
This article includes affiliate links, which may provide small compensation to The Mary Sue.
Have a tip we should know? [email protected]
We would love to thank the writer of this article for this outstanding material
These Are the 10 Best a24 Movies So Far
Collective Pictures producing with XYZ Films exec producing and selling worldwide rights
Robbie Amell and Stephen Amell are set to star in the highly anticipated sci-fi sequel CODE 8: PART II directed by Jeff Chan (CODE 8). The film is written by Chris Paré & Chan, and Sherren Lee & Jesse LaVercombe. Producers include Chan, Robbie Amell, Stephen Amell and Paré, with XYZ Films executive producing and handling sales. The film is set for a start date in the fourth quarter of 2021.
CODE 8: PART II is centered around the 4% of people living in fictional Lincoln City who possess special abilities and are often confronted by advanced, militarized police technology. It’s a sci-fi fantasy about the extraordinary power that we as individuals hold, versus the technological superiority of the institutions that we live within. The sequel is about the journey of a teenage girl fighting to get justice for her slain brother at the hands of corrupt police officers. After becoming a witness to the cover up, she becomes a target and enlists the help of an ex-con (Robbie Amell) and his former partner-in-crime (Stephen Amell). Together, they face a highly regarded and well protected police sergeant who will use every tool to prevent himself from being exposed.
CODE 8 was originally supported by over 35,000 fans who contributed 2.5 million dollars through Indiegogo making it the second largest crowdfunded original film of all time. CODE 8 set the record for the highest grossing day-and-date release for Elevation Pictures in Canada and Vertical Entertainment in the U.S. The film reached #1 on Netflix’s Top Ten list, holding that spot for most of April 2020 in dozens of countries including the U.S., France, Australia, UK, Mexico, and Brazil.
Chan is the founder of Collective Pictures, a film & television production company based out of Toronto, Canada. As a director and producer, he’s made short films that have garnered over 30 million views, including the original IP “Code 8” which generated over $2.5 million in crowdfunding. Chan independently directed and produced the feature length version of CODE 8, and most recently has partnered with Wattpad Studios to produce FLOAT, based on the hit story that has garnered over 26 million reads.
Robbie Amell can currently be seen leading the cast in Amazon’s hit series “Upload,” the sci-fi, romantic, satire series, created by Greg Daniels (“The Office”/ “Parks and Recreation”). Prior to shooting season two, Robbie wrapped production on the ever-expanding RESIDENT EVIL movie franchise, playing the lead role of iconic game character, ‘Chris Redfield’. Recently, Robbie had three Netflix movies premiere in 2020: The hit sci-fi thriller, CODE 8, the comedy horror film, “THE BABYSITTER 2” for director McG, and the romantic comedy DESPERADOS.
Most notably known for playing the Green Arrow on the hit CW series “Arrow”, Stephen Amell has also appeared in the blockbuster hit TEENAGE MUTANT NINJA TURTLES: OUT OF THE SHADOWS as the iconic Casey Jones. More recently, Stephen appeared in CODE 8 which he produced and starred in alongside his cousin Robbie Amell, and he recently wrapped production on the STARZ upcoming wrestling family drama “Heels”, slated to premiere in 2021.
“We’re beyond thrilled to get the team back together and bring more of the Code 8 universe to our very passionate fans. We know this is a sequel that will push the story to new heights,” said Chan.
“There’s nothing better than working with family and friends. Code 8 was the embodiment of that. I can’t wait to get back to work on the sequel,” said Robbie Amell.
“Code 8 is an incredibly personal and special project for all of us. We built the world in the first one and now we’re ready to blow it out!” said Stephen Amell.
XYZ’s recent slate of sales titles include the completed STOWAWAY starring Anna Kendrick and Toni Collette, was released as a Netflix Original in April. Other titles include Netflix original THE TRIP starring Noomi Rapace and Aksel Hennie, GOD IS A BULLET starring Nikolaj Coster-Waldau, Maika Monroe and Jamie Foxx, current production NOCEBO with Eva Green and Mark Strong, Sion Sono’s PRISONERS OF THE GHOSTLAND, starring Nicolas Cage and Sofia Boutella, which premiered at the 2021 Sundance Film Festival, and SXSW horror-thriller GAIA, which was recently acquired by Decal. XYZ is also in post-production on DUAL starring Karen Gillan, Aaron Paul and Beulah Koale.
Robbie Amell is repped by WME and Protégé Entertainment. Stephen Amell is repped by CAA, GGA and Leverage Management.
About XYZ Films
XYZ Films is an independent studio whose mission is to empower visionary storytellers from every corner of the planet. As a producer, financier and distributor, the company is uniquely suited to identify talented filmmakers and bring their stories to life. XYZ recently expanded into talent management, working with a global roster of filmmakers. XYZ was founded in 2008 by Nate Bolotin, Nick Spicer, and Aram Tertzakian. The company’s titles include The Raid franchise, 2017 Sundance winner I Don’t Feel At Home In This World Anymore, and Panos Cosmatos’ psychedelic revenge thriller Mandy. XYZ’s recent productions include Stowaway, Joe Penna’s sci-fi thriller starring Anna Kendrick and Toni Collette, Dual, Riley Stearns’ sci-fi film starring Karen Gillan and Aaron Paul, and Prisoners of the Ghostland, Sion Sono’s action film starring Nicolas Cage, which premiered at Sundance 2021.
About Collective Pictures
Collective Pictures is based out of Toronto, Canada breaking new ground in the way we engage with audiences. Collective’s success comes from generating digital engagement while working closely with filmmakers to guide projects through a verticalized production pipeline. From rights and packaging to post and distribution, Collective’s streamlined approach creates a more collaborative setting between business and talent. As a proudly Canadian company, Collective is uniquely positioned to access tax credits and regional incentives, giving storytellers and filmmakers greater options and control over their work.
We would love to thank the author of this post for this outstanding material
Robbie Amell, Stephen Amell And Director Jeff Chan Return For Sci-Fi Sequel CODE 8: PART II Produced By XYZ Films And Collective Pictures
Collective Pictures producing with XYZ Films exec producing and selling worldwide rights
Robbie Amell and Stephen Amell are set to star in the highly anticipated sci-fi sequel CODE 8: PART II directed by Jeff Chan (CODE 8). The film is written by Chris Paré & Chan, and Sherren Lee & Jesse LaVercombe. Producers include Chan, Robbie Amell, Stephen Amell and Paré, with XYZ Films executive producing and handling sales. The film is set for a start date in the fourth quarter of 2021.
CODE 8: PART II is centered around the 4% of people living in fictional Lincoln City who possess special abilities and are often confronted by advanced, militarized police technology. It’s a sci-fi fantasy about the extraordinary power that we as individuals hold, versus the technological superiority of the institutions that we live within. The sequel is about the journey of a teenage girl fighting to get justice for her slain brother at the hands of corrupt police officers. After becoming a witness to the cover up, she becomes a target and enlists the help of an ex-con (Robbie Amell) and his former partner-in-crime (Stephen Amell). Together, they face a highly regarded and well protected police sergeant who will use every tool to prevent himself from being exposed.
CODE 8 was originally supported by over 35,000 fans who contributed 2.5 million dollars through Indiegogo making it the second largest crowdfunded original film of all time. CODE 8 set the record for the highest grossing day-and-date release for Elevation Pictures in Canada and Vertical Entertainment in the U.S. The film reached #1 on Netflix’s Top Ten list, holding that spot for most of April 2020 in dozens of countries including the U.S., France, Australia, UK, Mexico, and Brazil.
Chan is the founder of Collective Pictures, a film & television production company based out of Toronto, Canada. As a director and producer, he’s made short films that have garnered over 30 million views, including the original IP “Code 8” which generated over $2.5 million in crowdfunding. Chan independently directed and produced the feature length version of CODE 8, and most recently has partnered with Wattpad Studios to produce FLOAT, based on the hit story that has garnered over 26 million reads.
Robbie Amell can currently be seen leading the cast in Amazon’s hit series “Upload,” the sci-fi, romantic, satire series, created by Greg Daniels (“The Office”/ “Parks and Recreation”). Prior to shooting season two, Robbie wrapped production on the ever-expanding RESIDENT EVIL movie franchise, playing the lead role of iconic game character, ‘Chris Redfield’. Recently, Robbie had three Netflix movies premiere in 2020: The hit sci-fi thriller, CODE 8, the comedy horror film, “THE BABYSITTER 2” for director McG, and the romantic comedy DESPERADOS.
Most notably known for playing the Green Arrow on the hit CW series “Arrow”, Stephen Amell has also appeared in the blockbuster hit TEENAGE MUTANT NINJA TURTLES: OUT OF THE SHADOWS as the iconic Casey Jones. More recently, Stephen appeared in CODE 8 which he produced and starred in alongside his cousin Robbie Amell, and he recently wrapped production on the STARZ upcoming wrestling family drama “Heels”, slated to premiere in 2021.
“We’re beyond thrilled to get the team back together and bring more of the Code 8 universe to our very passionate fans. We know this is a sequel that will push the story to new heights,” said Chan.
“There’s nothing better than working with family and friends. Code 8 was the embodiment of that. I can’t wait to get back to work on the sequel,” said Robbie Amell.
“Code 8 is an incredibly personal and special project for all of us. We built the world in the first one and now we’re ready to blow it out!” said Stephen Amell.
XYZ’s recent slate of sales titles include the completed STOWAWAY starring Anna Kendrick and Toni Collette, was released as a Netflix Original in April. Other titles include Netflix original THE TRIP starring Noomi Rapace and Aksel Hennie, GOD IS A BULLET starring Nikolaj Coster-Waldau, Maika Monroe and Jamie Foxx, current production NOCEBO with Eva Green and Mark Strong, Sion Sono’s PRISONERS OF THE GHOSTLAND, starring Nicolas Cage and Sofia Boutella, which premiered at the 2021 Sundance Film Festival, and SXSW horror-thriller GAIA, which was recently acquired by Decal. XYZ is also in post-production on DUAL starring Karen Gillan, Aaron Paul and Beulah Koale.
Robbie Amell is repped by WME and Protégé Entertainment. Stephen Amell is repped by CAA, GGA and Leverage Management.
About XYZ Films
XYZ Films is an independent studio whose mission is to empower visionary storytellers from every corner of the planet. As a producer, financier and distributor, the company is uniquely suited to identify talented filmmakers and bring their stories to life. XYZ recently expanded into talent management, working with a global roster of filmmakers. XYZ was founded in 2008 by Nate Bolotin, Nick Spicer, and Aram Tertzakian. The company’s titles include The Raid franchise, 2017 Sundance winner I Don’t Feel At Home In This World Anymore, and Panos Cosmatos’ psychedelic revenge thriller Mandy. XYZ’s recent productions include Stowaway, Joe Penna’s sci-fi thriller starring Anna Kendrick and Toni Collette, Dual, Riley Stearns’ sci-fi film starring Karen Gillan and Aaron Paul, and Prisoners of the Ghostland, Sion Sono’s action film starring Nicolas Cage, which premiered at Sundance 2021.
About Collective Pictures
Collective Pictures is based out of Toronto, Canada breaking new ground in the way we engage with audiences. Collective’s success comes from generating digital engagement while working closely with filmmakers to guide projects through a verticalized production pipeline. From rights and packaging to post and distribution, Collective’s streamlined approach creates a more collaborative setting between business and talent. As a proudly Canadian company, Collective is uniquely positioned to access tax credits and regional incentives, giving storytellers and filmmakers greater options and control over their work.
We would love to thank the author of this post for this outstanding material
Robbie Amell, Stephen Amell And Director Jeff Chan Return For Sci-Fi Sequel CODE 8: PART II Produced By XYZ Films And Collective Pictures
This translated document is an excerpt from the original Japanese document and is intended for reference purposes only. Should any discrepancies or doubt arise between this translated document and the Japanese original, the original shall prevail. The Company assumes no responsibility for this translation or for direct, indirect or any other forms of damages arising from the translation.
February 14, 2022
To Whom It May Concern
Company name : Arte Salon Holdings, Inc. Representative : Shigeyoshi Yoshimura,
President and Representative Director (Stock Code: 2406)
Contact : Mitsuharu Sakaguchi,
Executive Officer and General Manager of Corporate Planning Department
(Tel: 045-663-6123)
(Corrections) Partial Corrections of “Summary of Consolidated Financial Results
for the Fiscal Year Ended December 31, 2021 [Japanese GAAP]”
Arte Salon Holdings, Inc. hereby announces that there have been corrections made partly to the “Summary of Consolidated Financial Results for the Fiscal Year Ended December 31, 2021 [Japanese GAAP]” that was disclosed on February 7, 2022, as follows.
Notes
1．Reason for corrections
After the announcement of “Summary of Consolidated Financial Results for the Fiscal Year Ended December 31, 2021 [Japanese GAAP]”, it was found that there were some errors in the Non-consolidated Financial Results for the Fiscal Year ended December 31, 2021, and the relevant parts have been corrected.
2．Explanation of corrections The corrections are underlined.
[Reference] Summary of Non-consolidated Financial Results
1. Non-consolidated Financial Results for the Fiscal Year ended December 31, 2021 (January 1, 2021 – December 31, 2021)
(1) Non-consolidated operating results [Before correction]
(Percentages indicate year-on-year changes)
|
Net Sales |
Operating profit |
Ordinary Profit |
Profit Attributable |
|||||||
|
to owners of Parent |
||||||||||
|
Fiscal Year Ended |
Million yen |
% |
Million yen |
% |
Million yen |
% |
Million yen |
% |
||
|
December 31, 2021 |
2,389 |
(5.9) |
101 |
94.4 |
143 |
(18.0) |
15 |
– |
||
|
December 31, 2020 |
2,539 |
1.7 |
52 |
(67.6) |
175 |
(24.5) |
(70) |
– |
||
|
[After correction] |
||||||||||
|
(Percentages indicate year-on-year changes) |
||||||||||
|
Net Sales |
Operating profit |
Ordinary Profit |
Profit Attributable |
|||||||
|
to owners of Parent |
||||||||||
|
Fiscal Year Ended |
Million yen |
% |
Million yen |
% |
Million yen |
% |
Million yen |
% |
||
|
December 31, 2021 |
2,542 |
0.1 |
101 |
94.4 |
143 |
(18.0) |
15 |
– |
||
|
December 31, 2020 |
2,539 |
1.7 |
52 |
(67.6) |
175 |
(24.5) |
(70) |
– |
The End.
This translated document is an excerpt from the original Japanese document and is intended for reference purposes only. Should any discrepancies or doubt arise between this translated document and the Japanese original, the original shall prevail. The Company assumes no responsibility for this translation or for direct, indirect or any other forms of damages arising from the translation.
February 7, 2022
Summary of Consolidated Financial Results for the Fiscal Year Ended December 31, 2021
|
[Japanese GAAP] |
||
|
Company name: |
Arte Salon Holdings, Inc. |
Listings: Tokyo Stock Exchange |
|
Stock Code: |
2406 |
|
|
Representative: |
Shigeyoshi Yoshimura, President and Representative Director |
|
|
Contact: |
Mitsuharu Sakaguchi, Executive Officer and General Manager of Corporate Planning Department |
|
|
Tel: 045-663-6123 |
||
|
Expected date of Annual General Meeting of Shareholders: |
March 29, 2022 |
|
|
Expected date of commencing dividend payments: |
March 30, 2022 |
|
|
Expected date of filing Annual Securities Report: |
March 30, 2022 |
|
|
Availability of supplementary materials for financial results: |
Yes |
|
|
Holding of financial results meetings/ briefing: |
Yes (for institutional investors and analysts) |
(Amounts under one million yen have been rounded down.)
1. Consolidated financial results for the fiscal year ended December 31, 2021 (January 1, 2021 – December 31, 2021)
|
(1) Consolidated operating results |
(Percentages indicate year-on-year changes) |
|||||||||||||||||||||||||||
|
Net Sales |
Operating profit |
Ordinary Profit |
Profit Attributable |
|||||||||||||||||||||||||
|
to owners of Parent |
||||||||||||||||||||||||||||
|
Fiscal Year Ended |
Million yen |
% |
Million yen |
% |
Million yen |
% |
Million yen |
% |
||||||||||||||||||||
|
December 31, 2021 |
8,639 |
9.8 |
570 |
362.2 |
636 |
109.6 |
274 |
– |
||||||||||||||||||||
|
December 31, 2020 |
7,867 |
(7.4) |
123 |
(76.0) |
303 |
(42.2) |
(196) |
– |
||||||||||||||||||||
|
Earnings per share |
Diluted earnings |
Return on equity |
Ratio of ordinary |
Ratio of operating |
||||||||||||||||||||||||
|
per share |
profit to total assets |
profit to net sales |
||||||||||||||||||||||||||
|
Fiscal Year Ended |
Yen |
Yen |
Yen |
% |
% |
|||||||||||||||||||||||
|
December 31, 2021 |
27.71 |
– |
9.8 |
7.3 |
6.6 |
|||||||||||||||||||||||
|
December 31, 2020 |
(19.87) |
– |
(7.0) |
3.6 |
1.6 |
|||||||||||||||||||||||
|
(2) Consolidated financial position |
||||||||||||||||||||||||||||
|
Total assets |
Net assets |
Equity ratio |
Net assets per share |
|||||||||||||||||||||||||
|
As of |
Million yen |
Million yen |
% |
Yen |
||||||||||||||||||||||||
|
December 31, 2021 |
9,121 |
2,926 |
32.1 |
295.65 |
||||||||||||||||||||||||
|
December 31, 2020 |
8,347 |
2,673 |
32.0 |
270.00 |
||||||||||||||||||||||||
|
(3) Consolidated cash flows |
||||||||||||||||||||||||||||
|
Cash flows from |
Cash flows from |
Cash flows from |
Cash and cash equivalents |
|||||||||||||||||||||||||
|
operating activities |
investing activities |
financing activities |
at end of period |
|||||||||||||||||||||||||
|
Fiscal Year Ended |
Million yen |
Million yen |
Million yen |
Million yen |
||||||||||||||||||||||||
|
December 31, 2021 |
1,377 |
(661) |
(31) |
1,879 |
||||||||||||||||||||||||
|
December 31, 2020 |
339 |
(665) |
(53) |
1,195 |
||||||||||||||||||||||||
|
2. Cash dividends |
||||||||||||||||||||||||||||
|
Annual dividends per share |
Total |
Payout ratio |
Ratio of dividends |
|||||||||||||||||||||||||
|
1Q-end |
2Q-end |
3Q-end |
Year-end |
Total |
dividends |
(Consolidated) |
to net assets |
|||||||||||||||||||||
|
(Consolidated) |
||||||||||||||||||||||||||||
|
Yen |
Yen |
Yen |
Yen |
Yen |
Million yen |
% |
% |
|||||||||||||||||||||
|
Fiscal Year Ended December. 31, 2020 |
– |
0.00 |
– |
2.00 |
2.00 |
19 |
– |
0.7 |
||||||||||||||||||||
|
Fiscal Year Ended December. 31, 2021 |
– |
0.00 |
– |
5.00 |
5.00 |
49 |
18.0 |
1.8 |
||||||||||||||||||||
|
Fiscal Year Ending December. 31, 2022 |
– |
– |
– |
– |
– |
– |
||||||||||||||||||||||
|
(Forecast) |
||||||||||||||||||||||||||||
Note: The dividend forecast for the fiscal year ending December 31, 2022 is not provided because the Company’s shares are scheduled to be delisted due to the implementation of a tender offer (“Tender Offer”) for the Company’s issued common shares by Genesis Co., Ltd. (“Offeror”) and a series of subsequent procedures, as announced in the press release “Notice of Implementation of MBO and Recommendation of Tender Acceptance” dated February 7, 2022.
3. Consolidated Earnings Forecast for the fiscal year ending December 31, 2022 (January 1, 2022 – December 31, 2022)
The earnings forecast for the fiscal year ending December 31, 2022 is not provided because the Company’s shares are scheduled to be delisted due to the implementation of Tender Offer by Offeror and a series of subsequent procedures, as announced in the press release “Notice of Implementation of MBO and Recommendation of Tender Acceptance” dated February 7, 2022.
1
* Notes
- Changes in significant subsidiaries during the period (changes in scope of consolidation): None
- Changes in accounting policies and accounting-based estimates, and restatements
-
- Changes in accounting policies due to revisions in accounting standards, others: None
- Changes in accounting policies other than 1) above: None
- Changes in accounting-based estimates: Yes
- Restatements: None
- Number of issued shares (common shares)
Total number of issued shares at the end of the period (including treasury shares)
|
As of December 31, 2021 |
10,300,000 shares |
As of December 31, 2020 |
10,300,000 shares |
|||||||||||
|
Number of treasury shares at the end of the period |
||||||||||||||
|
As of December 31, 2021 |
399,781 shares |
As of December 31, 2020 |
399,743 shares |
|||||||||||
|
Average number of shares outstanding during the period |
||||||||||||||
|
Fiscal Year Ended |
9,900,249 shares |
Fiscal Year Ended |
9,900,257 shares |
|||||||||||
|
December 31, 2021 |
December 31, 2020 |
|||||||||||||
|
[Reference] Summary of Non-consolidated Financial Results |
||||||||||||||
|
1. Non-consolidated Financial Results for the Fiscal Year ended December 31, 2021 (January 1, 2021 – December 31, 2021) |
||||||||||||||
|
(1) Non-consolidated operating results |
(Percentages indicate year-on-year changes) |
|||||||||||||
|
Net Sales |
Operating profit |
Ordinary Profit |
Profit Attributable |
|||||||||||
|
to owners of Parent |
||||||||||||||
|
Fiscal Year Ended |
Million yen |
% |
Million yen |
% |
Million yen |
% |
Million yen |
% |
||||||
|
December 31, 2021 |
2,542 |
0.1 |
101 |
94.4 |
143 |
(18.0) |
15 |
– |
||||||
|
December 31, 2020 |
2,539 |
1.7 |
52 |
(67.6) |
175 |
(24.5) |
(70) |
– |
||||||
|
Earnings |
Diluted earnings per share |
|||||||||||||
|
per share |
||||||||||||||
|
Fiscal Year Ended |
Yen |
Yen |
||||||||||||
|
December 31, 2021 |
1.55 |
– |
||||||||||||
|
December 31, 2020 |
(7.17) |
– |
||||||||||||
|
(2) Non-consolidated financial position |
||||||||||||||
|
Total assets |
Net assets |
Equity ratio |
Net assets per share |
|||||||||||
|
As of |
Million yen |
Million yen |
% |
Yen |
||||||||||
|
December 31, 2021 |
5,552 |
1,852 |
33.4 |
187.12 |
||||||||||
|
December 31, 2020 |
5,518 |
1,857 |
33.6 |
187.58 |
||||||||||
2. Non-consolidated Earnings Forecast for the fiscal year ending December 31, 2022 (January 1, 2022 – December 31, 2022)
The earnings forecast for the fiscal year ending December 31, 2022 is not provided because the Company’s shares are scheduled to be delisted due to the implementation of Tender Offer by Offeror and a series of subsequent procedures, as announced in the press release “Notice of Implementation of MBO and Recommendation of Tender Acceptance” dated February 7, 2022.
*Cautionary statement with respect to financial forecasts and other special notes
(Cautionary note regarding forward-looking statements)
The earnings forecast for the fiscal year ending December 31, 2022 is not provided because the Company’s shares are scheduled to be delisted due to the implementation of Tender Offer by Offeror and a series of subsequent procedures, as announced in the press release “Notice of Implementation of MBO and Recommendation of Tender Acceptance” dated February 7, 2022.
(How to obtain supplementary explanatory materials for financial results and contents of financial results briefing)
From the perspective of preventing the spread of novel coronavirus infection, the Company plans to distribute a video presentation of its financial results for institutional investors and analysts on its website on February 9, 2022, in place of a financial results briefing. The supplementary explanatory materials for the financial results will be disclosed on TDnet and the Company’s website on the same day.
2
Overview of business results
During the consolidated fiscal year under review (January 1, 2021 to December 31, 2021), the Japanese economy showed signs of recovery as the severe situation caused by the novel coronavirus infection gradually eased. While the recovery trend is expected to continue, supported by the effects of various policies, attention should be paid to the impact of the infection, including its variant, on the domestic and overseas economies and the effects of fluctuations in financial and capital markets.
Although the beauty salon industry was affected by the repeated issuance and extension of state of emergency declarations, demand for services has been solid, and the chain store sales of the Group have been recovering to the level before the COVID-19 related crisis. However, the outlook for the future infection status, including the spread of the variant, remains uncertain and the situation does not allow for optimism.
Under these circumstances, the Arte Group (“the Group”) has been thoroughly implementing anti-infection measures in accordance with the current situation of each store, including workplace vaccination for employees, placing top priority on the safety and health of customers and employees.
Based on a long-term portfolio strategy, we have developed multiple brands to meet the diverse needs of customers in each of our operating companies. With design-oriented salons such as Ash and New York・New York, which provide high-quality services, at the core of our operations, we are also opening maintenance salons under Choki Peta brand, which provide cut and color services at reasonable prices against the backdrop of growing demand for regular hair maintenance.
We conduct our business activities based on thorough hygiene management at each of our operating companies and brands to ensure the safety and security of our stores. At the same time, under the management philosophy of “providing beauty, health, and youthfulness to customers in the community and aiming to build companies that can establish a society of well-being with everyone involved in the Group,” we are implementing various measures to strengthen the unity of the Group, improve management efficiency, and build the best stores in the region.
In response to the prolonged impact of the novel coronavirus, we are focusing on measures to increase sales per customer, such as proposing value-added menus and strengthening the sales of salon retail products. At the same time, we are accelerating the digitalization and smartification of all aspects, including store operations, sales promotion, and technical training, to improve productivity and strengthen the earnings base that will support further growth of the Group in anticipation of the eventual digital transformation (DX) of the beauty industry.
For design-oriented salons, we are developing web marketing strategies for each salon by stylists with marketing skills, working to strengthen the counseling and proposal skills of our staff with the aim of retaining customers, and enhancing the latest hair care products and menus targeting customers with high sense of beauty, to provide high-value- added services.
Furthermore, we are also developing various private brands, including “ennic” series, a new line of original hair and skin care products containing people- and environment-friendly natural ingredients, to raise brand awareness.
As for Choki Peta, maintenance salons, we are mainly opening stores in commercial facilities to offer quick haircut and color services at reasonable prices during shopping, enhancing convenience and providing services tailored to customers’ lifestyles.
As a result of the above, the chain store sales of the Company’s major subsidiaries for the fiscal year under review were as follows: Ash Co., Ltd. (“Ash”), 111.3% of the same period in the previous year; New York・New York Co., Ltd.( “NYNY”), 108.5%; Style Designer Inc. (“SD”), 104.6％; and C&P Co., Ltd. (“C&P”), 121.6%. The number of customers of the Company’s major subsidiaries was 107.8% of the same period in the previous year. Accordingly, net sales at all chain stores of the Group totaled 18,611 million yen (110.3%).
During the fiscal year under review, the number of stores operated by the Group’s consolidated subsidiaries totaled 336 (Ash, 130 stores; NYNY, 42 stores; SD, 99 stores; C&P, 56 stores; and Diamond Eyes Co., Ltd., 9 stores). Including one overseas store (Republic of Singapore), the number of stores in the Group reached 337. The number of Choki Peta stores in the Kansai region operated by NYNY was 10, and the total number of franchise stores in the Group totaled 229 ( Ash, 106 stores; NYNY, 22 stores; SD, 99 stores; and C&P, 2 stores).
As a result, consolidated earnings for the fiscal year under review were as follows: Net sales amounted to 8,639 million yen (109.8% of the same period in the previous year), operating profit was 570 million yen (462.2 % of the same period in the previous year), ordinary profit was 636 million yen (209.6 % of the same period in the previous year), and profit attributable to owners of parent came to 274 million yen (compared with a loss attributable to owners of parent of 196 million yen for the same period in the previous year).
The description by segment is omitted because the Company Group engages in a single segment of beauty salon chain business.
3
Outlook
The earnings forecast for the fiscal year ending December 31, 2022 is not provided because the Company’s shares are scheduled to be delisted due to the implementation of Tender Offer by Offeror and a series of subsequent procedures, as announced in the press release “Notice of Implementation of MBO and Recommendation of Tender Acceptance” dated February 7, 2022.
4
This is an excerpt of the original content. To continue reading it, access the original document here.
Disclaimer
Arte Salon Holdings Inc. published this content on 15 February 2022 and is solely responsible for the information contained therein. Distributed by Public, unedited and unaltered, on 15 February 2022 01:26:06 UTC.
Publicnow 2022
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Income Statement Evolution
We wish to give thanks to the author of this write-up for this amazing material
Arte Salon : (Corrections) Partial Corrections of “Summary of Consolidated Financial Results for the Fiscal Year Ended December 31, 2021 ” | MarketScreener
This translated document is an excerpt from the original Japanese document and is intended for reference purposes only. Should any discrepancies or doubt arise between this translated document and the Japanese original, the original shall prevail. The Company assumes no responsibility for this translation or for direct, indirect or any other forms of damages arising from the translation.
February 14, 2022
To Whom It May Concern
Company name : Arte Salon Holdings, Inc. Representative : Shigeyoshi Yoshimura,
President and Representative Director (Stock Code: 2406)
Contact : Mitsuharu Sakaguchi,
Executive Officer and General Manager of Corporate Planning Department
(Tel: 045-663-6123)
(Corrections) Partial Corrections of “Summary of Consolidated Financial Results
for the Fiscal Year Ended December 31, 2021 [Japanese GAAP]”
Arte Salon Holdings, Inc. hereby announces that there have been corrections made partly to the “Summary of Consolidated Financial Results for the Fiscal Year Ended December 31, 2021 [Japanese GAAP]” that was disclosed on February 7, 2022, as follows.
Notes
1．Reason for corrections
After the announcement of “Summary of Consolidated Financial Results for the Fiscal Year Ended December 31, 2021 [Japanese GAAP]”, it was found that there were some errors in the Non-consolidated Financial Results for the Fiscal Year ended December 31, 2021, and the relevant parts have been corrected.
2．Explanation of corrections The corrections are underlined.
[Reference] Summary of Non-consolidated Financial Results
1. Non-consolidated Financial Results for the Fiscal Year ended December 31, 2021 (January 1, 2021 – December 31, 2021)
(1) Non-consolidated operating results [Before correction]
(Percentages indicate year-on-year changes)
|
Net Sales |
Operating profit |
Ordinary Profit |
Profit Attributable |
|||||||
|
to owners of Parent |
||||||||||
|
Fiscal Year Ended |
Million yen |
% |
Million yen |
% |
Million yen |
% |
Million yen |
% |
||
|
December 31, 2021 |
2,389 |
(5.9) |
101 |
94.4 |
143 |
(18.0) |
15 |
– |
||
|
December 31, 2020 |
2,539 |
1.7 |
52 |
(67.6) |
175 |
(24.5) |
(70) |
– |
||
|
[After correction] |
||||||||||
|
(Percentages indicate year-on-year changes) |
||||||||||
|
Net Sales |
Operating profit |
Ordinary Profit |
Profit Attributable |
|||||||
|
to owners of Parent |
||||||||||
|
Fiscal Year Ended |
Million yen |
% |
Million yen |
% |
Million yen |
% |
Million yen |
% |
||
|
December 31, 2021 |
2,542 |
0.1 |
101 |
94.4 |
143 |
(18.0) |
15 |
– |
||
|
December 31, 2020 |
2,539 |
1.7 |
52 |
(67.6) |
175 |
(24.5) |
(70) |
– |
The End.
This translated document is an excerpt from the original Japanese document and is intended for reference purposes only. Should any discrepancies or doubt arise between this translated document and the Japanese original, the original shall prevail. The Company assumes no responsibility for this translation or for direct, indirect or any other forms of damages arising from the translation.
February 7, 2022
Summary of Consolidated Financial Results for the Fiscal Year Ended December 31, 2021
|
[Japanese GAAP] |
||
|
Company name: |
Arte Salon Holdings, Inc. |
Listings: Tokyo Stock Exchange |
|
Stock Code: |
2406 |
|
|
Representative: |
Shigeyoshi Yoshimura, President and Representative Director |
|
|
Contact: |
Mitsuharu Sakaguchi, Executive Officer and General Manager of Corporate Planning Department |
|
|
Tel: 045-663-6123 |
||
|
Expected date of Annual General Meeting of Shareholders: |
March 29, 2022 |
|
|
Expected date of commencing dividend payments: |
March 30, 2022 |
|
|
Expected date of filing Annual Securities Report: |
March 30, 2022 |
|
|
Availability of supplementary materials for financial results: |
Yes |
|
|
Holding of financial results meetings/ briefing: |
Yes (for institutional investors and analysts) |
(Amounts under one million yen have been rounded down.)
1. Consolidated financial results for the fiscal year ended December 31, 2021 (January 1, 2021 – December 31, 2021)
|
(1) Consolidated operating results |
(Percentages indicate year-on-year changes) |
|||||||||||||||||||||||||||
|
Net Sales |
Operating profit |
Ordinary Profit |
Profit Attributable |
|||||||||||||||||||||||||
|
to owners of Parent |
||||||||||||||||||||||||||||
|
Fiscal Year Ended |
Million yen |
% |
Million yen |
% |
Million yen |
% |
Million yen |
% |
||||||||||||||||||||
|
December 31, 2021 |
8,639 |
9.8 |
570 |
362.2 |
636 |
109.6 |
274 |
– |
||||||||||||||||||||
|
December 31, 2020 |
7,867 |
(7.4) |
123 |
(76.0) |
303 |
(42.2) |
(196) |
– |
||||||||||||||||||||
|
Earnings per share |
Diluted earnings |
Return on equity |
Ratio of ordinary |
Ratio of operating |
||||||||||||||||||||||||
|
per share |
profit to total assets |
profit to net sales |
||||||||||||||||||||||||||
|
Fiscal Year Ended |
Yen |
Yen |
Yen |
% |
% |
|||||||||||||||||||||||
|
December 31, 2021 |
27.71 |
– |
9.8 |
7.3 |
6.6 |
|||||||||||||||||||||||
|
December 31, 2020 |
(19.87) |
– |
(7.0) |
3.6 |
1.6 |
|||||||||||||||||||||||
|
(2) Consolidated financial position |
||||||||||||||||||||||||||||
|
Total assets |
Net assets |
Equity ratio |
Net assets per share |
|||||||||||||||||||||||||
|
As of |
Million yen |
Million yen |
% |
Yen |
||||||||||||||||||||||||
|
December 31, 2021 |
9,121 |
2,926 |
32.1 |
295.65 |
||||||||||||||||||||||||
|
December 31, 2020 |
8,347 |
2,673 |
32.0 |
270.00 |
||||||||||||||||||||||||
|
(3) Consolidated cash flows |
||||||||||||||||||||||||||||
|
Cash flows from |
Cash flows from |
Cash flows from |
Cash and cash equivalents |
|||||||||||||||||||||||||
|
operating activities |
investing activities |
financing activities |
at end of period |
|||||||||||||||||||||||||
|
Fiscal Year Ended |
Million yen |
Million yen |
Million yen |
Million yen |
||||||||||||||||||||||||
|
December 31, 2021 |
1,377 |
(661) |
(31) |
1,879 |
||||||||||||||||||||||||
|
December 31, 2020 |
339 |
(665) |
(53) |
1,195 |
||||||||||||||||||||||||
|
2. Cash dividends |
||||||||||||||||||||||||||||
|
Annual dividends per share |
Total |
Payout ratio |
Ratio of dividends |
|||||||||||||||||||||||||
|
1Q-end |
2Q-end |
3Q-end |
Year-end |
Total |
dividends |
(Consolidated) |
to net assets |
|||||||||||||||||||||
|
(Consolidated) |
||||||||||||||||||||||||||||
|
Yen |
Yen |
Yen |
Yen |
Yen |
Million yen |
% |
% |
|||||||||||||||||||||
|
Fiscal Year Ended December. 31, 2020 |
– |
0.00 |
– |
2.00 |
2.00 |
19 |
– |
0.7 |
||||||||||||||||||||
|
Fiscal Year Ended December. 31, 2021 |
– |
0.00 |
– |
5.00 |
5.00 |
49 |
18.0 |
1.8 |
||||||||||||||||||||
|
Fiscal Year Ending December. 31, 2022 |
– |
– |
– |
– |
– |
– |
||||||||||||||||||||||
|
(Forecast) |
||||||||||||||||||||||||||||
Note: The dividend forecast for the fiscal year ending December 31, 2022 is not provided because the Company’s shares are scheduled to be delisted due to the implementation of a tender offer (“Tender Offer”) for the Company’s issued common shares by Genesis Co., Ltd. (“Offeror”) and a series of subsequent procedures, as announced in the press release “Notice of Implementation of MBO and Recommendation of Tender Acceptance” dated February 7, 2022.
3. Consolidated Earnings Forecast for the fiscal year ending December 31, 2022 (January 1, 2022 – December 31, 2022)
The earnings forecast for the fiscal year ending December 31, 2022 is not provided because the Company’s shares are scheduled to be delisted due to the implementation of Tender Offer by Offeror and a series of subsequent procedures, as announced in the press release “Notice of Implementation of MBO and Recommendation of Tender Acceptance” dated February 7, 2022.
1
* Notes
- Changes in significant subsidiaries during the period (changes in scope of consolidation): None
- Changes in accounting policies and accounting-based estimates, and restatements
-
- Changes in accounting policies due to revisions in accounting standards, others: None
- Changes in accounting policies other than 1) above: None
- Changes in accounting-based estimates: Yes
- Restatements: None
- Number of issued shares (common shares)
Total number of issued shares at the end of the period (including treasury shares)
|
As of December 31, 2021 |
10,300,000 shares |
As of December 31, 2020 |
10,300,000 shares |
|||||||||||
|
Number of treasury shares at the end of the period |
||||||||||||||
|
As of December 31, 2021 |
399,781 shares |
As of December 31, 2020 |
399,743 shares |
|||||||||||
|
Average number of shares outstanding during the period |
||||||||||||||
|
Fiscal Year Ended |
9,900,249 shares |
Fiscal Year Ended |
9,900,257 shares |
|||||||||||
|
December 31, 2021 |
December 31, 2020 |
|||||||||||||
|
[Reference] Summary of Non-consolidated Financial Results |
||||||||||||||
|
1. Non-consolidated Financial Results for the Fiscal Year ended December 31, 2021 (January 1, 2021 – December 31, 2021) |
||||||||||||||
|
(1) Non-consolidated operating results |
(Percentages indicate year-on-year changes) |
|||||||||||||
|
Net Sales |
Operating profit |
Ordinary Profit |
Profit Attributable |
|||||||||||
|
to owners of Parent |
||||||||||||||
|
Fiscal Year Ended |
Million yen |
% |
Million yen |
% |
Million yen |
% |
Million yen |
% |
||||||
|
December 31, 2021 |
2,542 |
0.1 |
101 |
94.4 |
143 |
(18.0) |
15 |
– |
||||||
|
December 31, 2020 |
2,539 |
1.7 |
52 |
(67.6) |
175 |
(24.5) |
(70) |
– |
||||||
|
Earnings |
Diluted earnings per share |
|||||||||||||
|
per share |
||||||||||||||
|
Fiscal Year Ended |
Yen |
Yen |
||||||||||||
|
December 31, 2021 |
1.55 |
– |
||||||||||||
|
December 31, 2020 |
(7.17) |
– |
||||||||||||
|
(2) Non-consolidated financial position |
||||||||||||||
|
Total assets |
Net assets |
Equity ratio |
Net assets per share |
|||||||||||
|
As of |
Million yen |
Million yen |
% |
Yen |
||||||||||
|
December 31, 2021 |
5,552 |
1,852 |
33.4 |
187.12 |
||||||||||
|
December 31, 2020 |
5,518 |
1,857 |
33.6 |
187.58 |
||||||||||
2. Non-consolidated Earnings Forecast for the fiscal year ending December 31, 2022 (January 1, 2022 – December 31, 2022)
The earnings forecast for the fiscal year ending December 31, 2022 is not provided because the Company’s shares are scheduled to be delisted due to the implementation of Tender Offer by Offeror and a series of subsequent procedures, as announced in the press release “Notice of Implementation of MBO and Recommendation of Tender Acceptance” dated February 7, 2022.
*Cautionary statement with respect to financial forecasts and other special notes
(Cautionary note regarding forward-looking statements)
The earnings forecast for the fiscal year ending December 31, 2022 is not provided because the Company’s shares are scheduled to be delisted due to the implementation of Tender Offer by Offeror and a series of subsequent procedures, as announced in the press release “Notice of Implementation of MBO and Recommendation of Tender Acceptance” dated February 7, 2022.
(How to obtain supplementary explanatory materials for financial results and contents of financial results briefing)
From the perspective of preventing the spread of novel coronavirus infection, the Company plans to distribute a video presentation of its financial results for institutional investors and analysts on its website on February 9, 2022, in place of a financial results briefing. The supplementary explanatory materials for the financial results will be disclosed on TDnet and the Company’s website on the same day.
2
Overview of business results
During the consolidated fiscal year under review (January 1, 2021 to December 31, 2021), the Japanese economy showed signs of recovery as the severe situation caused by the novel coronavirus infection gradually eased. While the recovery trend is expected to continue, supported by the effects of various policies, attention should be paid to the impact of the infection, including its variant, on the domestic and overseas economies and the effects of fluctuations in financial and capital markets.
Although the beauty salon industry was affected by the repeated issuance and extension of state of emergency declarations, demand for services has been solid, and the chain store sales of the Group have been recovering to the level before the COVID-19 related crisis. However, the outlook for the future infection status, including the spread of the variant, remains uncertain and the situation does not allow for optimism.
Under these circumstances, the Arte Group (“the Group”) has been thoroughly implementing anti-infection measures in accordance with the current situation of each store, including workplace vaccination for employees, placing top priority on the safety and health of customers and employees.
Based on a long-term portfolio strategy, we have developed multiple brands to meet the diverse needs of customers in each of our operating companies. With design-oriented salons such as Ash and New York・New York, which provide high-quality services, at the core of our operations, we are also opening maintenance salons under Choki Peta brand, which provide cut and color services at reasonable prices against the backdrop of growing demand for regular hair maintenance.
We conduct our business activities based on thorough hygiene management at each of our operating companies and brands to ensure the safety and security of our stores. At the same time, under the management philosophy of “providing beauty, health, and youthfulness to customers in the community and aiming to build companies that can establish a society of well-being with everyone involved in the Group,” we are implementing various measures to strengthen the unity of the Group, improve management efficiency, and build the best stores in the region.
In response to the prolonged impact of the novel coronavirus, we are focusing on measures to increase sales per customer, such as proposing value-added menus and strengthening the sales of salon retail products. At the same time, we are accelerating the digitalization and smartification of all aspects, including store operations, sales promotion, and technical training, to improve productivity and strengthen the earnings base that will support further growth of the Group in anticipation of the eventual digital transformation (DX) of the beauty industry.
For design-oriented salons, we are developing web marketing strategies for each salon by stylists with marketing skills, working to strengthen the counseling and proposal skills of our staff with the aim of retaining customers, and enhancing the latest hair care products and menus targeting customers with high sense of beauty, to provide high-value- added services.
Furthermore, we are also developing various private brands, including “ennic” series, a new line of original hair and skin care products containing people- and environment-friendly natural ingredients, to raise brand awareness.
As for Choki Peta, maintenance salons, we are mainly opening stores in commercial facilities to offer quick haircut and color services at reasonable prices during shopping, enhancing convenience and providing services tailored to customers’ lifestyles.
As a result of the above, the chain store sales of the Company’s major subsidiaries for the fiscal year under review were as follows: Ash Co., Ltd. (“Ash”), 111.3% of the same period in the previous year; New York・New York Co., Ltd.( “NYNY”), 108.5%; Style Designer Inc. (“SD”), 104.6％; and C&P Co., Ltd. (“C&P”), 121.6%. The number of customers of the Company’s major subsidiaries was 107.8% of the same period in the previous year. Accordingly, net sales at all chain stores of the Group totaled 18,611 million yen (110.3%).
During the fiscal year under review, the number of stores operated by the Group’s consolidated subsidiaries totaled 336 (Ash, 130 stores; NYNY, 42 stores; SD, 99 stores; C&P, 56 stores; and Diamond Eyes Co., Ltd., 9 stores). Including one overseas store (Republic of Singapore), the number of stores in the Group reached 337. The number of Choki Peta stores in the Kansai region operated by NYNY was 10, and the total number of franchise stores in the Group totaled 229 ( Ash, 106 stores; NYNY, 22 stores; SD, 99 stores; and C&P, 2 stores).
As a result, consolidated earnings for the fiscal year under review were as follows: Net sales amounted to 8,639 million yen (109.8% of the same period in the previous year), operating profit was 570 million yen (462.2 % of the same period in the previous year), ordinary profit was 636 million yen (209.6 % of the same period in the previous year), and profit attributable to owners of parent came to 274 million yen (compared with a loss attributable to owners of parent of 196 million yen for the same period in the previous year).
The description by segment is omitted because the Company Group engages in a single segment of beauty salon chain business.
3
Outlook
The earnings forecast for the fiscal year ending December 31, 2022 is not provided because the Company’s shares are scheduled to be delisted due to the implementation of Tender Offer by Offeror and a series of subsequent procedures, as announced in the press release “Notice of Implementation of MBO and Recommendation of Tender Acceptance” dated February 7, 2022.
4
This is an excerpt of the original content. To continue reading it, access the original document here.
Disclaimer
Arte Salon Holdings Inc. published this content on 15 February 2022 and is solely responsible for the information contained therein. Distributed by Public, unedited and unaltered, on 15 February 2022 01:26:06 UTC.
Publicnow 2022
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Income Statement Evolution
We wish to give thanks to the author of this write-up for this amazing material
Arte Salon : (Corrections) Partial Corrections of “Summary of Consolidated Financial Results for the Fiscal Year Ended December 31, 2021 ” | MarketScreener
Access Entertainment, owned by Len Blavatnik, has acquired James Packer’s stake in RatPac Entertainment. The deal makes Blavatnik partner with RatPac principal Brett Ratner and gives him co-ownership of RatPac’s film, TV and documentary business, and a big chunk of the RatPac-Dune venture that helps co-finance Warner Bros’ movie slate.
Ratner will retain his interest in RatPac Entertainment and continue as CEO. He will also become co-chairman alongside Access Entertainment president Danny Cohen, the former Director of BBC Television. Terms of the investment were not disclosed.
Packer, the son of Aussie media tycoon Kerry Packer, becomes the second major RatPac investor to exit. The new U.S. Secretary of the Treasury Steven Mnuchin had to divest his stake in the company when he was confirmed for the Trump Administration job. There had been rumblings that Packer and Mnuchin’s stakes were up for grabs.
In 2013, RatPac partnered with Dune Entertainment on a multi-year motion picture co-financing arrangement with Warner Bros for up to 75 pictures which have included Gravity, The LEGO Movie, Annabelle, American Sniper, Batman V Superman: Dawn Of Justice, The Conjuring 2, Lights Out, Suicide Squad, The LEGO Batman Movie, Kong: Skull Island and the upcoming Wonder Woman, Justice League and Stephen King’s It.
RatPac also partners with New Regency with films including Oscar Best Picture winner Birdman and The Revenant.
It’s a major move into the U.S. entertainment business for Blavatnik’s Access, which currently has a drama financing venture with BBC Worldwide/Lookout Point, a 25% stake in international TV outfit Bad Wolf, and a development slate deal with House Productions.
“Warner Bros. is one of the great Hollywood Studios,” Blavatnik said in a release announcing the deal. “I have great respect for their leadership and am delighted to be partnering with Kevin Tsujihara and the studio alongside the unique talent of Brett Ratner. Together we will build on RatPac’s strategic partnership with Warner Bros.”
Said Ratner: “I am thrilled to be in partnership with Len and Danny. Len and I have shared the same vision and passion for movies, television and music over the years. Because of his experience and enthusiasm, RatPac Entertainment will be an even more formidable provider of quality entertainment worldwide.”
REX/Shutterstock
Packer and Ratner announced the creation of their film development, production and finance company in late 2012. The slate deal with Warner Bros came soon after that covered almost everything outside the studio’s Harry Potter franchise. RatPac has co-financed 67 films, grossing more than $10 billion in worldwide box office.
“Len has an incredible track record launching really successful business ventures, including Access Entertainment,” said Kevin Tsujihara, Warner Bros’ chairman and CEO.”We’re excited to continue our relationship with Brett and RatPac and look forward to working with Len, Danny and the entire Access team. I’d also like to thank James — he’s been a terrific partner the last three years, having worked with us on a number of key films, including Batman V Superman, Suicide Squad and The LEGO Batman Movie.”
We want to give thanks to the writer of this article for this awesome web content
Len Blavatnik’s Access Acquires RatPac Entertainment Stake
Access Entertainment, owned by Len Blavatnik, has acquired James Packer’s stake in RatPac Entertainment. The deal makes Blavatnik partner with RatPac principal Brett Ratner and gives him co-ownership of RatPac’s film, TV and documentary business, and a big chunk of the RatPac-Dune venture that helps co-finance Warner Bros’ movie slate.
Ratner will retain his interest in RatPac Entertainment and continue as CEO. He will also become co-chairman alongside Access Entertainment president Danny Cohen, the former Director of BBC Television. Terms of the investment were not disclosed.
Packer, the son of Aussie media tycoon Kerry Packer, becomes the second major RatPac investor to exit. The new U.S. Secretary of the Treasury Steven Mnuchin had to divest his stake in the company when he was confirmed for the Trump Administration job. There had been rumblings that Packer and Mnuchin’s stakes were up for grabs.
In 2013, RatPac partnered with Dune Entertainment on a multi-year motion picture co-financing arrangement with Warner Bros for up to 75 pictures which have included Gravity, The LEGO Movie, Annabelle, American Sniper, Batman V Superman: Dawn Of Justice, The Conjuring 2, Lights Out, Suicide Squad, The LEGO Batman Movie, Kong: Skull Island and the upcoming Wonder Woman, Justice League and Stephen King’s It.
RatPac also partners with New Regency with films including Oscar Best Picture winner Birdman and The Revenant.
It’s a major move into the U.S. entertainment business for Blavatnik’s Access, which currently has a drama financing venture with BBC Worldwide/Lookout Point, a 25% stake in international TV outfit Bad Wolf, and a development slate deal with House Productions.
“Warner Bros. is one of the great Hollywood Studios,” Blavatnik said in a release announcing the deal. “I have great respect for their leadership and am delighted to be partnering with Kevin Tsujihara and the studio alongside the unique talent of Brett Ratner. Together we will build on RatPac’s strategic partnership with Warner Bros.”
Said Ratner: “I am thrilled to be in partnership with Len and Danny. Len and I have shared the same vision and passion for movies, television and music over the years. Because of his experience and enthusiasm, RatPac Entertainment will be an even more formidable provider of quality entertainment worldwide.”
REX/Shutterstock
Packer and Ratner announced the creation of their film development, production and finance company in late 2012. The slate deal with Warner Bros came soon after that covered almost everything outside the studio’s Harry Potter franchise. RatPac has co-financed 67 films, grossing more than $10 billion in worldwide box office.
“Len has an incredible track record launching really successful business ventures, including Access Entertainment,” said Kevin Tsujihara, Warner Bros’ chairman and CEO.”We’re excited to continue our relationship with Brett and RatPac and look forward to working with Len, Danny and the entire Access team. I’d also like to thank James — he’s been a terrific partner the last three years, having worked with us on a number of key films, including Batman V Superman, Suicide Squad and The LEGO Batman Movie.”
We want to give thanks to the writer of this article for this awesome web content
Len Blavatnik’s Access Acquires RatPac Entertainment Stake
Secret Diary Of A Call Girl creator and Succession executive producer-writer Lucy Prebble has been awarded the 2019 Wellcome Screenwriting Fellowship, given in partnership with the BFI and Film4.
Now in its seventh year, the UK fellowship awards a screenwriter £30,000 to explore the intersection between screenwriting, health and science. It provides a year-long tailored experience with access to scientific and humanities research.
The 2019 selection committee was chaired by Kate Leys (script editor) with Lizzie Francke (BFI exec), Lauren Dark (Film4 exec), Iain Dodgeon (OKRE) and Simon Chaplin (Wellcome).
Prebble commented, “I am so thrilled to be awarded the Wellcome Screenwriting Fellowship. It has been given to some brilliant artists and I am honoured to be in their company. I have always been a research-hungry writer and I am delighted to be offered such a generous opportunity to feed that. The Wellcome Collection is exactly the sort of place and resource I would go to for beguiling procrastination. Now I can legitimately go there!
“I am hoping to explore issues of biology and transformation for a horror film I am planning to write, as well as look into the amazing collection of curious and information on the golden age of magic that their recent exhibition has housed, for a long-term project. Wellcome is such an unqualifiedly positive thing: curiosity, good faith and a sense of cultural community. I am genuinely touched to be part of their vision.”
Emmy and WGA nominee Prebble is also behind successful stage plays including plays A Very Expensive Poison, The Effect, which earned her the Critics’ Circle Award for Best New Play, Enron and The Sugar Syndrome, which won the George Devine Award.
Kate Leys, chair of the selection panel, said, “This year’s fellow is brilliant, maverick, thoughtful, funny and razor sharp. It always seems impossible to choose just one writer at the start of the process, but easy later to see why someone is the right person at the right moment in their life to take this on. As it is with this fellow, whose screenwriting credits from Secret Diary of a Call Girl to Succession reveal her impossibly huge talent. Who else could we possibly have chosen?”
At an event in London this evening, Wellcome also announced a new body supporting collaboration between the research sector and entertainment industries, OKRE: Opening Knowledge across Research & Entertainment. It will be led by Iain Dodgeon, previously Broadcast, Games and Film Manager at the Institute.
OKRE’s partners include Wellcome, UKRI, Joseph Rowntree Foundation, and Unbound Philanthropy. Advisory board members include actress, screenwriter and 2018 Wellcome Screenwriting Fellow, Michaela Coel; Bernard Wolfe Professor of Neuroscience at the University of Cambridge, Paul Fletcher; producer, writer and creative development executive in the video game and film industries, Ben Andac; and Director of Original Documentary at Netflix, Kate Townsend.
We would love to thank the writer of this article for this outstanding material
‘Secret Diary Of A Call Girl’ Creator & ‘Succession’ Writer/Exec Lucy Prebble Awarded Wellcome Screenwriting Fellowship In Collab With BFI, Film4
Secret Diary Of A Call Girl creator and Succession executive producer-writer Lucy Prebble has been awarded the 2019 Wellcome Screenwriting Fellowship, given in partnership with the BFI and Film4.
Now in its seventh year, the UK fellowship awards a screenwriter £30,000 to explore the intersection between screenwriting, health and science. It provides a year-long tailored experience with access to scientific and humanities research.
The 2019 selection committee was chaired by Kate Leys (script editor) with Lizzie Francke (BFI exec), Lauren Dark (Film4 exec), Iain Dodgeon (OKRE) and Simon Chaplin (Wellcome).
Prebble commented, “I am so thrilled to be awarded the Wellcome Screenwriting Fellowship. It has been given to some brilliant artists and I am honoured to be in their company. I have always been a research-hungry writer and I am delighted to be offered such a generous opportunity to feed that. The Wellcome Collection is exactly the sort of place and resource I would go to for beguiling procrastination. Now I can legitimately go there!
“I am hoping to explore issues of biology and transformation for a horror film I am planning to write, as well as look into the amazing collection of curious and information on the golden age of magic that their recent exhibition has housed, for a long-term project. Wellcome is such an unqualifiedly positive thing: curiosity, good faith and a sense of cultural community. I am genuinely touched to be part of their vision.”
Emmy and WGA nominee Prebble is also behind successful stage plays including plays A Very Expensive Poison, The Effect, which earned her the Critics’ Circle Award for Best New Play, Enron and The Sugar Syndrome, which won the George Devine Award.
Kate Leys, chair of the selection panel, said, “This year’s fellow is brilliant, maverick, thoughtful, funny and razor sharp. It always seems impossible to choose just one writer at the start of the process, but easy later to see why someone is the right person at the right moment in their life to take this on. As it is with this fellow, whose screenwriting credits from Secret Diary of a Call Girl to Succession reveal her impossibly huge talent. Who else could we possibly have chosen?”
At an event in London this evening, Wellcome also announced a new body supporting collaboration between the research sector and entertainment industries, OKRE: Opening Knowledge across Research & Entertainment. It will be led by Iain Dodgeon, previously Broadcast, Games and Film Manager at the Institute.
OKRE’s partners include Wellcome, UKRI, Joseph Rowntree Foundation, and Unbound Philanthropy. Advisory board members include actress, screenwriter and 2018 Wellcome Screenwriting Fellow, Michaela Coel; Bernard Wolfe Professor of Neuroscience at the University of Cambridge, Paul Fletcher; producer, writer and creative development executive in the video game and film industries, Ben Andac; and Director of Original Documentary at Netflix, Kate Townsend.
We would love to thank the writer of this article for this outstanding material
‘Secret Diary Of A Call Girl’ Creator & ‘Succession’ Writer/Exec Lucy Prebble Awarded Wellcome Screenwriting Fellowship In Collab With BFI, Film4
There’s unfortunately a lot of bad things reportedly going on in the LA Angels‘ Minor League system.
Joon Lee of ESPN wrote a story about the players’ complaints, and what their experiences have been like.
“Arte Moreno wouldn’t have his kids live like this,” said Kieran Lovegrove.
Lovegrove is a current pitcher for the LA Angels’ Double-A affiliate Rocket City Trash Pandas. He’s currently living with five others in a three-bedroom apartment (two teammates sleeping in the living room and one in the kitchen).
Shane Kelso, who played for the LA Angels’ Low-A affiliate Inland Empire 66ers, retired due to the living conditions for the players. He even mentioned that there were four players living in a camper van at a trailer park. He also mentioned that some lived in cars.
According to Lovegrove, Minor Leaguers have entered mental health crises due to the stress of not making enough money to live a reasonable life with reasonable living conditions.
““We’re reaching a point now where this is actually becoming detrimental to the players’ overall health and the owner not addressing it is [the organization] actively saying that they don’t care about the health of their players.””
Kelso cited that rent was $2,000 per month for him, but he was only paid $1,600 per month.
Lovegrove has said that he is considering retiring from the game. He has had to work four other jobs other than playing for the Trash Pandas. He works as an Uber driver, a Lyft driver, a warehouse worker at Best Buy, and a warehouse worker for UPS.
The Angels are also being hypocritical to their expectations towards the players’ dieting, according to these reports.
Kelso cited the team wanting him to eat 3,500 to 4,500 calories every day, but they only paid for him to consume 800 to 1,200.
“That’s required for our job,” said Kelso. “If we don’t do that, our bodies fail and we can’t do it.”
He’s exactly right. This is inexcusable if this is indeed happening, and I have no reason to believe it’s not.
“We had guys lose 5 pounds in two weeks,” said Lovegrove.
The Angels have a very poor farm system, which is ranked 25th in the Majors. Perhaps these living conditions are part of that.
After all, Lovegrove expressed that he believes that Angels Owner Arte Moreno “really doesn’t give a s— about the winning side” of owning and developing a baseball franchise.
““Is Moreno completely out of touch with the reality of what it’s like to be a player? Probably. I don’t see that really changing because I don’t know that he really does care about the quality of the organization so much as the amount of money it produces.””
Arte Moreno was requested for comment by ESPN, but did not respond.
“What is being reported is unacceptable, and we will look into it and address it,” said LA Angels General Manager Perry Minasian.
Lovegrove, who played for four other systems, said that the Angels’ treatment of Minor Leaguers was easily worse than the others.
Next. Is Cole Hamels a deadline fit?
These issues are absolutely not okay, and need to be addressed. Not only are they inhumane, but they seem to be contributing to the Angels’ farm system being so bad when they haven’t been earning poor draft slots due to their disappointing play on the field for these past six years.
We wish to give thanks to the author of this article for this incredible content
LA Angels prospects unite to call out Arte Moreno for poor treatment
There’s unfortunately a lot of bad things reportedly going on in the LA Angels‘ Minor League system.
Joon Lee of ESPN wrote a story about the players’ complaints, and what their experiences have been like.
“Arte Moreno wouldn’t have his kids live like this,” said Kieran Lovegrove.
Lovegrove is a current pitcher for the LA Angels’ Double-A affiliate Rocket City Trash Pandas. He’s currently living with five others in a three-bedroom apartment (two teammates sleeping in the living room and one in the kitchen).
Shane Kelso, who played for the LA Angels’ Low-A affiliate Inland Empire 66ers, retired due to the living conditions for the players. He even mentioned that there were four players living in a camper van at a trailer park. He also mentioned that some lived in cars.
According to Lovegrove, Minor Leaguers have entered mental health crises due to the stress of not making enough money to live a reasonable life with reasonable living conditions.
““We’re reaching a point now where this is actually becoming detrimental to the players’ overall health and the owner not addressing it is [the organization] actively saying that they don’t care about the health of their players.””
Kelso cited that rent was $2,000 per month for him, but he was only paid $1,600 per month.
Lovegrove has said that he is considering retiring from the game. He has had to work four other jobs other than playing for the Trash Pandas. He works as an Uber driver, a Lyft driver, a warehouse worker at Best Buy, and a warehouse worker for UPS.
The Angels are also being hypocritical to their expectations towards the players’ dieting, according to these reports.
Kelso cited the team wanting him to eat 3,500 to 4,500 calories every day, but they only paid for him to consume 800 to 1,200.
“That’s required for our job,” said Kelso. “If we don’t do that, our bodies fail and we can’t do it.”
He’s exactly right. This is inexcusable if this is indeed happening, and I have no reason to believe it’s not.
“We had guys lose 5 pounds in two weeks,” said Lovegrove.
The Angels have a very poor farm system, which is ranked 25th in the Majors. Perhaps these living conditions are part of that.
After all, Lovegrove expressed that he believes that Angels Owner Arte Moreno “really doesn’t give a s— about the winning side” of owning and developing a baseball franchise.
““Is Moreno completely out of touch with the reality of what it’s like to be a player? Probably. I don’t see that really changing because I don’t know that he really does care about the quality of the organization so much as the amount of money it produces.””
Arte Moreno was requested for comment by ESPN, but did not respond.
“What is being reported is unacceptable, and we will look into it and address it,” said LA Angels General Manager Perry Minasian.
Lovegrove, who played for four other systems, said that the Angels’ treatment of Minor Leaguers was easily worse than the others.
Next. Is Cole Hamels a deadline fit?
These issues are absolutely not okay, and need to be addressed. Not only are they inhumane, but they seem to be contributing to the Angels’ farm system being so bad when they haven’t been earning poor draft slots due to their disappointing play on the field for these past six years.
We wish to give thanks to the author of this article for this incredible content
LA Angels prospects unite to call out Arte Moreno for poor treatment
“I love this movie! It flows really nicely and paints a very real story of struggle, passion, triumph… The time-lapse of painting Jerry is great for Rock n Roll fans. And it’s a love story! Well done!” – A. Christians”
STARRING ARTIST, WILLARD SNOW
USA AND CANADA – February 10, 2022 – Mark Knudson’s highly anticipated artistic documentary film, Legends and Idols, will release on digital and cable video on major demand platforms on February 23rd (Comcast, Dish, Verizon and many more).
The film is now available for pre-order in iTunes/Apple TV for purchase at: (Link) https://apple.co/3KPBFIT
Los Angeles-based artist, Willard Snow, showcases his unique and captivating art, with just an iPhone, some paint, and the power of rock-and-roll. Many years in the making, this artistic documentary film not only is a showcase for Willard Snow’s art but is a work of art on its own with musical performances, special effects, and original music with new Pop-Rock Songs surely to catch the attention of Radio DJ’s nationwide.
Legends and Idols takes on a classic modern experience, as it depicts the struggles that every artist must face when following the muse. Legendary artist, Willard Snow, faces many obstacles along the way, yet is determined to forge a path. Willard is most known for creating astounding and intricate painted portraits of Rock and Rollers Jimi Hendrix, Bob Marley, Jerry Garcia and others. Speaking on the creative direction of the film, Director Mark Knudson shares his feelings:
“I hope this film will inspire other artists across the country and around the world to persevere with their artistic vision.”
Guest Stars interviewed in the film, who take interest in Willard and his art include Johnny Romeo the world famous Australian Pop-Artist, who’s work flows in a similar vein as Willards, Mark Schulman who drums for Pink, and Jon Anderson of Yes. Embedded in the film are music video style scenes of the creative process and artistic scenes complementing the art being introduced throughout the film.
“Woo hoo! I loved it! Had me glued to the screen! Very well done.” — Eva Marie
The film’s soundtrack follows a repertoire of artists who are friends of Willard’s and who’s music is inspired by some of Willard Snow’s favorite musical artists including Yes, The Grateful Dead, and Emerson, Lake, and Palmer. Original songs included in the film, like “Jupiter’s Return” and “Gods of Eden”, were written by Paul Barrett and his band One World Government, most notably recognized at the 2019 Grammy Awards. Much of the film surrounds a special snare drum project for Pink drummer Mark Schulman. At Mark’s request, Willard designs and paints it. The delivery of the snare brings the film to life with Mark’s personality and enthusiasm over the final product. Mark Schulman contributed to the soundtrack with ‘Zades Playground’, which can also be heard in the film as Willard paints the drum. Michael C Drebert, the film’s composer has also written and recorded several new Pop-Rock songs for the film including ‘My Heart’ that match the themes which inspire the soul.
Click here for more Press Information/ Press Book on the story behind the film, www.artistsih.net
Social Media information and all Links on Linktr.ee: https://linktr.ee/legendsandidolsmovie
About Gravitas Ventures
Gravitas Ventures is a leading all rights distributor of independent feature films and Documentaries. Founded in 2006, Gravitas connects independent filmmakers and producers with distribution opportunities across the globe. Working with talented directors and producers, Gravitas Ventures has distributed thousands of films into over a hundred million homes in North America – over one billion homes worldwide. Recent releases include Queen Bees directed by Michael Lembeck, Our Friend directed by Gabriela Cowperthwaite, starring Casey Affleck, Dakota Johnson, and Jason Segel, Vanguard directed by Stanley Tong and starring Jackie Chan, The Secret: Dare to Dream, directed by Andy Tennant and starring Katie Holmes.
For more information, please visit www.gravitasventures.com, and follow @GravitasVOD on Twitter and @gravitasventures on Instagram.
Media & Marketing
email: [email protected]
call: 213-524-9329
Media Contact
Company Name: Artists In Hollywood
Contact Person: Mark Knudson
Email: Send Email
Phone: 3106979109
Address:2215 Artesia Blvd #1291
City: Redondo Beach
State: California
Country: United States
Website: www.artistsih.net
We want to give thanks to the writer of this article for this amazing web content
Gravitas Ventures Presents Award Winning Legends And Idols Movie on VOD in USA and Canada – Digital Journal
“I love this movie! It flows really nicely and paints a very real story of struggle, passion, triumph… The time-lapse of painting Jerry is great for Rock n Roll fans. And it’s a love story! Well done!” – A. Christians”
STARRING ARTIST, WILLARD SNOW
USA AND CANADA – February 10, 2022 – Mark Knudson’s highly anticipated artistic documentary film, Legends and Idols, will release on digital and cable video on major demand platforms on February 23rd (Comcast, Dish, Verizon and many more).
The film is now available for pre-order in iTunes/Apple TV for purchase at: (Link) https://apple.co/3KPBFIT
Los Angeles-based artist, Willard Snow, showcases his unique and captivating art, with just an iPhone, some paint, and the power of rock-and-roll. Many years in the making, this artistic documentary film not only is a showcase for Willard Snow’s art but is a work of art on its own with musical performances, special effects, and original music with new Pop-Rock Songs surely to catch the attention of Radio DJ’s nationwide.
Legends and Idols takes on a classic modern experience, as it depicts the struggles that every artist must face when following the muse. Legendary artist, Willard Snow, faces many obstacles along the way, yet is determined to forge a path. Willard is most known for creating astounding and intricate painted portraits of Rock and Rollers Jimi Hendrix, Bob Marley, Jerry Garcia and others. Speaking on the creative direction of the film, Director Mark Knudson shares his feelings:
“I hope this film will inspire other artists across the country and around the world to persevere with their artistic vision.”
Guest Stars interviewed in the film, who take interest in Willard and his art include Johnny Romeo the world famous Australian Pop-Artist, who’s work flows in a similar vein as Willards, Mark Schulman who drums for Pink, and Jon Anderson of Yes. Embedded in the film are music video style scenes of the creative process and artistic scenes complementing the art being introduced throughout the film.
“Woo hoo! I loved it! Had me glued to the screen! Very well done.” — Eva Marie
The film’s soundtrack follows a repertoire of artists who are friends of Willard’s and who’s music is inspired by some of Willard Snow’s favorite musical artists including Yes, The Grateful Dead, and Emerson, Lake, and Palmer. Original songs included in the film, like “Jupiter’s Return” and “Gods of Eden”, were written by Paul Barrett and his band One World Government, most notably recognized at the 2019 Grammy Awards. Much of the film surrounds a special snare drum project for Pink drummer Mark Schulman. At Mark’s request, Willard designs and paints it. The delivery of the snare brings the film to life with Mark’s personality and enthusiasm over the final product. Mark Schulman contributed to the soundtrack with ‘Zades Playground’, which can also be heard in the film as Willard paints the drum. Michael C Drebert, the film’s composer has also written and recorded several new Pop-Rock songs for the film including ‘My Heart’ that match the themes which inspire the soul.
Click here for more Press Information/ Press Book on the story behind the film, www.artistsih.net
Social Media information and all Links on Linktr.ee: https://linktr.ee/legendsandidolsmovie
About Gravitas Ventures
Gravitas Ventures is a leading all rights distributor of independent feature films and Documentaries. Founded in 2006, Gravitas connects independent filmmakers and producers with distribution opportunities across the globe. Working with talented directors and producers, Gravitas Ventures has distributed thousands of films into over a hundred million homes in North America – over one billion homes worldwide. Recent releases include Queen Bees directed by Michael Lembeck, Our Friend directed by Gabriela Cowperthwaite, starring Casey Affleck, Dakota Johnson, and Jason Segel, Vanguard directed by Stanley Tong and starring Jackie Chan, The Secret: Dare to Dream, directed by Andy Tennant and starring Katie Holmes.
For more information, please visit www.gravitasventures.com, and follow @GravitasVOD on Twitter and @gravitasventures on Instagram.
Media & Marketing
email: [email protected]
call: 213-524-9329
Media Contact
Company Name: Artists In Hollywood
Contact Person: Mark Knudson
Email: Send Email
Phone: 3106979109
Address:2215 Artesia Blvd #1291
City: Redondo Beach
State: California
Country: United States
Website: www.artistsih.net
We want to give thanks to the writer of this article for this amazing web content
Gravitas Ventures Presents Award Winning Legends And Idols Movie on VOD in USA and Canada – Digital Journal