Avid® and the customer-led Avid Community Association (ACA) debuted the Avid Learning Collective program to gift professional media creation technologies, training and certification to not-for-profit educational organizations that have proven to inspire, engage and activate creators in underrepresented communities. Avid and the ACA also introduced the six inaugural award recipients, identified for their outstanding missions and achievements: Boston Arts Academy, Ghetto Film School, Girls Make Beats, Immersive & Inclusive Audio Institute, MAMA Youth Project and The Last Mile.
Each year, the Avid Learning Collective will welcome six additional educational organizations and initiatives that demonstrate the intention and ability to influence the current state of DEI through student advancement. For three years, recipients will enjoy membership in the global Avid Learning Partner program, which brings licenses for Avid creative tools, teacher training and course materials for students as well as peer and professional networking to cultivate visibility, mentoring and job opportunities for students.
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More