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    Home » The-Artery Adds Ray Sisters To Its Directorial Roster

    The-Artery Adds Ray Sisters To Its Directorial Roster

    By SHOOTWednesday, September 9, 2020Updated:Tuesday, May 14, 2024No Comments3453 Views
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    Austin (l) and Westin Ray, aka the Ray Sisters
    NEW YORK --

    The-Artery has brought directorial duo the Ray Sisters–Austin and Westin Ray–aboard its roster. 

    The siblings were introduced to The-Artery when their women’s equality spec PSA, “We Are The Daughters,” earned them inclusion in SHOOT’s 2019 New Directors Showcase. The-Artery was a sponsor of that year’s Showcase and the Ray Sisters were attracted to the creative company’s out-of-the-box thinking and approach.

    Now that they are part of The-Artery family, the duo hopes to create content that explores roads less traveled. Austin Ray cited the producing prowess of The-Artery managing director/EP Deborah Sullivan, and the visionary VFX and aesthetic of company founder and executive creative director Vico Sharabani. “It’s inspiring for us to align with filmmakers who have been in this business for years, yet still retain an unbridled enthusiasm and spark for creative work–whatever the genre,” said Austin. “We’re extremely excited to join The-Artery as it blazes a new trail into narrative live-action.”

    Sharabani said, “The-Artery was built around versatile talent and Ray Sisters fit these exact traces of personality, character, taste, and style. We’ve been in close contact with Austin and Westin for over a year and, as collaboration increased, we decided to bring them on board.”

    Sullivan added, “I’m especially proud to add not one, but two talented female artists to our roster. During our early conversations with Ray Sisters, the most important consideration was how The-Artery can help them grow. Thankfully, our team has, over time, worked hard to develop the resources to offer that and more.”

    The original idea for Ray Sisters came about as both siblings fine-tuned their separate talents in film school. After working various production roles, including producing shorts and music videos as well as composing, the sisters decided it was time to form a directing duo.

    Decorated with awards since their school days, Westin emerged from film school with a DGA Student Film Award for directing while Austin’s music scores, which first premiered in a film at Telluride Film Festival, garnered the Student Academy Award as well as BAFTA Student Award. Later, their short film The Listening Box won the Audience Award at the Austin Film Festival as well as an HBO award from the SCAD Savannah Film Festival. Their film This One Step was also screened at the Sedona Film Festival, among others. A Not So Still Life, the duo’s branded content piece for Moët & Chandon, was one of the winners of the Moët Moment Film Festival. Recently, Austin was also named Best New Music Composer at the 2019 Kinsale Shark Awards.

    Westin Ray noted that she and Austin “overlap quite a bit in skills, since we both direct, shoot, and edit. I am more language-oriented, whether screenwriting or discussing character arcs with actors. Austin is razor-sharp with visuals and typically the techie putting out equipment or software fires. We joke that separately we’re flawed, but together we make the perfect human being!”

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    Category:News
    Tags:Deborah SullivanRay SistersThe-ArteryVico Sharabani



    Review: Writer-Director Ian Tuason Makes Feature Debut With “Undertone”

    Friday, March 13, 2026
    This image released by A24 shows Nina Kiri in a scene from "Undertone." (Dustin Rabin/A24 via AP)

    Writer-director Ian Tuason's feature debut, the sonic-driven horror "Undertone," has, at least at the outset, an appealingly stripped-down quality. The 30-something Evy Babic (Nina Kiri) lives with her dying, comatose mother (Michèle Duquet). The movie never leaves their small, two-story home. Upstairs, Evy's mother lies wordlessly in a bed. Downstairs, Evy, at 3 a.m. puts on headphones, sits in front of a microphone and calls up her paranormal podcast co-host Justin (Adam DiMarco's voice) to talk "all things creepy." It's a testament to Tuason's evident filmmaking talent that, with these bare bones, "Undertone" swells into a gripping and unsettling experience. This is a movie that summons many of its scares with a sudden boost in audio levels, the thunderous tick of a clock or the scream of … a tea kettle. It's even rated "R" not for bloodcurdling violence or satanic ghouls but, simply, "language." It's these subtle qualities that make "Undertone" a spare but deftly dense film and Tuason a filmmaker to watch. It's the movie's disappointing second half, though, that breaks its quiet spell. After conjuring a tapestry of tension through narrative drips, as well as literal ones, Tuason throws in the whole kitchen sink, drowning out "Undertone" with a cacophony of genre cliches. Ancient Christian lore is invoked, as are children's lullabies, and the riveting nuance of "Undertone" slips away in all the feedback. "I want it to be over," Evy tells Justin. "Is that a bad thing to say?" Evy's mother hasn't eaten in two days, and her emotional exhaustion is clear when she first connects with her London-based co-host. You might here be wondering if the movie digs into this guilt, but "Undertone" is better at leaving carefully placed clues than following... Read More

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