Merci, Poppy
A scrappy assistant (Victoria Pedretti) reaches her breaking point when her charismatic, self-obsessed boss blows off her request for a promotion.
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Hanna Gray OrganschiDirectorBea, Seriously (2021)
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Hanna Gray OrganschiWriterBea, Seriously (2021)
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Tara ShefferProducer
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Amandine ThomasProducer
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Victoria PedrettiKey Cast"Poppy"YOU, THE HAUNTING OF HILL HOUSE
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Paul FitzgeraldKey Cast"Cyrus"GLOW, STUMPTOWN
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Sydney LemmonKey Cast"Milo"TAR, SUCCESSION
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Abigail Zealey BessKey Cast"Laowra"
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Caitlin MachakCinematography
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Caitlin CarrEditing
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Timothy ClearyMusic
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Project Type:Short, Student
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Runtime:14 minutes
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Completion Date:April 4, 2023
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Country of Origin:United States
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Country of Filming:United States
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Language:English
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Shooting Format:Digital
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Aspect Ratio:16:9
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Film Color:Color
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First-time Filmmaker:No
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Student Project:Yes - NYU
Distribution Information
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Aspect RatioSales AgentCountry: WorldwideRights: All Rights
Hanna Gray Organschi is a New York-based filmmaker pursuing her MFA in Film at NYU Tisch School of The Arts. She got her start working alongside Academy Award-winning director/producer Fisher Stevens on his films DIRTY MONEY: THE (CON)FIDENCE MAN (Netflix) and PALMER (Apple TV+). She went on to assist director Antonio Campos on his Netflix-original film THE DEVIL ALL THE TIME (produced by Jake Gyllenhaal, Riva Marker and Randall Poster). Hanna received the 2021 New York Women in Film & Television Scholarship for her breakout short film BEA, SERIOUSLY (Hamptons International Film Festival) and her most recent short film MERCI, POPPY stars Victoria Pedretti (YOU, THE HAUNTING OF HILL HOUSE). She is the recipient of the 2023 Annenberg Inclusion Initiative Reproductive Rights Accelerator Grant for her upcoming thesis film F*CK THAT GUY. Hanna’s work explores strong, stubborn female protagonists who seek autonomy with self-knowledge.
"I approached my film in a spirit of reflection, empathy, and amusement. I was an assistant to strong personalities and my dynamic with each of my bosses was a confluence of respect, frustration, and closeness. I lived for them, which was a frequency of existence that felt at once powerful and self-shattering. With MERCI, POPPY I sought to give life and depth to Poppy’s subjectivity, to excavate a series of subtle, jolting interactions that force her to see herself."