Piers McGrail ISC



Represented by LUX Artists

Drama - rebecca@luxartists.net / Commercials - jerry@luxartists.net


Tomato Red

* Nominated for an IFTA for Best Cinematography / Nominated for an IFTA for Best Feature *

‘...McGrail has lit a world apart, and Tomato Red is a magic hour in his career’

Fionnuala Halligan, Screen Daily


‘The cast are given the space to make the most of each scene, which they do ably. They are captured along the way by Piers McGrail’s captivating cinematography’

Cathy Butler, Film Ireland

‘An enjoyably slow-burning tale of impending doom which benefits from Piers McGrail’s eye-catching cinematography’

Declan Burke, Irish Examiner


‘Cinematographer Piers McGrail, who did such good work on Donal Foreman’s 

Out of Here, revels in the faux-western landscapes’

Donald Clarke, The Irish Time

Without Name

 * Premiere at TIFF 2016 / Winner Best Film and Best Cinematography at Brooklyn Horror Fest 2016 *

‘..once it strays off into the realm of pure visuals, he and cinematographer Piers McGrail – using spectral lighting shifts, lens distortions and good old-fashioned creepy gnarled boughs – unleash something special… outstanding photography

Phil Hoad, The Guardian


‘Through a beguiling combination of chiaroscuro lighting, optical trickery, and a busy soundscape, Finnegan and his skilled technicians turn the woods into a verdant hell of swaying trees and sinking soil’

Scott Tobias, Variety


‘Piers McGrail’s cinematography is a key binding ingredient in the mix…

he is on a steady path to mastery’

Michael Lee, Film Ireland

‘[Alan McKenna] conveys the terrifying isolation of Eric's paranoia as he retreats further and further from reality, a process echoed in McGrail's arresting images of altered-state confinement'

David Rooney, The Hollywood Reporter


.’..moreover, in terms of artistic approach Without Name is Lovecraftian in that it attempts to express that which is ineffably, and awe-provokingly, horrific; it evokes to the point where it practically invokes’

Peter Gutierrez, Screen Anarchy

Kelly + Victor

 * BAFTA for Outstanding Debut, 2014 *

With its stylishly underlit and washed-out palette, Kelly + Victor certainly looks striking. Evans and his cinematographer Piers McGrail share a painterly eye for both urban decay and rural landscape, often pausing to linger on small details in tight close-up. Liverpool landmarks have never been so lovingly captured on film before' 

Stephen Dalton, The Hollywood Reporter


'Victor’s nature-boy inclinations are of a piece with the stylishly organic digital lensing by Piers McGrail'

Guy Lodge, Variety

‘A very well shot and well acted drama'

Peter Bradshaw, The Guardian


'Kieran Evans and his cinematographer Piers McGrail shoot 

Liverpool with an alluring eeriness'

Anthony Quinn, The Independent


'The backdrop of Liverpool's decaying post-industrial landscape and the pubs, clubs and streets are vividly caught by Piers McGrail's camera'

Clive Botting, Huffington Post


* Premiere at Sundance 2015  / Best Irish Film at Dublin Film Festival 2015 / Nominated for Best Cinematogrpahy and Best Film, IFTAs 2015 *

‘Shot on a modest budget, the film is a minor technical marvel. Piers McGrail’s smoky cinematography makes something oddly beautiful of the rundown vistas ‘

Donald Clarke, The Irish Times


‘Barret and his cinematographer Piers McGrail construct a visually poetic maze out of this family’s mistrust and disappointment…this is visual storytelling at its best’

Carlos Aguilar, IndieWire

‘Praise is especially due to DoP Piers McGrail for keeping the camera largely still, eschewing that nervous handheld twitching that makes too many indie dramas look the same'

Leslie Felperin, The Guardian


‘The cinematography by Piers McGrail is wonderful, finding beauty in the non-cinematic area of Tallaght, where none would seem to appear’

Jason Coyle, Scannain.com

The Canal

* Premiere at Tribeca 2014  *

'A good-looking, sometimes completely terrifying haunted-house story.'

Sheila O'Malley, The Dissolve


'Piers McGrail's nuanced, moody cinematography brings out the best in writer-director Ivan Kavanagh's over-mannered but effectively creepy ghost story.'

Simon Abrams, Village Voice

'Kavanagh delivers haunting imagery mixed with stunning camerawork.'

Brad Miska, Bloody Disgusting


‘Stylishly lensed by Piers McGrail (a huge talent to watch in Irish cinematography) writer/director Ivan Kavanagh knows how to attack the audience’s nerve endings with atmospherics, the glossy Hollywood sheen of the visuals and aurals made murky by the jagged editing and grimy plot-twists’

Rory Cashin, State.ie

Out of Here

* Best Irish Feature at Galway Film Festival 2013  *

'The film is also rather beautiful. Piers McGrail’s camera locates huge fish just beneath the surface of Dublin Bay, makes something of two escalators powering in complementary competition, and helps compose a final shot that is brilliant in its uncomplicated invention'

Donald Clarke, The Irish Times

'Piers McGrail’s cinematography finds appealing new things to do with Dublin. 

The film never looks or feels as if it were made on a micro-budget, 

although it was, in fact, crowd-funded' 

Tara Brady, The Irish Times