• “The Long Wet Grass is visually and aurally captivating, using the natural beauty of the Mayo landscape and Marketa Irglova’s haunting, lyrical music to frame a gripping tale of the irresolvability of personal and political histories. Scanlon’s script fluidly shifts among perspectives and time periods, free of cliche and caricature.”

Dr. Mary McGlynn (Associate Professor of English, Baruch College, CUNY, and chair of the Columbia University Seminar for Irish Studies).

  • “The short film THE LONG WET GRASS does what all the best art does: it expresses the contradictions that trouble us beyond resolution. How can a culture as famously friendly and hospitable as the Irish be the site of seemingly never ending sectarian violence? How can childhood friends become assassin and victim? With dramatic economy and cinematic skill the film shows how violence can be normalized. Dedicated to the victims of that violence, it makes the disappeared appear again.”

Dr. Jerry Carlson (Chair, Department of Media & Communication Arts, The City College CUNY Professor, The City College & Graduate Center CUNY, Senior Producer, CUNY TV).

  • “The Long Wet Grass” is an astonishing short film. Evocative, lyrical and terrifying.”

Rebecca Chace (NYT,  New York Times Notable Author and Director of Undergraduate Creative Writing at Farleigh Dickinson University, New Jersey, USA).

  • “I love the flashbacks to their childhood and the sense of history – and love – between the characters.”

Christian O’Reilly (Sanctuary, The Good Father, Chapatti).

  • “The Long Wet Grass is deeply poignant, evocative and suspenseful.”

Philomena Connors (New York Irish Arts).

  • “The Long Wet Grass brilliantly captures the intimate dimension of the violence in the Northern Ireland conflict.”

Dr. Danielle Zach (Frances S. Patai Postdoctoral Fellow, The City College of New York.)

  • “An austere and gorgeous rendering of Seamus Scanlon’s haunting tale of love, violence and moral dilemma that here accompanies Victor McGowan, Scanlon’s edgy and unforgettable nutcase of an IRA officer, as he navigates murder at Callow Lake, County Mayo, 1997.”

 Janet Coleman (Cat Radio Cafe on WBAI, 99.5 NYC).

  • “The journey in The Long Wet Grass is a poignant, often metaphoric, labor of love and pathos.”

Deborah Greenhut (Medium).

  • “The Long West Grass is an emotionally wrenching and beautifully written and acted film that leaves the viewer haunted by its treatment of tragic inevitability. In a world where violence in film is depicted as comic and arbitrary, Seamus Scanlon presents a searing and authentic picture of its costs for two young people as they encounter each other for the last time.”

Dr. Sarah Covington (CUNY Graduate Center and Head of Irish Studies, Queen’s College, CUNY.)

  • “The Long Wet Grass is a visual poem nurtured by the strong narrative of the great writer Seamus Scanlon.”

 Dr. Carlos Velasquez Torres (Department of Languages & Culture, New Mexico Highlands University, Las Vegas, New Mexico.)

  • “I have never been to County Mayo nor inside the mind of an IRA soldier. This film has brought me to both of them at once, showing me how beautifully untamed they both are.”

Professor Koshi Odashima (School of Culture, Media and Society, Waseda University, Tokyo, Japan).

  • “Beautiful.  One of the interesting differences from the original play by Mr Scanlon is the setting of the time: not August 1985 of the original but August 1997, just after the July IRA ceasefire. The darkness of the problem makes a stark contrast to the beautiful dawn of a Mayo countryside.”

Dr. Yasuhito SATO (Faculty of Literature, Toyo Universityj Tokyo, Japan).