Anonymous Content has signed filmmaker Jovan Todorovic for commercial and music video representation in the U.S., U.K. and Netherlands. The Serbian-born Todorovic has directed numerous commercials, music videos and short films for clients including Samsung, T-Mobile, Adidas, Puma, Bacardi, MTV and Diesel. As a director, photographer and musician, he is drawn to storytelling as a means to use heightened visual, auditory and textural experiences to showcase the extraordinary in the ordinary, broadening our ideas of beauty and our understanding of what it means to be human.
Todorovic’s latest project is the quarantine-inspired music video for Japanese indie sensation Vaundy. Shot in Fukuoka and produced by the Nakama studio, the video features a group of young people slowly venturing out into the empty city and, upon discovering each other, joining together in a celebratory dance that’s a joyful allegory to the (hopefully) ending of the pandemic and humanity slowly opening up again.
“With his clear vision and compelling aesthetic, his work is inspiring to watch and always beautifully crafted,” said Tor Fitzwilliams, Anonymous Content’s UK managing director.
Born in Belgrade in the former Yugoslavia, Todorovic first discovered his passion for visual artistry when he found himself on the road escaping the Balkan wars, traveling through Europe and North America with the camera given to him on his 13th birthday.
He received his B.A. in Film and Television directing at the Faculty of Dramatic Arts, Belgrade, and went on to study directing and cinematography at Columbia College in Chicago, later earning his MFA in film directing at the Faculty of Dramatic Arts, Belgrade, as well.
Now based in New York, Todorovic has received several awards for his commercials and documentary films, including his “Hate Couture” campaign for Diesel, which was a 2019 APA winner and the same year also awarded two Golds and a Bronze at the London International Awards, Silver at the Clio Awards, Merit at the One Show, and shortlisted for D&AD. In 2010, he won Ogilvy David’s Award Grand Prix for TVCs for his MTV spots; in 2011, Best TV Spots, Beverage at Croatia’s IdejaX Festival for PAN Beer; and the Golden Bell for best TVC at the Croatian FESTO for his T-Com commercial.
His first feature, the historical documentary The Belgrade Phantom, was voted best Serbian film of 2009, and his 2016 documentary Juvenile, which follows minors incarcerated in the largest juvenile correctional facility in the Balkans, was released through Dazed Digital and his Vaults promo was named a Vimeo Staff Pick.
Prior to joining Anonymous, Todorovic had been repped by Stink in the U.S. and U.K.
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