JOJX, an L.A.-based production company, has added director and designer GMUNK to its roster for exclusive live-action representation spanning commercials, branded content and music videos in the U.S. GMUNK had previously been handled for live-action fare by Tool of North America, which continues to rep him for interactive content.
GMUNK’s creativity and innovation spans multiple mediums, including installations, print exhibitions, films, music videos, commercials and various forms of award-winning graphic design. Fusing science-fiction themes, psychedelic palettes, and practical in-camera effects, GMUNK’s work often centers on themes of metaphysics and the identity of human connection to technology.
Jackson Morton, EP and co-founder of JOJX, described GMUNK as “a true modern day artist. His ability to move between mediums and modes of expression is very special and rare. He works fluidly between film, design, installation, light, and movement, integrating these mediums in new ways. Having the opportunity to support a filmmaker who breaks boundaries and challenges norms is exactly why we built this company.”
GMUNK’s latest project, produced with JOJX, is the music video for CamelPhat’s “Breathe.” The film explores themes of depression, solitude, emergence, self, and ultimate growth. Other significant recent GMUNK work includes Infiniti’s installation at the 2018 Concours d’Elegance, which used cutting-edge projection mapping to celebrate Infiniti’s Japanese heritage; Dolby Asteria, a site-specific 3-act, mobile AR experience for iOS devices synchronized with a 12-minute film that plays on a loop on a 64-foot LED wrap-around gallery wall; the immersive robotic and light projection theatre installation Telestron; and an immersive project-mapped design experience for Infiniti. Other GMUNK brand collaborations include projects for Audi, Samsung and Target.
Enthused over joining JOJX, GMUNK said, “My ethos has always been to push the creative boundaries of branded content and storytelling, and utilizing my diverse background in image-making to produce results people talk about and remember — it’s always been my goal to produce fresh and iconic work that resonates and leaves an impression.”
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