Production house Twist has added director Igor Borghi to its roster for work in the American ad market. He was last represented by Boxer Films in the U.S.
Borghi comes aboard Twist just as his spot for online publication Parisian Gentleman–out of agency DLVBBDO, Milan–has debuted. The commercial opens on a woman in a bathtub. It’s clearly a personal moment. The camera is a voyeur as we continue to discover women in a variety of unadulterated scenarios. The connecting story element is the honesty and rawness of the moments–void of pretense. The moments were curated carefully and are deliberately excessive. The final scene unveils the tagline: “A world without gentlemen is a world without ladies.”
Italian-born Borghi was a teenager when he began training as a filmmaker. He secured a degree in international politics before attending the Italian National Film School in Rome. With that experience, he built an impressive resume as an AD for leading feature and commercial directors. This laid a foundation for his own directing work, which has met with acclaim. He was shortlisted at Cannes last year, and he recently won Best Film at the Key Awards for his Camomille Sognid’oro Tea spot. Borghi has collaborated with global agencies such as: DLVBBDO, DDB, Grey, Leo Burnett, McCann Erickson, and TBWA.
Twist EP Amyliz Pera noted, “Regardless of the genre, Igor likes to tell a story and takes a cerebral approach to the work. Even after watching a one-minute story, I can have a touch of good book-ending syndrome; a moment of quiet, of recognition, and a desire to watch it again. It’ll be fun to work with him.”
Residing in Italy, Borghi is with production house Generator in the UK market and freelances in Italy, and much of the rest of Europe.
Headed by exec producer/president Jim Geib and EP Pera, Twist maintains offices in NY and L.A. Borghi joins a Twist directorial roster which includes Rich Michell, Matt Pittroff, Scott Pitts, Marc André Debruyne, and the worldwide creative collective Tomato.
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