Anonymous Content has signed Danish director Rune Milton for commercial representation in the U.K. Milton, who was already repped by Anonymous Content in the U.S. for both commercial and film and television literary management, is a cinematic storyteller whose narrative-driven work includes campaigns for global brands Nike, Toyota, McDonald’s, Uber, Tele2 and Ikea, among others.
Recent work includes an emotive film for Pfizer’s “Science Will Win” campaign that takes an unexpected turn to show when science wins, disease, confusion and unhappiness are the “losers”; the space-set epic “The Astronaut” for Citröen; and a tender reunion between a little girl and her lost lovie for Uber’s “Mr. Kringle.”
Milton’s award-winning work includes the powerful visuals for Doctors Without Borders’ “Life,” which won Silver for Direction and Gold for Cinematography at Ciclope 2020, and the 2021 True Award Grand Prix; IWC Schaffhausen campaigns “A Boy From San Mateo,” featuring Tom Brady, which was shortlisted for a Cannes Lion for Direction and won two Bronzes at the 2022 Clio Awards, and Born of a Dream, starring James Marsden, which was also awarded a Bronze Clio; the campaigns were also recognized with five ADC Awards, including Silver for Direction.
Milton's film, “To Give More,” for Nordic electronics retailer Elkjøp, created with Stockholm’s DDB Nord, also received critical acclaim.
Currently based in Copenhagen, Milton began incubating his unique style as an editor for the Danish online agency Framfab in 2006. He demonstrated a natural talent for conceptual work, helping create award-winning content for Nike, including Nike Football’s “The Chain” campaign and the Nike spot “The Perfect Kick,” both of which were honored with Cannes Lions, Epica and Clio Awards. This led to a creative position at Danish agency HjaltelinStahl in 2009, which would be the last stop in the agency world before fully devoting himself to directing.
Prior to shifting to Anonymous Content for representation in the U.K., director Milton was handled in that market by Rogue Films.
Review: Director-Writer Megan Park’s “My Old Ass”
They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.
"Dude, I'm you," says the guest, as she nonchalantly burns a 'smores on a campfire next to a very high and stunned Elliott. "Well, I'm a 39-year-old you. What's up?"
What's up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for "My Old Ass" and the results are uneven even though she nails the landing.
After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.
"Can we hug?" asks the older Elliott. They do. "This is so weird," says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it's like kissing yourself. The older Elliott soon puts her number into the younger's phone under the name "My Old Ass." Then they keep in touch, long after the effects of the 'shrooms have gone.
Part of the movie's problem that can't be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.
The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where "my life is about to start." She's sick of life on a cranberry farm.
Park's scenes and dialogue are unrushed and honest as Elliott takes her older self's advice and tries to repair... Read More