Editor Justin Trovato, formerly of Jigsaw, has come aboard the roster of bicoastal Cosmo Street.
Already at his new roost, he has wrapped a Carl’s Jr. commercial “Doctor” directed by Peter Darley Miller of bicoastal/international @radical.media for L.A. agency Mendelsohn Zien, and a four-spot U.S. Cellular campaign that is just breaking. The quirky “Doctor” features a surgeon who appears to have a problem with alcohol. Instead it turns out he’s obsessed with Carl’s Jr.’s Bourbon Burger.
The first of the US Cellular spots, “Crayon,” directed by Tim Godsall of L.A.-based Biscuit Filmworks for Publicis & Hal Riney, San Francisco, features the artwork of renowned sculptor Deim Chau, who painstakingly carved dozens of mini-crayon masterpieces for the spot. A man with his dog, a little girl with a newspaper, a boy holding flowers; each character representing the loved ones whose telephone numbers we guard. The figurines are shot melting down one by one into a vivid whirlpool of brilliant colors, the film was then reversed and the viewer sees each character carefully restored, symbolizing U.S. Cellular’s ability to restore lost data for their customer base.
Trovato moved up the ranks at Jigsaw, serving as an assistant editor before making the transition to full-fledged editor. He has a track record working with Publicis & Hal Riney, cutting past work for Sprint PCS out of that agency, including the spot titled “The List” for which he additionally served as sound designer.
Jane Schoenbrun Jolts Cannes With Queer Slasher Movie “Teenage Sex and Death at Camp Miasma”
"A good electric chair" is how Jane Schoenbrun describes their first Cannes Film Festival premiere.
"I really felt like my body was in a state of convulsion," says Schoenbrun.
The day after the premiere of "Teenage Sex and Death at Camp Miasma," a bold, bloody queer slasher film starring Hannah Einbinder and Gillian Anderson, Schoenbrun and their co-stars were still buzzing from the ecstatic response. The movie, one of the most prominent American films in Cannes this year, gave the festival a gonzo jolt.
For Schoenbrun, the leading trans filmmaker of their generation, the film extends their intensely personal exploration of gender and the movies that defined their youth. But their first two films — 2024's "I Saw the TV Glow" and 2021's "We're All Going to the World's Fair" — were the raw, burning products of Schoenbrun's transition. "Teenage Sex and Death at Camp Miasma," drawn from Schoenbrun's happy, exploratory post-transition life, isn't that.
It's about desire and sex. It's a biting satire of reboot-mad Hollywood. It's a schlocky and subversive slasher movie homage. It's a lot of fun, and quite tender, even when bodies are blood-spurting geysers.
"This is the first movie that feels like it represents the fullness of who I am," Schoenbrun says.
But Wednesday's moment of triumph in Cannes was hard-won. Ten years ago, Schoenbrun, now 39, was working in the film industry in a job they hated.
"The first time I came here, I just felt like, 'Oh my, god. I can't believe I'm in Cannes.' I went to, like, 'The Lobster,' at the Palais in my boy tux. I was like: 'This is it. I've done it,'" says Schoenbrun. "Then the next year I came back and I was so depressed. I decided to quit my job. If I'm depressed at Cannes,... Read More