Director James Haworth has come aboard bicoastal/international Hungry Man for worldwide representation, except for Canada where he continues to be handled by Toronto-based Partners’, and France where he recently entered into a relationship with Hamster Publicite, Paris.
Haworth was with Another Film Company in the U.K. before joining Hungry Man. Stateside the director had been with Sleeper Films prior to his move to Hungry Man.
Haworth’s directorial signature centers firmly on casting and performance, covering a broad spectrum from the subtly observed to the more irreverent and random, and at times even physical. He picked up a Bronze Lion in 2007 at the Cannes Lions International Advertising Festival for his Toyota “Garage Door” commercial, and was a short-list finalist in ’05 for his SportChek “Freethrow” and “Ice Hockey” spots, as well as for an anti-smoking ad.
Haworth made his initial splash in 1998, directing his first TV commercial for The Vegetarian Society via Euro RSCG London. The spot showcased a style of irreverent comedy which won him much critical acclaim, as well as landing his name in the D&AD book. From there, Haworth’s directing career has expanded into many marketplaces around the world throughout the UK, the U.S. and Canada.
The director first signed with Therapy Films, London, in ’02, enjoying a nearly five-year run there. He then joined Another Film Company, headed by Tim Marshall, a former producer at Gorgeous Enterprises, London. At Another Film Company, Haworth directed assorted spots, including a much anticipated installment of a lauded Specsavers campaign for U.K. television, a job which took him to Los Angeles for an epic production that had to mirror the likes of upscale Hollywood cop movies.
Whatever the performance and filmic style, the constant in Haworth’s work is comedy. “He is a natural fit for our roster,” assessed Matt Buels, Hungry Man U.K.’s managing partner.
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