Euro RSCG New York has hired Kevin Jordan as associate creative director. He will work across the agency’s client roster and report to chief creative officer Conway Williamson.
Jordan most recently served as a senior art director at Cutwater, San Francisco, where he worked on campaigns for Jeep, Persol Sunglasses and LensCrafters. He previously was on staff at Goodby, Silverstein & Partners, San Francisco, and Ogilvy & Mather, New York. His experience spans both international and domestic campaigns for such brands as Adobe, American Express International, Hershey’s, Hewlett Packard, and Specialized Bikes.
Euro RSCG New York’s client roster includes Air France, Charles Schwab, Danone Group, GlaxoSmithKline, Heineken USA, Jaguar, Kraft Foods, L’Oréal, Nestlé, Novartis, NYSE Euronext, OppenheimerFunds, Reckitt Benckiser, Sanofi-Aventis, Schering-Plough, and Volvo.
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