Boutique bicoastal production company division7–headed by co-managing directors Kamila Prokop and David Richards–has secured indie firm Champion for talent representation on the East Coast. Under the aegis of sales vets J. Patrick McElroy, Joanna Margilaj and Julie Margilaj Knips, Champion has a roster which includes not only division7 but also Drool, Florence, INSTITUTE, Landia, Lost Planet, Squeak E. Clean Studios and Trevor….
Great Guns USA has formed a partnership with THICK and THIN–the indie firm founded by Bobby Rowe and Sabrina Mehar–for representation services across the East Coast. Headed by managing director and executive producer Oliver Fuselier, Great Guns USA becomes the latest addition to THICK and THIN’s eclectic roster….
Los Angeles-based creative studio Los York has expanded its reach by hiring Chicago-based directorial and creative representation firm SG+Partners to handle the Midwest. Headed by founder Sarah Gitersonke, SG+Partners joins the Los York sales team along with Simpatico for West and East Coast regions, and Momentum’s Bettina Abascal for the multicultural market….
The One Club for Creativity has hired Molly Crossin as chief growth officer. She will lead development of strategic, cross-platform partnerships with agencies and brands, connecting them with the club’s numerous DEI, gender equality, education, and creative development programs around the world that are most relevant to their business. Crossin is a strategic marketer, brand builder, and connector with experience on both the agency and brand sides. She joins The One Club from The New York Times, where she served as acting marketing director. Her experience also includes more than three years at Madwell, serving as an agency account director handling client service and business development, two years as marketing manager at NASDAQ, and three years running Industry Standard, her own women’s apparel line….
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