Jon Boogz has signed with production company Serial Pictures as a director for commercials, branded entertainment, and music videos in the U.S. market. This marks the first time being repped in the ad arena directorially for Boogz who is also known as an accomplished movement artist and choreographer.
Boogz, along with Lil Buck, is the cofounder of critically acclaimed creative collective MAI (Movement Art Is), which advocates for social change while elevating dance as a medium. Their first evening-length show, “Love Heals All Wounds,” which is currently touring globally, was profiled in The New York Times. Boogz wrote, directed, choreographed, and danced in MAI’s award-winning short Color of Reality, in collaboration with visual artist Alexa Meade, driven by dismay at police brutality toward minorities. The film won Great Big Story’s Art as Impact Award; Best Experimental at Toronto International Short Film Festival; and Concept Video of the Year from World of Dance, among other honors. MAI recently released a VR film Together in collaboration with Facebook and Terrence Malick which debuted at SXSW and Tribeca Film Festival.
Boogz’s latest project, the short film Funeral For America (which he directed, choreographed, and danced in), was released on July 4 as a challenge to Americans celebrating their nation’s birthday to come to terms with its past. As with his previous work, the film uses movement to urge viewers to examine and purge the flaws from our country’s fabric.
“Jon’s powerful filmmaking combines storytelling, art and activism in unique and creatively challenging ways,” said Violaine Etienne, founding partner of Serial Pictures. “He uses his authentic perspective and compelling voice to lift the veil on social issues and promote empathy, truth and awareness.”
Boogz shared, “I’m ecstatic to start this new journey with Serial Pictures. I’ve been creating and directing works independently and feel blessed to now have a great team working with me to take my vision to new heights.”
Boogz has choreographed, directed, and performed work for Cirque du Soleil and Fox’s So You Think You Can Dance. He has served as creative consultant on campaigns for Adidas, Apple, Lexus, Dom Pérignon, and Marriott and has collaborated with icons including Mikhail Baryshnikov, Naomi Campbell and Gloria Estefan. Boogz’s other notable collaborators include the Tribeca Film Festival, DAIS, and Flying Lotus; and he was featured at the Geffen Playhouse’s “Backstage at the Geffen” with his dance company Control Freakz, Lil Buck, and spoken word artist Robin Sanders to honor Morgan Freeman and Jeff Skoll. Boogz is managed by Sozo Artists as a performer and choreographer.
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