Blink has taken on spot and branded content representation in the U.K. for director Martin Krejci. He had been handled previously in the U.K. by Stink. Krejci continues to be repped by Ruffian in the U.S….
Coinciding with its evolution and expansion plans for 2018, New York City-based commercial production company LightHouse Films has decided to rebrand, renaming the company REVERSE. REVERSE creates customized commercial, digital, and broadcast content for agencies and direct clients both in the U.S. and abroad. The company currently represents a roster of directors including Anthony Pellino, Antoine Pai, Camille de Galbert, Johan Stahl, Julien Rocher, Pepe Lansky, and Romain Quirot. Their work ranges from live-action to doc-style, and visual storytelling to food/tabletop. Recent campaigns include work for Kohler, Garmin, Stainmaster, Spalding, Airbnb, IKEA, and Carrier….
Global production company and artist management agency Great Bowery Film ramps up its roster with the hire of Amy Jones to head of sales/executive producer. Jones will partner exclusively with Great Bowery Film’s founding executive producer, Shannon Lords. Together, Jones and Lords will build exposure for the new production capability of Great Bowery while also tailoring and nurturing their current roster of artists. With over 20 years of experience, Jones has held positions at various production companies including her most recent role as head of sales with Framestore. Previously, she worked with Community Films, The Sweet Shop, Go Film, Spot Welders and JSM. As a team Lords and Jones have signed photographers and directors Craig Cutler, Patrik Giardino and Chris and Sarah Rhoads of We Are The Rhoads. Cutler, known for his conceptual thinking and attention to light, Giardino for his cinematic compositions, and We Are The Rhoads for moment-driven stylized imagery, join Great Bowery Film for exclusive commercial representation in the U.S….
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