Havas Media Group has launched Havas Market, a strategic full-service eCommerce offering. Jess Richards, EVP managing director, commerce, will lead it in North America; previously, she served as Havas Media’s head of social, growing the division’s North America’s practice by more than 350% over the past five years. Comprised of eCommerce experts worldwide, Havas Market will give brands within and beyond the retail sector strategic counsel around how to identify the right customers, where to retail, how to show up in retailers’ marketplaces (e.g. Target, Amazon, Walmart), and more. The approach will be guided by Havas Media’s unique Mx process that uses connection, context and content to create the most meaningful experience for a consumer. To pull from expertise across markets, Richards and team have created an advisory board, called the Commerce Accelerator Group, comprised of rising stars across the U.S. This accelerator group will help drive thought leadership and identify new ways to help brands rethink customer relationships…..
Cambridge, U.K.-based studio Vine FX has promoted two of its supervisors. Pedrom Dadgostar is now head of 3D and Ezequiel Villanueva head of 2D. An experienced 3D supervisor, Dadgostar began his career at Bandito VFX before a three-year stint at MPC Advertising where he worked on a selection of high-profile and award winning commercials including Ridley Scott’s “Hennessy: The Seven Worlds” and Channel 4’s 2018 trailer for The Great British Bake Off. Since joining Vine, Dadgostar has been instrumental in the growth of the 3D department, producing work most recently for War of the Worlds, season 1. With 12 years of VFX experience, Villanueva has spent time at both MPC and Double Negative, where he built up a credit list including The Lion King, Mad Max: Fury Road and Wonder Woman. He is currently leading Vine FX’s 2D team on the upcoming eight-part series, The Serpent, co-produced between BBC One and Netflix….
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More