The Directors Bureau has added Agostina Gálvez to its roster of filmmakers for commercial representation.
Gálvez’s work across commercials and narrative is visually driven, combining dynamic camera movement with precise art direction. She has directed campaigns for Renault, poppi, i-D, Miu Miu, Valentino, Nina Ricci, Samsung, Gap and adidas, to name a few. Prior to joining The Directors Bureau, she was last repped in the U.S. by RadicalMedia. Gálvez’s work over the years has shown a knack for portraying women as both confident and beguiling in stories that reflect the cultural zeitgeist and quite often, the sensibilities of Gen Z.
Modern soda brand poppi entrusted Gálvez with its first-ever Super Bowl spot, “The Future of Soda is Now” (2024), named among the game’s best commercials by The New York Times. The spot is a kinetic anthem that leaves a lasting impression with its diverse mix of Gen Z and young Millennial women, ebullient colors and some mixed media shots in retro split screen. In her short for i-D—“Coach Presents the A-Z of New York Style,” she captures an array of urban subcultures with true-to-life portraits of people you might see while riding the subway. The subjects hit every letter of the alphabet–everything from Downtown Diva and Gotham Goths to Harlem Queens and Midnight Cowboy.
“When I first saw Agos’ work, I felt an immediate connection–a wonderful sense of play and imaginative spark in her filmmaking,” said Roman Coppola, director/owner of The Directors Bureau. “I’m delighted to have her join The Directors Bureau family.”
Gálvez said, “The Directors Bureau feels like a truly creative space that values craft and original ideas. There is a genuine love for cinema and storytelling. I’m excited for opportunities to collaborate with creatives who are open to exploring new ideas in narrative, art direction and camera work.”
More highlights of Gálvez’s work include a series for Renault which portrays the vehicle as irresistible; the Renault Kiger SUV’s “Black Enhances Black,” for instance, imagines a troupe of characters in a fantasy hotel that could be a pop art painting coming to life. The spot is striking for its composition, cinematography and production design, and perhaps most impressively, its chic cast of characters, all a perfect complement to the equally irresistible black Kiger.
And her “A.I. is Here” for Samsung Galaxy seamlessly conveys how the smartphone’s A.I. features help a young girl through her first day at work. It captures the girl’s budding relationship with New York City and the once-in-a-lifestime excitement of beginning your career.
Movement via performance and camera work, and music are also integral to much of Gálvez’s work, as illustrated in TRESemmé’s “Fluid.” The branded short debuted during Super Bowl LVII pregame and features beautifully choreographed synchronized swimmers who forgo swim caps, making their flowing hair part of the performance. Gálvez worked with Emmy Award-winning choreographer Parris Goebel on the film.
“Dance has always been part of my visual language,” Gálvez shared, noting her mother treated her to all kinds of dance performances growing up and she had a spot on the girls’ rhythmic gymnastics team. “Being around movement from such a young age shaped the way I see things, giving me an intuitive sense of space, movement and rhythm. Tools that later became key to my visual language.”
Gálvez went to art school with aspirations to be a painter. She also devoured classic films and was an avid photographer. “I did an internship on a film and fell in love with the energy of working with a lot of people on set,” she said. “That experience made me realize I didn’t want a solitary practice and filmmaking was what I wanted to pursue.”
In addition to commercials, Gálvez has co-directed comedic shorts–The Bride of Frankenstein, filmed in her hometown of Buenos Aires, and Dear Renzo, which continues the story with the same cast, except filmed on location in New York, where Gálvez also lived for nearly a decade. Although she had no intentions to enter those films into festivals–something that took the pressure off and enabled total commitment to the creative–both were eventually selected for New York Film Festival, AFI, Locarno and BFI, and one was acquired by HBO.
