Gabrielle Attia, multi-award winning creative director from BBDO New York, has joined Paris-based agency Marcel, which is part of Publicis Groupe.
Attia will work at Marcel as creative director under the supervision of chief creative officers Youri Guerassimov and Gaƫtan du Peloux.
Attia started her career at BETC Paris where she wrote Lacoste’s short film “The Big Leap” which won a Cannes Lion and a Grand Prix at the French Effys and Eurobeat. She then went to New York–where she previously attended fashion school and had an internship at Vogue–and took on positions as a creative at Translation and then a creative director at BBDO New York.
She said of her joining Marcel, “A return from New York City is a crucial life and career decision. The creative boom of the Publicis network, since Marco’s [Venturelli, Publicis Groupe France’s CCO] arrival, was naturally very attractive. I recognize my values in those of Youri, GaĆ«tan and the whole Marcel family, but also my ambitions. Stylistically, I don’t think I’m a typically ‘Marcelian’ creative, as one might imagine, but I see it as an incredible opportunity to learn and pass on–especially my international experience.”
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting ā quite literally ā into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat ā who won best screenplay at this year's Cannes Film Festival ā has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive ā a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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