Above+Beyond has hired Shez Lord as creative director to lead the Subway account. He reports into Dom Goldman, chief creative officer.
Lord previously served as associate creative director at Wunderman Thompson where he delivered work across HSBC, Nestle, First Direct, HSBC and BT. Prior to that, he was associate creative director at The &Partnership for three years, working across its News International business with specific responsibilities for The Sun.
Lord spent the first five years of his career at BMB, working on brands including Virgin Money, Christian Aid and Bing. He has also had stints at AMV BBDO, JWT, Leo Burnett and WCRS. His awards include the Podium D’Or at the Sportel Awards and a Kinsale Shark for The Sun’s “Knockabout.” Other notable work includes turning Westminster into a jungle for The Times and an award-winning campaign for Christian Aid revealing the “Roots” of poverty.
Review: Director Nora Fingscheidt’s “The Outrun”
At some point during "The Outrun," it occurred to me that watching Saoirse Ronan act is a bit like looking into a magnifying glass: Everything somehow feels a bit clearer, sharper, more precise.
This singular actor gives one of her finest performances in a two-hour study of addiction that is poignant, sometimes beautiful but always painful to watch — and would likely be too draining if not for the luminous presence at its core. Would it even work — at all — if Ronan, who also makes her producing debut here, weren't onscreen virtually every second?
Luckily, we don't need to imagine that. Ronan, who plays a 29-year-old biology student named Rona (the name comes from a tiny island off Scotland) serves as both star and narrator, speaking the words — sometimes poetic — of the addiction memoir by Amy Liptrot. The script, adapted by Liptrot and director Nora Fingscheidt, makes frequent use of fantasy and whimsy, even veering into animation. Some may find these deviations a distraction from the plot, but they are frequently mesmerizing.
Besides, plot is a loosely defined thing here. We go back and forth in time so frequently that sometimes only the changing color of Rona's hair indicates where we are on the timeline. It takes a while to get used to this, but the uncertainty starts to make sense. We are, in a way, inside Rona's mind, experiencing the fits and starts of her journey. And recovery is hardly a linear process.
There's a fine supporting cast, but the true second star is nature itself. The film is based mainly in the Orkney Islands off Scotland, a windswept landscape that can be both punishing and restorative. It can also be stunning, especially the sea. And the sea is where we start, learning that Orkney lore holds that when... Read More