Editor Amy Rosenberg has joined Cut+Run.
“Amy has this ability to see solutions beyond the expected. Not only does she execute her craft with beautiful precision, but she also has an innate positive energy that she brings to a project. She’s collaborative, fun, and filled with ideas, as well as creative solutions–and that’s what inspires me about her,” said Amburr Farls, executive producer/partner, Cut+Run, “She makes meaningful connections that extend well beyond the job itself. And I guarantee you’ll have a new friend by the time the edit is over.”
Known for her imprint on the fashion world with her storytelling and sense of style and timing, Rosenberg has turned out work including stand-out projects for brands like Calvin Klein, Tiffany & Co. and Vogue. While fashion will always have a special place in her heart, Rosenberg crosses multiple genres with narrative and rhythm that connects with audiences.
Moving to Los Angeles from New York, Rosenberg focused on a new goal: finding a creative home. Meeting with the team at Cut+Run, she discovered a fast kinship.
“The feeling of connection is a powerful force and a driving factor in my work and career,” said Rosenberg who previously worked under her own independent banner, Amy Joy Creative. “From the moment I first met with Cut+Run, I experienced a seamless connection in terms of personal and creative values. They represent a fantastic body of work, stemming from a collective of genuine, talented, and highly-motivated people that are truly committed to creating with purpose and joy–I love that.”
“Amy brings incredible instincts and creativity to her craft. We are excited to have her talent as part of the Cut+Run team,” affirmed Michelle Eskin, Cut+Run U.S. managing partner.
Cut+Run has offices in Los Angeles, New York, San Francisco, and Austin, as well as a partnership with The Quarry for work in the U.K. and Europe.
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 — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — 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 — 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.
The one rule to follow is that... Read More