Comedy director Barton Landsman has joined Superlounge for exclusive U.S. spot representation. Landsman’s spot work for ESPN, Sony, Anheuser-Busch, McDonald’s, Taco Bell, AT&T, and FedEx, among others, runs the gamut from observational to larger-than-life humor. A current Avocados From Mexico campaign (Arnold Boston) shows his knack for shining a light on human eccentricities, depicting a soccer mom whose loyalty to her child comes up against an insatiable passion for avocado wraps. Other recent Landsman-directed work includes a Gorilla Glue campaign (Possible, Cincinnati).
Landsman has won multiple Cannes Lions and other honors for his accomplishments both as a director and agency creative. He served as creative director/copywriter at BBDO New York and associate creative director/copywriter at Kirshenbaum and Bond (now KBS+) before stepping behind the camera. Prior to joining Superlounge, he was represented as a director by production houses Untitled, Third Street Mining Company and @radical.media.
“Barton’s experience on the agency side shows in his work, in that he knows how to craft a funny ad,” said Superlounge partner/director Jordan Brady. “Comedically, he’s not right in the head, making him a welcome addition to roster.”
Landsman related, “I directed a bunch of Time Warner spots a while back starring the Sklar Brothers, and Jordan had them on his podcast [Respect The Process]. “We met, and became familiar with one another’s work. I was impressed by Superlounge’s recent United Way and Discovery SharkFest projects.”
Landsman began as an agency copywriter in Chicago. Writing and creative-directing jobs eventually took him to San Francisco and New York City. His work was recognized by several national and international award shows and he won multiple Cannes Lions and One Show pencils for his work on Pepsi, Dreyer’s Ice Cream, Frito Lay and more. Landsman next tried his hand at directing. Again, his work garnered national and international awards, including a Gold Lion at Cannes for Nestle “Zoo” (Lowe Strateus, Paris). Indulging his interest in darker comedy, Landsman wrote and directed Banana Bread, a short film about a man whose neurotic mother has no idea how dangerous his job really is. The film screened at more than 50 festivals throughout the country, winning numerous awards.
“I appreciate comedy built on an element of truth, but sometimes flat-out freaky or strange works nicely too,” said Landsman, who considers Portman Group’s “Drunken Monkey” (M&C Saatchi, London) an all-time favorite among the spots he’s directed. “I try not to impose one specific sensibility on the work, and let the script guide me,” said Landsman whose body of work also includes longer form branded fare, such as a client-direct web film he recently directed for the Reluctant Trading Experiment.
Landsman comes aboard a Superlounge directorial roster which includes Brady, Daniel Sheppard, Brett Wagner, Dane Hanson, Jeff Aron Lable, Patrik Bergh, Paul Stone, and directing duo Jacob Slade.
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