Indie production studio Bindery has signed Selina Miles, an Australian director with experience in over 20 countries, for U.S. representation spanning commercials, branded content and music videos. This marks the first time she has been repped in the American ad market. She continues to be handled by Mindseye in the U.K., Art Bridge in France, and Exit Films in Australia and New Zealand.
A multi-faceted filmmaker, Miles began her career as an editor of online content before moving into directing commercials, and most recently working on her feature documentary, MARTHA, about iconic NYC photographer Martha Cooper, supported by Screen Australia and Submarine Entertainment.
Miles has worked with such brands as Pepsi, Red Bull, JD Sports and Ubisoft. She has created music videos for The Hilltop Hoods, Northlane and most recently for U.K. pop star Anne Marie. Her work on Carefree’s “Meet the Matriarchs” campaign via Exit Films in 2018 earned a Glass Spike Award for Change.
Miles has received praise for her Hilltop Hoods music video “Rattling the Keys to the Kingdom,” which was nominated for Music Video of the Year in Triple J’s J Awards. In 2013, she self-produced a range of hyper-lapse videos featuring artist Sofles. The second in this series, entitled “Limitless,” was released on YouTube in October 2013 and quickly gained over 12 million views.
“From feature films to commercial work, she’s the definition of a modern filmmaker. Balancing technical precision with artful nuance, Selina has a diverse range and a hugely collaborative spirit,” said Greg Beauchamp, founder and managing director of NYC-based Bindery.
Miles related, “2019 is set to be my most exciting year yet coming off completion of my first feature documentary MARTHA and a partnership with Bindery. We first worked together as Bindery provided vibrant and agile local production support on MARTHA, which proved invaluable to the success of the film. I’m honored to be joining their impressive roster and look forward to creating innovative films together.”
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.
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