Director and photographer Marie Schuller has signed to the Ridley Scott Creative Group’s RSA Films and Black Dog Films in the U.S. and U.K. for commercial, photography and music video representation.
A prominent filmmaker in fashion and beauty, Schuller has directed campaigns for the likes of Givenchy, Versace, Dior, Vans, Converse and Adidas. Her work has won awards at numerous international festivals including ASVOFF, FFF Milano, AFFA, Fashion Film Festival Chicago, Transylvania Short Film Festival, Santiago de Chile Fashion Film Festival and The Books Creative Awards, leading to a retrospective screening at the San Sebastian Fashion Film Festival.
“Marie is an innovative storyteller and creative collaborator,” commented David Mitchell, managing director, RSA Films, U.S. “Her work can be cinematic or graphic, her casting is always fresh and distinctive. She’s incredibly versatile creating cross-platform, multi-media content.”
Schuller initially studied filmmaking at the National Film and Television School before completing her M.A. in Photography at the University of the Arts London. Her photography work has since been featured on the covers of Numero, L’Officiel and Elle among others. She has been tapped for her expertise as a juror for fashion film competitions such as ITS, Copenhagen FFF, BAiFFF, SAIFFF, Be Next Art Festival Georgia, Fashion Move On Ukraine and the Antwerp Fashion Department.
In addition to directing, Schuller spent six years as head of fashion at Nick Knight’s renowned SHOWstudio, collaborating as an editor on all of Knight’s films and overseeing the pioneering fashion film output of SHOWstudio.com. She also works as a guest lecturer teaching fashion film at universities including London College of Fashion, CSM and Solent First, and her work with the British Council has taken her around the world visiting cities such as Manila, Moscow, Sao Paulo, Santiago de Chile and Jakarta, giving talks, screenings and hosting fashion filmmaking workshops.
“Marie is immersed in the fashion and beauty industries as a filmmaker and influencer, and her work is in sync with pop culture,” said Julia Ochsenreiter, executive producer, Black Dog Films, US. “Her art direction, styling and shotmaking bring a distinctive aesthetic to all her work.”
As a director, Schuller at one time was with CLM Film globally but then switched to Cadence in the U.S. and France while going freelance in the U.K. Now her representation is via commercial production house RSA Films and music video shop Black Dog in both the U.S. and U.K., Markenfilm in Germany, and Cadence in France.
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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