Little Minx has added award-winning directors and cinematographers Gareth Jackson and Mark Karinja, aka + jacksonkarinja, to its talent roster. The duo has already helmed its first project under the Little Minx banner, a multiday shoot they directed under COVID safety protocols; the work is set to break later this week.
After meeting on film crews in New York City at a young age, Jackson and Karinja teamed up as a directing/cinematography duo under the + jacksonkarinja moniker. They quickly became known for their honest cinematic voice rooted in a nomadic, documentary ethos–––which is a fancy way of saying they enjoy shooting from skateboards, motorcycles, or from the roof of a car they are strapped to with a camera. Jackson and Karinja always look to bring their unique perspective and aesthetic to all of their work, from their own films to work for brands such as Apple, Nike, BMW, and Converse.
Their newly released short film Chasing Silence is a cinematic ode to flat track dirt bike racing. “It’s pretty hard to describe the mindset of racing on a track, so we tried to make a film that could,” said Jackson. To capture their visceral take on the grassroots race experience, the duo utilized a custom motorcycle camera rig in combination with handheld work shot on 16mm film.
“The story is about the intensity of the track contrasted with the mental focus of the racer. We wanted to visualize what that headspace feels like,” said Karinja.
Rhea Scott, founder of Little Minx, shared, “These two won my heart immediately. Their work reflects them as human beings, warm, thoughtful, positive, and mischievous.”
The + jacksonkarinja duo was previously represented by production house Superprime in the U.S. Elsewhere the directing team is repped by Animals in Canada, Sovage in France, and Soup Films in Germany.
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More