The Mill has bolstered its directorial roster with Alan Bibby and Gundeep Anand coming aboard for worldwide representation spanning commercials, branded content, music videos and fashion films.
The NY-based Bibby joins the U.S. team as creative director. From a background in design, advertising and fine art, Bibby–who had most recently been freelancing, though earlier in his career was repped by MPC–directs commercials, fashion films and music videos, collaborating with artists such as Stevie Wonder, Arianna Grande and Rihanna, and global brands including Audi, Lexus and Google. With a focus on automotive, fashion and technology, his eye for design, storytelling and visual effects has created award-winning work exploring the intersections between art, music, advertising and culture.
Executive producer Zu Al Kadiri of The Mill said, “With the diverse range of creative opportunities expanding across The Mill, having someone with Alan’s singular vision and eclectic creative skill set will be a huge asset as we continue to meet the challenge of delivering impactful, great work.”
The London-based Anand joins the U.K. team as a director, with a background in docu-style content and photography. Influenced by his experience as an ex-youth worker, coaching in communities, council estates and schools, Anand, who comes to The Mill after most recently freelancing, has a natural talent for capturing the truth in-camera and creating thought-provoking moments. His life changed when his passion for promoting social change for good and filmmaking collided, leading him to establish The Last Stand. Through the power of football, music and fashion, he has created a platform that allows communities to come together and has changed the lives of the people involved.
The Mill’s executive director Stephen Venning commented, “Our plan is to help open more doors for Gundeep and introduce him to an even wider array of exciting briefs and connect him with brands that want to make work that matters and give him the direction opportunities his eclectic talents deserve.”
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