Global production partner The Mill has added up-and-coming director duo Nothing Lost to its roster. Consisting of Chas Appeti and Junior Okoli, Nothing Lost will be handled worldwide by The Mill for commercials and shortform fare. The directorial team is repped by CAA for longform.
Nothing Lost will be based out of The Mill’s London studio. The duo’s accomplishments include earning inclusion into the 2019 Saatchi & Saatchi New Creators Showcase on the strength of their Big Tobz music video “WOKE.” The clip reflects the song (“WOKE” standing for “We’re Only Killing Each Other”) which deals with the consequences of escalating violence in our society.
Appeti and Okoli met five years ago, struck up a friendship and collaborative rapport. Both had strong backgrounds in cinematography, film, music and visual arts; Appeti being a well-known director, DP and graphic designer who had been creating videos and visual arts pieces for many years while Okoli established himself as a passionate director, writer and storyteller. The two came together to form an impactful team. With strong links in and throughout the music and creative art scene in the U.K. and abroad, Nothing Lost gained momentum through their honest yet beautiful visuals and storylines.
Nothing Lost recently gained further recognition as the directors and producers of the new Amazon Prime Video original series Jungle. The six-part musical drama follows the connected lives of two strangers, viewed through the world of U.K. rap, grime and drill music, aiming to give a new perspective on inner-city London living and its diverse culture.
Mill producer Tanya Ferguson said, “Having a creative duo like Nothing Lost with The Mill will bring a more dynamic and diverse offering to what we develop in both long and short-form work. As the industry evolves and responds to create more moving stories, so will we. Our aim is to open up wider opportunities to them beyond that of the music industry and explore more challenging content briefs.”
Prior to joining The Mill, Nothing Lost was repped by London-based Armoury.
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