Chelsea Pictures, which earlier this week was named The One Show’s Production Company of the Year, has added London-based director Dumas Haddad to its U.S. roster. This marks his first-ever branded representation in the American market.
Aside from his commercial work for Guerlain & Footlocker x Fifa, Haddad has directed promos and music videos for Ghetts, Anaïs, and Lonepsi. Most recently, Haddad directed rising star Priya Ragu’s vibrant music video for her song “Chicken Lemon Rice” celebrating her Sri Lankan heritage.
“From the first time we saw Dumas’ body of work, we knew we wanted him at Chelsea,” said Lisa Mehling, president of Chelsea. “We are drawn to filmmakers whose singular point of view just grabs you–and Dumas’ potent blend of humanity and classic composition and lighting is outstanding.”
Haddad is a director, writer and photographer with a focus on storytelling and dramatic action. He has developed his craft from the worlds of fashion, music and bleeding edge culture.
Dumas earned a Vimeo Staff Pick for his work directing Anaïs’ music video “Lost My Faith,” securing himself a slot on the shortlist at Berlin Commercial for Best Emerging Talent. For his powerful documentary short film Fathers, which interrogates and challenges stereotypes surrounding the role of the Black father in modern society, Haddad also received a Vimeo Staff Pick as well as landed on the Shortlist at the Kinsale Shark Awards. In 2019, Haddad was highly commended by the 1.4 Awards as an On The Cusp of Greatness new director selection. His surreal short film, The Gift, premiered on Film 4 and was commissioned by Random Acts.
His next short film, Things I Never Told My Father, was written by Letitia Wright exploring the dynamic of grief. Haddad is also set to release work he directed for Gucci.
“I’m truly honored to start this new and exciting journey in the U.S. with such an amazing family,” said Haddad, “The U.S. is a market that most excites me and the team’s dexterity and astuteness in the space is beyond impressive.”
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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