Brand New School (BNS) has entered into a strategic partnership with BRUT, a Barcelona-based animation studio. This collaboration represents a significant milestone in BNS’s expansion strategy, with BRUT serving as its inaugural global outpost.
Under the leadership of executive creative director Martin Allais, who will now be represented by BNS for directorial ventures, BRUT joins BNS as part of its collective roster. This partnership combines BNS’s established reputation for innovative creative work with BRUT’s expertise in diverse artistic techniques, including 2D cel animation, stop-motion, 3D animation, and seamless integration of live action.
With Allais leading BNS Spain, Brand New School is expanding its reach to serve a growing network of global clients. This partnership incorporates BRUT’s fresh methodology of working and diverse pool of talent to create content that resonates across cultures. Located in the heart of the European market, the new BNS location will further support and enhance its work with international clients, broadening its ability to meet their unique needs. This partnership represents a thoughtful blend of creativity and expertise, designed to strengthen and grow Brand New School’s global presence.
BRUT was founded by director Allais as an experimental incubator for innovative ideas and techniques. He is also a multidisciplinary artist of Latinx heritage who brings a wealth of creative experience to the partnership. His portfolio spans commercials for global brands like Oreo, Facebook, Samsung, and Dr. Pepper, earning accolades including Cannes Lions for his work on the Samsung Holiday campaign. Recently, Allais’ animated VR experience capturing New York City’s punk scene in the ‘70s, narrated by Rosario Dawson, premiered at the Sundance Film Festival, received special mention at the Annecy International Animation Film Festival and won the grand prix at the Festival du Nouveau Cinéma.
Brand New School, a modern creative company specializing in design, animation and live-action production, maintains offices in New York, Los Angeles and now Barcelona.
Review: Director Jake Kasdan’s “Red One”
Ah, the Christmas movie. That old chestnut. That cozy perennial pastime where — let's just pick one scene from "Red One" — Dwayne Johnson, playing Santa's body guard, faces off with a witch-possessed mercenary (Nick Kroll) and ice-sword-wielding CGI snowmen on the sandy beaches of Aruba. Can't you just taste the eggnog?
Such are the ugly-sweater clashes of "Red One," a big-budget gambit to supersize the Christmas movie. Countless movies before have wrestled with who Santa is. Does he really exist? But "Red One" is the first one to answer doubters with a superhero-like St. Nick who runs his North Pole operation like the army, who bench presses and counts carbs and who, given that he's played by J.K. Simmons, looks like he could teach one heck of a jazz class.
There is ample time during "Red One," which opens in theaters Thursday, to ponder who, exactly, put a Marvel-ized Santa on their wish list. The movie, directed by the "Jumanji" reboot filmmaker Jake Kasdan and scripted by the veteran "Fast & Furious" screenwriter Chris Morgan, was conceived by producer Hiram Garcia as the start of a holiday franchise for Amazon MGM Studios — presumably to satisfy those who have pined for a Christmas movie but with, you, know, more military industrial complex.
"Red One," which is brightened by its other A-list star, Chris Evans, is a little self-aware about its own inherent silliness. But not nearly enough. There is a better, funnier movie underneath all the CGI gloss. But overwhelmed by effects and overelaborate world building (there are trolls, ogres and a headless horsemen here, all loosely connected as mythical creatures), "Red One" feels like an unwanted high-priced Christmas present.
"I love the kids. It's the grown-ups that are... Read More