Director Angie Bird has signed with bicoastal production company Curfew for spot representation in the U.S. Bird was most recently repped by Chelsea Pictures.
Bird broke onto the scene in 2016, winning the Cannes Young Director Award for her work with the homeless advocacy non-profit Raising the Roof. More recently, she won several Cannes Lions for her Gillette “First Shave” campaign–out of Grey Canada– depicting trans community members’ experiences with shaving.
Bird just released her first project with Curfew, a joyous national campaign for the YMCA featuring all real members. Throughout her career, she’s worked with numerous multinational brands including P&G, Dove, Kellogg’s, and Allstate. She is equally at home in the worlds of commercials, documentary and fiction.
“From our first conversations with Angie, we knew she would be a perfect fit at Curfew. She’s such a multifaceted artist, and her ability to tell engaging stories on film seems to have no limit, said Mark Smith, who founded Curfew with Spencer Dennis.
Bird said, “I’m absolutely thrilled to join the Curfew team. They collectively create beautiful work for interesting clients and I’m so excited to start creating alongside them.”
Launched in Brooklyn in 2015, Curfew has undergone recent expansion, including the addition of an office in Los Angeles in 2021. Its roster of directors includes Bird, Mike Lee Thomas, Madeline Kelly, Abraham Felix, Daniel Uribe, and Mark & Spencer. Curfew is represented on the East Coast by Jared Shapiro of Moustache, on the West Coast by Lauren Schuchman of Diplomat Reps, and in the Midwest by Doug Stephen of Doug Stephen & Partners. Kathryn Berk is Curfew’s executive producer.
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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