Bicoastal m ss ng p eces has added Danielle Levitt to its directorial roster for worldwide representation spanning commercials and branded content. An award-winning director and photographer, Levitt has made her mark across art, fashion, branded content, film, and advertising with visually striking, authentic, and contemporary work.
Drawing from her extensive photography and fashion background, Levitt expanded her repertoire into commercials in 2016, immediately gaining recognition with “Love Has No Labels” for the Ad Council and agency R/GA. “Love Has No Labels” won that year's primetime commercial Emmy Award as well as such honors as a pair of AICP Next Awards–one in the Next/Cause Marketing category, the other for Viral/Web Film. The Ad Council piece featured a variety of couples interacting behind a large X-ray installation. As the skeletons kiss and dance, viewers mentally fill in the blanks. When unexpected duos step out from behind the screen, including a loving gay couple, the surprise gives viewers a simple demonstration of their implicit bias–and often leads to their acceptance of something that is actually quite beautiful.
Levitt has gone on to build her body of work with ad campaigns and original content for brands and organizations including the National Down Syndrome Society, Planned Parenthood, Apple, HBO, Nike, Netflix and Nordstrom.
Prior to joining m ss ng p eces, Levitt had been handled in the ad arena by Tool of North America.
As a photographer, Levitt’s work includes visionary examinations of youth culture and marginalized communities, and portraits and editorials for Vanity Fair, the New York Times Magazine, Time, GQ, and many more. Her monograph book “We Are Experienced” captures the incredible diversity of adolescent experiences through considered portraits.
“Danielle’s exuberant visual style and ability to connect deeply with people is one of a kind. Versatile and always in the zeitgeist, we are so excited to be a part of this next chapter in her career,” said Kate Oppenheim, managing partner at m ss ng p eces.
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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