Multi-award winning film editor Mah Ferraz has joined the roster of Cut+Run. Her history of client collaboration includes Nike, adidas, Apple Music, Spotify, Instagram, ESPN, Vogue, Marc Jacobs, Volvo, Grey Goose, Marriott, and the NFL. Select music-related editorial features artists like RosalĂa, A$AP Rocky, Megan Thee Stallion, Burna Boy, and Mariah Carey.
Being a Latinx woman and part of the LGBTQA+ community, Ferraz often uses her voice to collaborate on work with a powerful social message, such as Oreo’s “Proud Parent” and Megan Thee Stallion’s New York Times Op-Ed piece, “Why I speak up for Black Women.” Ferraz’s international presence includes work in Brazil, U.K., Portugal, Germany and Nigeria, along with Spanish-speaking work from Spain and Puerto Rico.
“Editing is my art; it’s the way I express my creativity. I’m very passionate about it and try to add my fingerprint and vision into anything I touch,” said Ferraz.
A candid conversation about editing and the state of the industry with Cut+Run Founder Steve Gandolfi was, in fact, instrumental in Ferraz’s decision to join Cut+Run. Understanding the culture and genuine connectedness at the company, Ferraz was struck by the frankness with which he and the other company partners spoke about why and how they operated in the world.
In 2019, Ferraz became the first editor to become a Young Gun. Other Awards and nominations include Webbys, The One Show, ADC, The MVPA, One Screen, and Berlin Commercial. Her work has been featured in The New York Times, Nowness, Paper Magazine, Vogue, Elle Magazine, The Atlantic, It’s Nice That, and has also been a Vimeo Staff Pick five times. Prior to joining Cut+Run, Ferraz had been freelancing.
“Over and over I have watched work that takes my breath away, only to learn that the editor behind each incredible piece was Mah. She is truly a force of creativity, who blends imagination and technique in a rarefied way,” commented Michelle Eskin, managing partner, Cut+Run, which maintains locations in New York, Los Angeles, San Francisco, Austin and internationally.
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.
The one rule to follow is that... Read More