Bicoastal Arcade Edit has added editors Jen Dean and Mark Paiva. Both will be based in the company’s NY office with their talents being available to clients across the U.S.
Dean honed her skills at Whitehouse Post before joining Arcade, editing spots there since 2011 for brands including Google, New York Times, Cotton, BMW, TJ Maxx and Sprint. Dean began her commercial career working for film editor Hank Corwin at Lost Planet, where she spent 12 years and worked her way up from apprentice to editor. It proved to be an invaluable experience for her. It was at the University of Colorado, however, that Dean originally discovered her love of film, studying under experimental filmmaker Stan Brakhage.
Paiva has over 10 years of experience as an editor.​ ​In the last year alone he’s worked with many agencies including 180 Amsterdam, Droga5, The Corner and several Wieden+Kennedy offices all across North America and Europe. In 2009 he helped found Poster Boy Edit, which, this year, he merged with Toronto-based Saints Editorial, of which he is a founding member. He was recently honored with the 2013 Craft Award for editing at The Bessies​.
Arcade Edit is an editorial collective and partnership among managing partner Damian Stevens, executive producer/partner Sila Soyer and editors/partners Kim Bica, Jeff Ferruzzo, Geoff Hounsell and Paul Martinez. Arcade’s talent roster also includes editors Dean, Paiva, Will Hasell, Christjan Jordan, Nick Rondeau and Greg Scruton, and executive producer Nicole Visram.
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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