Filmmaker continues to be handled in the U.S. by Durable Goods
Great Guns has signed Australian director and photographer Karima Asaad to its roster for representation in the U.K, Middle East and Asia. Asaad continues to be handled in the U.S. market by production house Durable Goods.
With experience spanning photojournalism and creative advertising, Asaad has the ability both to capture the unfiltered, uninterrupted truth, as well as carefully curate a vision to tell a specific story. Her recent credits include a Modibodi x Puma collaboration, which sought to empower its audience by challenging taboos around menstruation and womenโs needs.
Asaad has worked and traveled across the globe, expanding her perspective and introducing her to a kaleidoscope of cultures. Clients in these international markets include TRESemmรฉ, Virgin, Samsung, the Australian Government, The New York Times, The Telegraph, and Australian Geographic.
Asaad commented, โMy mission is to create work thatโs brutally true to myself. They come to me for the raw, unvarnished truth, and thatโs what I deliver. I refuse to bend to conventional standards or water down my vision. Itโs about staying true to my wild, chaotic soul and letting that authenticity shine through every piece. I wonโt compromise or conform. My work is a reflection of who I am, and thatโs what makes it stand out in a world drowning in mediocrity.โ
Laura Gregory, founder and CEO of Great Guns adds, โKarima is a force of nature; her photography illustrates her confidence and power as a creative. Her dreams for her future in film are intoxicating. Her journey to date as a director is only a hint of what she will achieve in time.โ
Review: Director-Writer Megan Park’s “My Old Ass”
They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.
"Dude, I'm you," says the guest, as she nonchalantly burns a 'smores on a campfire next to a very high and stunned Elliott. "Well, I'm a 39-year-old you. What's up?"
What's up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for "My Old Ass" and the results are uneven even though she nails the landing.
After the older Elliott proves who she is โ they share a particular scar, childhood memories and a smaller left boob โ the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.
"Can we hug?" asks the older Elliott. They do. "This is so weird," says the younger Elliott, who then makes things even weirder when she asks for a kiss โ to know what it's like kissing yourself. The older Elliott soon puts her number into the younger's phone under the name "My Old Ass." Then they keep in touch, long after the effects of the 'shrooms have gone.
Part of the movie's problem that can't be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.
The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where "my life is about to start." She's sick of life on a cranberry farm.
Park's scenes and dialogue are unrushed and honest as Elliott takes her older self's advice and tries to repair... Read More