Production company Love Song has signed director and photographer Camille Summers-Valli. Born in Bangkok, raised in Nepal, and now based in Paris, French-Australian Summers-Valli has worked across film genres, ranging from commercials and music videos, to high-end fashion shorts, art films, and award-winning editorial for The New York Times.
After studying Video Art in London at Central St Martins, Summers-Valli began working as a filmmaker and fashion photographer. Since then, her aptitude for dynamic visual storytelling has earned Summers-Valli an impressive list of legacy brand clients, including Nike, Adidas, Chanel, Burberry, Gucci, Versace, Hermes, and Jean Paul Gaultier. Her work has also been featured in editorial magazines such as Vogue, Dazed, and more.
Inspired by her love for art and nature, Summers-Valli’s films are visually stimulating and boundary-pushing. In 2022, the short film “The Truth Takes a Journalist,” directed by Summers-Valli for The New York Times, won D&AD Pencils for Art Direction and Editing. Colorful, rich, and kinetic, the film depicts the complex, hopeful, turbulent, and rewarding lives of the reporters who make the daily newspaper and celebrates their humanity. The same year, “Body Language,” directed by Summers-Valli for Vogue, won a Silver award for Fashion Film at the Ciclope Festival. In the film, Summers-Valli explores the winding, bewildering, and often bumpy road of body acceptance within the fashion industry.
Prior to joining Love Song, Summers-Valli was repped by production house Somesuch.
“Camille is a thoughtful storyteller and artist whose work is beyond intriguing, with a clear understanding of how to draw emotional subtleties from talent so even in the most fashion forward piece, there is a beautiful emotional thread and she makes you FEEL,” said Kelly Bayett who founded Love Song with director Daniel Wolfe. “I loved the work, but once I met her I was so captivated by who she is, her incredibly rich personal history and her openness and compassion which is all so evident in her work. We’re ecstatic for her to join our roster of brilliant collaborative storytellers and create impactful work that keeps people talking.”
“I’m really excited by the culture Kelly and Daniel have built at Love Song,” said Summers-Valli. “Feels like a healthy, collaborative and much needed development in the short form film world, and I’m thrilled to grow my work with them as my allies.”
Review: Writer-Directors Scott Beck and Bryan Wood’s “Heretic”
"Heretic" opens with an unusual table setter: Two young missionaries from The Church of Jesus Christ of Latter-day Saints are discussing condoms and why some are labeled as large even though they're all pretty much a standard size. "What else do we believe because of marketing?" one asks the other.
That line will echo through the movie, a stimulating discussion of religion that emerges from a horror movie wrapper. Despite a second-half slide and feeling unbalanced, this is the rare movie that combines lots of squirting blood and elevated discussion of the ancient Egyptian god Horus.
Our two church members — played fiercely by Sophie Thatcher and Chloe East — are wandering around trying to covert souls when they knock on the door of a sweet-looking cottage. Its owner, Mr. Reed, offers a hearty "Good afternoon!" He welcomes them in, brings them drinks and promises a blueberry pie. He's also interested in learning more about the church. So far, so good.
Mr. Reed is, of course, if you've seen the poster, the baddie and he's played by Hugh Grant, who doesn't go the snarling, dead-eyed Hannibal Lecter route in "Heretic." Grant is the slightly bumbling, bashful and self-mocking character we fell in love with in "Four Weddings and a Funeral," but with a smear of menace. He gradually reveals that he actually knows quite a bit about the Mormon religion — and all religions.
"It's good to be religious," he says jauntily and promises his wife will join them soon, a requirement for the church. Homey touches in his home include a framed "Bless This Mess" needlepoint on a wall, but there are also oddities, like his lights are on a timer and there's metal in the walls and ceilings.
Writer-directors Scott Beck and Bryan Wood — who also... Read More