Nonfiction Unlimited, a commercial production company with a roster consisting of leading documentary filmmakers, has added the directing team of Jimmy Chin and Chai Vasarhelyi who last year earned a DGA Award nomination for Meru, a breathtaking documentary about two difficult ascents of the Himalayan peak. Winner of the 2015 Sundance Film Festival Audience Award, Meru was the highest grossing independent documentary film of that year. Chin, a professional alpinist, filmed much of the documentary while climbing the 1,500-foot-tall Shark’s Fin rock wall, the final section of the 21,850-foot mountain. He first tried to climb atop Meru in 2008, but was turned back by severe weather 100 meters from the summit. Meru chronicles the conquest of the summit on the return expedition in 2011, with fellow climbers Conrad Anker and Renan Ozturk.
As an athlete, director and photographer, Chin has worked with elite adventurers in some of the most dangerous and challenging locations in the world including several ascents of Mount Everest. He has directed extreme adventure work for Chase Bank, Pirelli and The North Face, among others. For Chase, Chin both starred in and directed a close-up view of a photographer climbing the treacherous peaks of the Bugaboos to capture the perfect shot. For Pirelli, he filmed skiers in a dramatic high-speed ski sequence that ends in an unexpected BASE jump, seen from the perspective of inside a car, also falling through the air.
Vasarhelyi is a prolific award-winning documentary director whose work includes an episode of Netflix’s Abstract: The Art of Design, a profile of Ralph Gilles, head automotive designer for Fiat Chrysler. No stranger to dangerous projects herself, Vasarhelyi spent years in Senegal filming Youssou N’Dour: I Bring What I Love, about the Senegalese icon and musician, and Incorruptible chronicling the tense 2012 Senegal elections. The film won a 2016 Independent Spirit Award. Her work also includes Climbing the Shark’s Fin, a New York Times Op Doc.
“Jimmy is one of the most accomplished adventure sports filmmakers and photographers working today,” said Loretta Jeneski, executive producer at Nonfiction Unlimited. “He has incredible cinematic flare and has specialized in directing logistically complicated shoots. Chai has been winning documentary awards since she was twenty-three. She’s all about revealing the humanity in every story. They are both a force of nature and we’re thrilled they’ve joined us at Nonfiction for advertising projects.”
“Venom: The Last Dance” Tops Box Office For 2nd Straight Weekend
"Venom: The Last Dance" enjoyed another weekend at the top of the box office. The Sony release starring Tom Hardy added $26.1 million in ticket sales, according to studio estimates Sunday. It was a relatively quiet weekend for North American movie theaters leading up to the presidential election. Charts were dominated by big studio holdovers, like "Venom 3," "The Wild Robot" and "Smile 2," while audiences roundly rejected the Tom Hanks, Robin Wright and Robert Zemeckis reunion "Here." Thirty years after "Forrest Gump," "Here" opened to only $5 million from 2,647 locations. "Venom 3" only fell 49% in its second weekend, which is a notably small drop for a superhero film, though it didn't exactly open like one either. In two weeks, the movie has made over $90 million domestically; The first two opened to over $80 million. Globally, the picture is brighter given that it has already crossed the $300 million threshold. Meanwhile, Universal and Illumination's "The Wild Robot" continues to attract moviegoers even six weeks in (and when it's available by video on demand), placing second with $7.6 million. That's up 11% from last weekend. The animated charmer has made over $121 million in North America and $269 million worldwide. "'The Wild Robot' has quietly been this absolute juggernaut for the fall season," said Paul Dergarabedian, the senior media analyst for Comscore. "For that film to see an increase after six weeks is astounding." "Smile 2" landed in third place with $6.8 million, helping to push its worldwide total to $109.7 million. The time-hopping "Here," a graphic novel that was adapted by "Forrest Gump" screenwriter Eric Roth, was financed by Miramax and distributed by Sony's TriStar. With a fixed position camera, it takes audiences through the... Read More