Phil Poynter, renowned British photographer, has joined the directorial roster at Mill+.
Poynter joins Mill+, The Mill’s content driven collective, to continue building on his long and highly acclaimed career in fashion photography with the addition of moving image direction.
In a career spanning 20-plus years, Poynter has had a prolific impact on the world of fashion photography and editorial content. With his strong sense of narrative and conceptual style, the transition into moving image direction is a natural one.
Poynter has a myriad of strong relationships in the fashion world, regularly contributing to Love Magazine, Vogue Italia Interview, Vogue Germany, Vogue Paris, Luomo Vogue, Vanity fair and Garage. His creative highlights include collaborations with Louis Vuitton, Prada, Givenchy, Maybelline, Lacoste, Rolex, Cadillac, Shiseido Prada and Calvin Klein Cartier and Alexander McQueen.
Poynter’s partnership with Mill+ has grown out of years of successful collaboration with The Mill’s Beauty team, leading to creation of Garage Magazine’s interactive AR cover series and contributions to Love Magazine’s annual advent calendar.
With his wealth of experience in both stills photography and moving image direction for luxury fashion brands and magazines, Poynter perfectly complements the current Mill+ team of directors across the globe, particularly as the industry sees a rise in demand for high quality branded editorial content.
Mill+’s end to end concept to delivery proposition will give Poynter a breadth of opportunities and support him in creating content backed by the scale and expertise of The Mill.
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More