Commercial production company REVERSE has added Swedish director Daniel Börjesson to its roster for U.S. representation. Börjesson’s commercialmaking exploits include campaigns for BMW, Volvo, Porsche, Mazda, and SAS. His body of work also includes documentaries and music videos, collaborating with artists like Kylie Minogue, Axwell, and Giorgio Moroder.
This marks Börjesson ‘s return to U.S. representation after focusing on further building his cache in the automotive genre the past few years. He was last repped in the American ad market by Paranoid US.
“I’ve always admired the delicate blend of real emotions and striking visuals that Daniel brings to his work,” said Thibaut Estellon, founder/executive producer at REVERSE. “There is something beautifully palpable that surfaces from it. You can’t always put your finger on it, but you can definitely feel it. It’s a rare ability–and no more apparent than in his work as a car and lifestyle director. He’s also a talented editor in his own right, with a ton of VFX and production experience under his belt to help our clients meet today’s production challenges.”
According to Börjesson, REVERSE’s extensive car commercialmaking experience was a major factor in his decision to join the company.
“Due to its high visual storytelling aesthetics, I’ve been drawn to the car genre from the day I started directing TV commercials,” said Börjesson. “As someone who directs a lot of automotive work, it was crucial to have a U.S.-based production partner who understands the genre and how to elevate it, which was apparent in their recent campaign for Lexus. It’s a skill of its own.”
Börjesson’s penchant for directing cinematic, story-driven car spots stems from his background directing music videos from the early days. No matter what genre or medium he is working in, Börjesson says he keeps a red thread, emotionally and visually, throughout his work. At the same time, he keeps an open, collaborative spirit, letting his visual style evolve based on the needs of each project and the client.
Börjesson caught the directing bug while attending film school in Los Angeles. After working his way up the film industry ranks as an assistant director and assistant editor, he returned to Sweden to work as a commercial and music video producer.
“REVERSE is an anomaly in its ability to achieve cinematic, tentpole productions while still having a boutique feel as a company,” added Börjesson. “A production partner who can strike that balance means everything to me.”
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More