Australian/Maori director Dylan Duclos is officially entering the U.S. market as the new addition to the roster at Los Angeles production company Sanctuary, which will rep him for commercials, branded content and music videos. Duclos is known for his photographic and surreal style that’s earned him several Vimeo Staff Picks and commercial craft awards. He continues to be repped Down Under by Australian production house Collider.
Duclos first crossed paths with Sanctuary when he came to the States to work on an ad campaign. When introduced to Sanctuary partners Preston Lee and Kristen Bedard-Johnson, he felt inspired and was on board straight away.
“When I met Dylan, I was impressed with his ambition and ability to blend sharp narratives with an immersive, time-suspending visual style,” said Lee. “I knew immediately that he would be an apt addition to our team, and I’m elated that he felt similarly.”
A native of Western Sydney, Duclos’ dad worked in TV, exposing the future filmmaker to control rooms and sets at a young age and allowing him to start editing professionally by age 16. As a young editor, he gained experience in nearly every part of film production and befriended several directors who encouraged him to try his hand behind the lens.
“I’m really drawn to the velocity of short-form storytelling, and I’ve been fascinated with photography as a medium for as long as I can remember,” said Duclos. “In photography, you have to tell a story in one shot, and I tend to play on that in my work by using a lot of photographic references and building a film frame by frame.”
Duclos got his start directing music videos, a swift, creativity-unleashing format that he said felt natural to him as a kid of the Vimeo generation. Sure enough, he honed an absorbing, textural, and rich visual style and quickly started working for top Australian talent. With electro-pop White Shadows, he made the music video “Give Up Give Out Give in,” and with singer-songwriter Emma Louise, a cultish music video called “West End Kids.” Both earned Vimeo Staff Picks.
After making waves with his music videos, Duclos was scooped up by Australia’s Collider some six-plus years ago and thrust into the world of commercials. Duclos has since honed his minimalist and cinematic style with award-winning ads for Corona, Sheridan, James Boags, Vanguard, Victoria Racing Club, and more.
With Sanctuary, Duclos has his eye on highly creative collaborations with global brands, particularly in luxury fashion. He’s also eager to try his hand at crafting more comedic stories, and to eventually transform his love of high-impact storytelling into the creation of a TV series. Duclos is currently crafting a short film, with a working title of “St Vitus,” based on the true story of the dancing plague of 1518 in Stroudsburg.
“I am always trying to push my filmmaking artistry, and America is the home of the ad, so it just feels like a natural next step in the progression of my career,” said Duclos. “I can’t imagine a better way to make my entrance than with the skillful team at Sanctuary by my side.”
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
The one rule to follow is that... Read More