The independent global production network Stink Films has promoted Andrew Levene from head of production to U.K. films managing director.
A longstanding member of the Stink family, Levene has run production in London for the last six years overseeing major productions for brands such as Lexus, Nike, Adidas, Barclays, Aldi, Argos, Volkswagen, Save the Children, Oxfam and Libresse, working with directing talent such as Tom Green, Traktor, Keith McCarthy, Ne-O, Anthony Mandler, and Jones + Tino, and winning awards at Cannes Lions, D&AD and Creative Arrows, among others.
Levene’s role is to optimize Stink Films London operations, driving revenue and profit growth, while supporting and ensuring the creative and production quality of the company’s work. With a focus on leading key initiatives to support Blake Powell, managing partner, and Sophie Kluman, global head of operations, Levene will offer support and direction to the London office, ensuring its purpose and objectives are achieved.
Levene said “I first came to Stink as a freelance producer; it was always one of the companies I was most keen to work with. After two years as an in-house producer and almost six years as head of production, the idea of being even more involved in the growth and development of a company I’ve grown to love was a no brainer. Being made MD of Films in London is a huge honor and an opportunity to help steer the future of Stink, as well as giving me the chance to help develop the amazing roster of talent–both directors and in-house staff–that we’re so lucky to have.”
Starting as a runner at 2AM Films, Levene spent the next five years with the company working up the ladder, leaving the company as a production manager. Working freelance for companies like Spank, Bare, Rogue, Independent, QI, and 2AM over the next three years, The Sweet Shop came calling in 2009, offering Levene a role as a producer. There he worked with agencies such as McCann Erickson, Ogilvy and VCCP. In 2011, as a freelance producer he came to Stink Films, and over the last eight years with the company has moved up through the ranks.
2019 was one of the most successful years that Stink’s London office experienced. Starting with the launch of Guinness’ epic “The Purse” directed by Green, last year saw Stink London working back-to-back productions, culminating in six prominent Xmas season campaigns for UK retailers Asda, Aldi, Tesco, KFC, Sky and Argos. Additionally the talent roster grew with the signing of Kiku Ohe and FoodFilm last year and the further growth of Stink Rising, Stink Films global roster of up-and-coming talent.
Levene will report directly to Kluman and Powell.
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.
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