Director Hannah Berry George has joined production house Merman for representation in the U.K. and parts of Europe. She had previously been freelancing. Berry George is an award-winning writer and director with a soft spot for comedy. Previously dabbling in stand-up, sketch and improv, Berry George kickstarted her directorial career with an ADCAN Award in 2018 for her first ever commercial and has since collaborated with stand-up guru Katherine Ryan, alongside other household names including Priyanka Chopra Jones, Awkwafina, and Fern Brady. However, Berry George’s directing career is not restricted to purely comedy. With a background in journalism, she prides herself on being naturally inquisitive, keen to challenge personal and societal biases through her work in a way that feels informative and inclusive. She is particularly drawn to exploring pertinent themes such as mental health, female empowerment and family within her directorial work, areas of expertise that she has previously touched upon in journalism. Recently, Berry George has looked at gender equality in her work for the British Army, the class pay gap for the Social Mobility Foundation and shone a light on endometriosis for Bodyform. Her work has featured on NOWNESS, The Evening Standard, Funny or Die, alongside having been screened by the BFI and other international festivals….
Dublin-based production house Banjoman has signed directing duo Michel + Nico for exclusive commercial representation in Ireland. Michel + Nico discovered their passion for advertising after completing their first spot for Gillette, which starred British and Irish Lions star George North and launched during the Six Nations. It propelled Michel + Nico in the commercial world, leading to work for the likes of Sky Sport, BBC, William Hill, and Renault (starring Irish icon Rosemarie Smith). The directorial duo also crafted a number of short films, the most recent of which, Forever Young, has gained critical acclaim. Its accolades include a Vimeo Staff Pick, a Gold Young Director Award in Cannes, a Gold LIMFF, a Gold Cine Paris, and a Gold RIFF for “Best COVID Film.” In the year ahead, Michel + Nico will be developing their first drama feature…
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