Anonymous Content has added The Reids–the directorial duo comprised of brothers Will and Ed Reid–to its roster for commercials, branded entertainment and music video representation in the U.K. and Amsterdam. The Reids continue to be handled in the U.S. market by production company Reveur. The Reids have collaborated with brands including Nike, Adidas, Converse, Flannels, Stone Island, A-Cold-Wall, Universal Music Group, Sony Music Group, Beats, Diesel Fragrances, Persol Sunglasses, Diptyque Paris, Dazed Magazine, i-D Magazine, and Hypebeast. South East London born and bred, The Reids are an inseparable hive mind of reference points and film taste. Their filmmaking style is rooted in their love of documentary photography, striking the balance of presenting reality and heightening it. Their protagonist-led filmmaking that harnesses real life through an aesthetic lens is perfectly encapsulated in their music video for James Blake’s “Thrown Around”. A defiant mix of surrealism and docu-style, captured on a custom 360 rig, sees the newly independent artist wading through the worst 24 hours of his life. The Reids have picked up several awards along the way, most recently at the 2023 UKMVAs for their Mura Masa music video “Whenever I Want.” Their collaboration with the electronic musician has seen them make three videos together over the last year. One of these videos, “Rise,” shot on the iPhone 15 Pro as part of Apple’s #ShotoniPhone campaign, led Apple to provide the duo with iPhones to shoot several other projects…
NYC-based post studio Assembly has hired Katie Andrews as supervising sr. color producer, and Jenna Gabriel as sr. VFX producer. Andrews got her start in 2007 at Company 3 in Los Angeles, having also moved to the New York office. Over her 10 years of employment there, Andrews moved up the ranks to hold titles from color producer to sr. color producer and operations manager. In 2018, Andrews left the industry to pursue other interests and was part of a non-profit called Girls Riders Organization (GRO) that empowers girls through skateboarding. Meanwhile Gabriel has 13-plus years of experience spanning commercial campaigns, episodic TV and feature films. Gabriel has worked at The Mill, MPC, Netflix, Ghost VFX, Google and Carbon VFX….
Review: Director-Writer Megan Park’s “My Old Ass”
They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.
"Dude, I'm you," says the guest, as she nonchalantly burns a 'smores on a campfire next to a very high and stunned Elliott. "Well, I'm a 39-year-old you. What's up?"
What's up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for "My Old Ass" and the results are uneven even though she nails the landing.
After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.
"Can we hug?" asks the older Elliott. They do. "This is so weird," says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it's like kissing yourself. The older Elliott soon puts her number into the younger's phone under the name "My Old Ass." Then they keep in touch, long after the effects of the 'shrooms have gone.
Part of the movie's problem that can't be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.
The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where "my life is about to start." She's sick of life on a cranberry farm.
Park's scenes and dialogue are unrushed and honest as Elliott takes her older self's advice and tries to repair... Read More