Director Nico Beyer has signed with Quietman for U.S. representation. He has crafted campaigns for virtually every known car brand, among them Mercedes-Benz, Audi, Lexus, Nissan, Cadillac, GM and the well-known Chevrolet Super Bowl campaign “Chevy Runs Deep,” as well as BMW’s “The Next 100 Years” which was created for the Interone agency. Beyer is also known for his ease working with actors and athletes, and social projects remain an important part of his work. This wide range is demonstrated in the visual stories he’s created for brands including Nike, adidas, Panasonic, Infinity, McDonald’s, Nikon, and Canon. His work has been recognized with nearly one hundred industry accolades, including multiple Clio, Cresta, Cannes Lions, ADC, EPICA, and LIA awards. Beyer found his calling after graduating design school in Dรผsseldorf when he moved to Paris and began shooting music videos, leading him to be signed by Propaganda Films. He earned international recognition with his videos for Suzanne Vega, The Verve, The Cocteau Twins, They Might Be Giants, Erasure and the Pet Shop Boys, then kicked off his commercial career with a spot rallying against violence on television, which won him a Cannes Gold Lion….
The 180 micro-network is set to bolster its global offering and leadership through a strategic merger between its award-winning Amsterdam office and Kingsday, the next generation creative agency with digital and data at the core. Building on its established presence in Amsterdam, 180 will expand its European office with immediate effect to create a globally-minded agency with deep local knowledge and a history of international experience–180 Kingsday. The new combination embodies a dynamic mix of 180 Amsterdam’s international creativity with Kingsday’s cutting-edge digital and social expertise. As part of the merger, Al Moseley will step into the role of international president working across the 180 micro-network to spearhead global growth and creativity. Sander Volten, the current president of Kingsday, will become CEO of 180 Kingsday in Amsterdam, bringing with him extensive experience in the digital world…..
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 โ and those many "Babadook" memes โ 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 โ "Bah-Bah-Doooook" โ 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