The Zellner Brothers have joined the directorial roster of production company Blink for commercial representation in the U.K. The directorial duo continues to be handled by m ss ng p eces in the U.S. market. Brothers and longtime creative collaborators, David and Nathan Zellner are the directing team behind the nature-survival comedy-drama Sasquatch Sunset, starring Jesse Eisenberg and Riley Keough and executive produced by Ari Aster. The Zellner Brothers have been making movies, short films, and music videos together since they were kids growing up in Colorado and Texas, spanning multiple roles including directing, writing, producing, and acting. They’ve screened their work around the world, from the Berlinale to SXSW, premiering five shorts and five features at the Sundance Film Festival, including the Spirit Award-nominated Kumiko, The Treasure Hunter (2014), and Damsel (2018) staring Robert Pattinson and Mia Wasikowska. The Zellner Brothers also recently directed several episodes of Showtime’s The Curse starring Emma Stone and created by Nathan Fielder and Benny Safdie….\
Chicago-based ad agency The Times has hired Kristin Barbour as its president. In this role, Barbour also becomes a partner in The Times, alongside partner and COO Angie Aguilera, who has moved to majority ownership. Aguilera’s expanded leadership role and the addition of Barbour puts The Times on a trajectory to be certified as both minority and female-owned, boasting a 75% female C-suite. Barbour’s career began at Campbell Ewald in Michigan, eventually leaving to work as VP and then SVP at DDB Worldwide in Chicago. She was part of the team at DDB responsible for the historic win of the McDonald’s account in 1997. Barbour later became managing director of Camp+King’s Chicago office. Now in its fifth year in business, The Times has attracted brands including Airbnb, Foot Locker, White Claw, Hershey, State Farm, DoorDash, Hulu, and AutoZone….
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