Director Haya Waseem, a young Canadian filmmaker whose documentary work weaves elements of human relationships into a larger cinematic tapestry, has joined the roster of Variable. This marks Waseem’s first representation agreement for advertising and branded content in North America.
Born in Pakistan and raised in Switzerland, Waseem emigrated to Canada when she was 16 and attended film school at Sheridan College. She was an editor before moving into writing and directing short films, and has edited most of her work to date. Her films often take a personal look at the merging of cultures and influences, and are particularly adept at revealing glimpses of how people feel about vital and highly personal aspects of their lives.
Variable executive producer Alexander Friedman said of Waseem, “She’s really trying to say something different, and isn’t trying to conform to what other filmmakers are doing. Rather, Haya has a clear, unique, socially conscious voice that’s shaped by her background and experiences. And that came through very clearly once we got a chance to meet her.”
Waseem has directed a number of short films that have screened at festivals around the world such as Cannes and Berlinale, and is a graduate of the Director’s Lab at the Canadian Film Centre, founded by director Norman Jewison. Her work includes Shahzad, an introspective film about a young boy who arrives in Canada as an immigrant from Pakistan. Written, directed and edited by Waseem, it explores the boy’s relationships as he adjusts to his new life, both socially and at home. The film screened at the Toronto International Film Festival in 2016 and is currently being developed as her debut feature film.
Waseem also shot a "Brand Canada" short for the Canadian Broadcasting Corp. documenting the experiences of immigrants to Canada, both the newly arrived and those who’ve lived there for many years. Personal and probing, the film reveals the many small discoveries they made after arriving and settling in. “I remember when we landed at the airport, and the immigration officers were smiling,” says Vladimir, who emigrated from what was then Czechoslovakia over 30 years ago. “I thought, well, we can probably make it here.”
Starting off as an editor has been an asset to Waseem’s directing, particularly in terms of challenging traditional narrative structures and establishing a fluid pace to her storytelling, she explained. Her desire “to contribute more to the visual language, and to align all aspects of the craft in service of a singular vision,” motivated her to move into directing.
Variable has been on her radar for some time, and Waseem says the company has a clear vision of her path to success in the advertising arena. “They’ve been very precise in terms of guiding me in this new world of working with agencies and brands,” she noted. “They recognize what I have to offer, and in turn I’m eager to work with this strong, supportive team that understands the industry so well.”
Her path to production was somewhat unexpected, she said: “Growing up, I had no family members who took their artistic sensibilities beyond a hobby, but I was fortunate that my own creative pursuits were always celebrated and encouraged. I’ve always had these interests, whether it was writing, music or performance. It wasn’t until college, however, that I fell in love with cinema and the documentary format. Through editing and crafting character-driven narratives, I realized the potential of sharing stories and the deep fulfillment this exchange brings.”
Friedman related, “I think Haya’s ability to edit her own work will help considerably in building her commercial reel. It’ll also help in her ability to collaborate with the editors she’ll be working with in the commercial space. She also has a terrific sense of how music fits into a final piece, too–again, a result of her editorial background–and she carries that awareness with her into each project.”
Variable partner and exec producer Tyler Ginter added, “We feel Haya fits in perfectly with the Variable brand, and that anyone looking at her reel can see her visual and directorial skill come through in a way that translates easily to branded content and commercials.”
Review: Writer-Directors Scott Beck and Bryan Wood’s “Heretic”
"Heretic" opens with an unusual table setter: Two young missionaries from The Church of Jesus Christ of Latter-day Saints are discussing condoms and why some are labeled as large even though they're all pretty much a standard size. "What else do we believe because of marketing?" one asks the other.
That line will echo through the movie, a stimulating discussion of religion that emerges from a horror movie wrapper. Despite a second-half slide and feeling unbalanced, this is the rare movie that combines lots of squirting blood and elevated discussion of the ancient Egyptian god Horus.
Our two church members — played fiercely by Sophie Thatcher and Chloe East — are wandering around trying to covert souls when they knock on the door of a sweet-looking cottage. Its owner, Mr. Reed, offers a hearty "Good afternoon!" He welcomes them in, brings them drinks and promises a blueberry pie. He's also interested in learning more about the church. So far, so good.
Mr. Reed is, of course, if you've seen the poster, the baddie and he's played by Hugh Grant, who doesn't go the snarling, dead-eyed Hannibal Lecter route in "Heretic." Grant is the slightly bumbling, bashful and self-mocking character we fell in love with in "Four Weddings and a Funeral," but with a smear of menace. He gradually reveals that he actually knows quite a bit about the Mormon religion — and all religions.
"It's good to be religious," he says jauntily and promises his wife will join them soon, a requirement for the church. Homey touches in his home include a framed "Bless This Mess" needlepoint on a wall, but there are also oddities, like his lights are on a timer and there's metal in the walls and ceilings.
Writer-directors Scott Beck and Bryan Wood — who also... Read More