Peer Review: Jungle

Who are three contemporaries you admire, and why? 

We’ve always really liked the work of Seb Edwards. There’s something instinctive about the way he tells stories; his films have this emotional weight and visual elegance without ever feeling forced. He builds these slightly heightened worlds that still feel grounded and human, and somehow you just believe them. Seb is constantly evolving as a director, with work that consistently feels fresh and incredibly relevant. That’s something we really admire. 

After collaborating on a project, we quickly realised how complementary our instincts were and how much our individual approaches enhanced each other.

From our own generation, Aoife McArdle stands out. Her work always feels intimate and honest. There’s a quiet boldness in the way she directs; it never screams for attention, but it hits you in the right place. It’s emotional without being sentimental and always anchored in something very real. 

And then there’s Hiro Murai. We just love the atmosphere he creates. There’s a softness and subtlety in his storytelling that really resonates with us. His characters feel alive but are never over-explained. He leaves space for the viewer to feel their way into the story, which is something we try to do in our own work, too. 

Please share 3-4 pieces of work that exemplify great direction. 

Jonathan Glazer – Under the Skin (2013) 

This film is just unforgettable. Glazer manages to say so much with silence. It’s poetic, eerie, and incredibly immersive. The way he blends documentary-style moments with surreal imagery is bold and deeply affecting. It's a direction that really trusts the audience, and that’s something we really admire. Glazer is a casting genius. Across all his work, he has this knack for choosing actors you wouldn’t expect in certain roles - It’s never obvious. In Under the Skin, the way he uses non-actors is remarkable. There’s a rawness to it that makes you believe this to be real. That’s what grounds everything. Once he has that truth, he can go as bold or abstract as he wants, because we already believe in the world he’s built. 

 If we can’t connect on some level, it just doesn’t go very far. It loses passion and with that, the substance that makes a film (and life) exciting. 

Paul Thomas Anderson – There Will Be Blood (2007) 

PTA’s direction feels genuinely special because of the careful patience he uses to build the story. From that first gripping scene, watching Daniel Day-Lewis struggle silently in the gritty, unforgiving landscape, you instantly understand the stakes and desperation. He draws you into the story slowly, each shot thoughtfully holding tension. Day-Lewis feels deeply rooted in the harsh environment Anderson crafts, creating an emotional authenticity that makes every scene land. It's a powerful experience that resonates deeply long after it's over. 

Above: Under The Skin, directed by Jonathan Glazer, official trailer.

Chloé Zhao – Nomadland (2020) 

Zhao’s work feels deeply human. Watching Nomadland, you get the sense she genuinely cares for these characters. Her observational style gives scenes room to breathe, capturing the subtle, often unnoticed moments of everyday life. A quiet beauty that touches something deeply familiar and emotional; so true in the way she sees people and places. 

The partnership felt intuitive, elevating both our creative processes and strategic thinking toward a common goal.

Steve McQueen – Shame (2011) 

There’s such a sharp clarity to McQueen’s visuals, but also this raw emotional weight beneath everything. His direction in Shame is fearless, he doesn’t flinch or soften the edges. That kind of honesty, paired with his visual precision, leaves something that really stays with you. Shame is not an easy film, it hits hard. But it’s also a powerful exploration of human nature at its most vulnerable. 

Above: There Will Be Blood (2007) directed by Paul Thomas Anderson, trailer. 

What do you like most about the work that you do? 

Honestly, it's the freedom and challenge to uncover personal emotional truths in unexpected places. Especially in advertising, you always have to find a way in. If we can’t connect on some level, it just doesn’t go very far. It loses passion and with that, the substance that makes a film (and life) exciting. 

But when you do find that connection, the whole project blossoms. The people involved become more invested, and suddenly it turns into an adventure, not just a transaction. 

Creative alignment is about intuitively understanding each other’s instincts and perspectives, knowing when to step forward and when to step back, and naturally finding a shared path forward.

That’s not always easy; it can be consuming, but it’s what makes each project (and life) feel like an exploration. You’re constantly navigating that balance between commercial reality and artistic expression. And when it clicks, it really feels worth it. 

What have your career journeys been like so far, and how did you start working together? 

We began our careers independently, each developing our own visual languages. After collaborating on a project, we quickly realised how complementary our instincts were and how much our individual approaches enhanced each other. The partnership felt intuitive, elevating both our creative processes and strategic thinking toward a common goal. We've been Jungle ever since. 

Above: Official trailer for Chloé Zhao's Nomadland (2020).  

What is one thing every directing duo needs? 

Creative alignment is about intuitively understanding each other’s instincts and perspectives, knowing when to step forward and when to step back, and naturally finding a shared path forward. It’s a curious dynamic because, in a way, we’re two human beings operating under one creative persona. 

There’s always a delicate balance between individual creativity and shared goals, and navigating that balance is part of the process.

There’s always a delicate balance between individual creativity and shared goals, and navigating that balance is part of the process. It’s a kind of dance. Navigating that requires consistent effort, generosity, and self-awareness. But when you get it right, it’s a beautiful thing. You end up with two people genuinely cheering each other on, both moving toward a common goal. That’s a very good place to be. 

Did you have a mentor? Who was it? 

We haven’t had a single formal mentor, but we’ve been lucky to cross paths with directors and producers who generously shared their experiences and insights along the way. 

A major influence was the Brazilian directing label 300ml. They had a big impact on how we approach storytelling, rhythm, and visual language. Their perspective helped us see through a lot of the industry’s traps early on and shaped a way of filmmaking that still resonates with us today. 

Above: Official trailer for Steve McQueen's Shame, (2011). 

Who is the greatest directing duo of all time? Why? 

For us, it’s probably the Safdie Brothers - they deliver raw, visceral storytelling that’s deeply human and relentlessly intense. Their films feel spontaneous yet precisely crafted. That said, it’s impossible not to mention the Coen Brothers, whose mastery of storytelling, tone, and collaborative genius set the gold standard for all duos.  

There’s a growing pressure to tell compelling stories across multiple platforms and formats, all at once, and often on tighter timelines.

What’s changing in the industry that all directing duos need to keep up with? 

There’s a growing pressure to tell compelling stories across multiple platforms and formats, all at once, and often on tighter timelines. In some ways, being a duo helps with that. You have two minds to share the load, bounce ideas off each other, and move faster. But at the same time, it also demands clarity and alignment in 2 minds. You need to streamline your thinking but stay tuned to each other, not to lose the sync.