Brit’s commercial work is both precise and instinctual.

Shaped by years as a gymnast and a hockey player, her work lives in that friction where cinematic realism and athleticism are indivisible. Where her willingness to “take the hit” reveals the truth. And the same immersive process that defines her narrative filmmaking style drives her approach to ad campaigns – technical control and raw instinct colliding at full speed.

Overly theatrical performance disappears, leaving only human beings living in the moment. You feel it in her Powerade film. It’s in the small details, like when Skyler rubs away her tears after missing a landing. It’s in the way jokes land late or early to make conversational chemistry feel familiar, like her work with NYX. It’s in the imperfections of Brit’s Nike campaign, making a superhuman athlete like Olympic sprinter Dalilah Muhammad feel so relatably human.

Splitting time between New York and Paris, Brit continues to move fluidly between authored films and commercial campaigns, bridging the worlds of advertising and cinematic storytelling for numerous brands – like Adidas, White Claw, Puma, UGG, and more.