Chanel No. 5’s “The Film,” via BBD-France, was named the Top National Cinema Advertising Spot in the 2005 Top Cinema Advertising Awards, presented for the second year by the Cinema Advertising Council (CAC). The spot, which features actress Nicole Kidman, was directed by Baz Luhrmann (Moulin Rouge!)
The runner up was Hewlett Packard’s “Picture Book,” from the highly-honored campaign via San Francisco-based Goodby, Silverstein & Partners. American Express’ “Laird Hamilton” via Endeavor placed third. In the category for top regional cinema advertising spot (ran in under 10 markets), Remax Blue Water’s “Remax Addiction” from Digital Talking Screen Media took top honors. Second place went to Old Navy’s “Desk Til Dawn” from Deutsch; Manhattan MiniStorage’s “Man and His Moose” from Mad Injection finished third.
Topping the new category for integrated cinema advertising campaign–coordinated on-screen and in-lobby advertising elements–was American Express’ “DeNiro,” featuring on screen creative by Ogilvy & Mather, New York. Runner up was Free Family Film Festival’s “Animal Planet” with on-screen creative by Discovery Creative Resources; and third was Circuit City’s “Dancing Santa,” with on-screen creative by Doner Detroit.
“The Top Cinema Advertising Awards recognize the cinema advertising spots and integrated campaigns of the greatest creative and entertainment value, and that therefore resonated best with moviegoers, a young, affluent and educated demographic that is highly valued by the advertising community,” said Robert Martin, chairman and president of CAC, a national trade association designed to promote the growing cinema advertising industry in the U.S. “As advertisers become more savvy about the in-theater marketing environment and new digital projection technologies are distributed, the quality of cinema advertising campaigns is achieving new heights. This is being seen on the national, regional and local levels, and so this year we have expanded our awards platform to fully represent the cinema advertising community in the U.S.”
Nominees were chosen by the CAC membership and placed online for viewing prior to voting. Members of the CAC voted, making their selections based on the following creative criteria: storyline, uniqueness, cinematic consistency, creative expression, and entertainment value. Only advertising that appeared in the theater environment between Sept. 1, ’04 and Aug. 31, ’05 was eligible.
Awards for national spots and regional spots are awarded to both the advertiser and the agency. The top integrated campaign award goes to the advertiser as well as the creative and media agencies.
Paul Guilhaume Sheds Light On Lensing “Emilia Pérez”
A couple of months ago, cinematographer Paul Guilhaume, AFC earned a Bronze Frog at Camerimage in recognition of his work on Emilia Pérez (Netflix). He and writer-director Paul Audiard were also nominated for the Golden Frog for their collaboration on the film.
The recognition adds to assorted plaudits this awards season, such as this week’s four Golden Globes--including for best comedy or musical feature, and best non-English language film--and a DGA Award nomination for Audiard for Outstanding Directorial Achievement in Feature Film.
Emilia Pérez is a musical, a crime thriller, comedy and drama rolled into one. It introduces us to a talented but undervalued lawyer named Rita (portrayed by Zoe Saldana) who receives a lucrative offer out of the blue from a feared drug cartel boss, Manitas Del Monte, who’s looking to retire from his sordid business and disappear forever by becoming the woman he’s always dreamt of being (Karla Sofía Gascón in a dual role as Del Monte/Emilia Pérez). Rita helps pull this off, orchestrating the faked death of Del Monte who leaves behind a widow (Jessi, played by Selena Gomez) and kids. While living comfortably and contently in her/their new identity, Pérez misses the children. Pérez once again enlists Rita–-this time to return to family life, reuniting with the kids by pretending to be their aunt, the sister of Del Monte. Now as an aunt, Pérez winds up adopting a more altruistic bent professionally, spearheading a nonprofit/charity for those who have lost loved ones due to foul play or other dire, mysterious circumstances. Along the way Pérez meets one such surviving victim (Adriana Paz) and a romance develops between them. Eventually, though, trouble enters the narrative when Jessi... Read More