Leo Burnett Chicago tops the tally of finalists entries for the ADC 101st Annual Awards, announced by The One Club for Creativity.
All finalists will win either Gold, Silver or Bronze Cubes or Merits, to be announced on May 18 during Creative Week 2022.
Leo Burnett Chicago has 30 finalists, 28 of which are for “The Lost Class” on behalf of Change the Ref. Serviceplan Munich has 25 finalists, including 11 for Penny’s “The Wish” and four for Gruner+Jahr Deutschland’s “Dyslexia Unetided”.
Close behind is The New York Times Magazine with 24 ADC 101st Annual Awards finalists for 19 different entries, including three for “The Puzzle of Asian American Identity.” With 23 finalists is Dentsu Tokyo, including five for QD Laser, Inc. Retissa Super Capture’s “With My Eyes”.
Rounding out the top 10 global finalists are alma DDB Miami with 21, Jung von Matt Hamburg and Scholz & Friends Berlin with 17 each, Area 23 New York and Google Brand Studio San Francisco with 11 each, and Xi’an Gaopeng Xi’an with 10.
A total of 762 entries from 36 counties are ADC 101st Annual Awards finalists this year. The top five countries for finalists are the U.S. with 372, Germany with 91, China with 73, Japan with 46, and Canada with 37.
The ADC 101st Annual Awards ceremony will take place in person during Creative Week 2022 on Wednesday, May 18 at Gotham Hall in New York. In addition to honoring this year’s top winners including Best of Show, Best of Disciplines, Fusion Cube and other special awards, the evening will feature a belated celebration of ADC’s historic 100th anniversary, which was postponed last year due to the pandemic, and include important members and winners from throughout ADC history.
The event will also feature a special presentation of the prestigious Manship Medallion, the original ADC competition award created by famed sculptor Paul Manship who made the Prometheus statue in Rockefeller Center, to 12 highly accomplished members of the creative community who have had a great impact on ADC through the years.
The complete ADC 101st Annual Awards finalists list is available here.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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