The One Show announced finalists in Interactive, Mobile, Social Media and UX/UI. There were 316 finalists from 28 countries, selected from 21,844 total entries.
“Field Trip to Mars” by McCann/New York and Framestore/New York for Lockheed Martin, “Qantas Out of Office Travelogue” by The Monkeys and Qantas in Sydney for Qantas, “Reword” by Leo Burnett and Studio Pancho in Melbourne for Headspace, and “Serena Williams’ Match Point” by TBWAChiatDay, Los Angeles, for Gatorade led the way in this round with five finalists apiece.
The U.S. had the most finalists, followed by Australia (32), the U.K. (19), and Germany and France, with 17 each.
This year also saw the introduction of vertical markets. Entertainment and Games registered the most finalists with 37, followed by Tourism and Travel (24) and Technology Software (19).
This round’s tally marked the second consecutive strong One Show performance for “Field Trip to Mars.” Earlier finalists in Film, Print & Outdoor, Direct and Cross-Platform disciplines were unveiled, yielding 571 finalists from 38 countries, selected from 21,844 entries. Leading the way in these competitions were “Field Trip to Mars” and McDonald’s “Loving the Night” from TBWABangkok with nine finalists apiece.
“Crushed” by The Martin Agency for Geico, “Endless Possibilities” by almapBBDO/São Paulo for Getty Images and “Give the Rainbow” by adam&eveDDB, Mediacom, cain&abel and Stanley’s King Henry, all in London, for Mars-Skittles tied with eight finalists in round one.
The U.S. had the most finalists in this go-around, followed by the U.K. (36), Australia (32), Brazil (31) and Canada (28).
This year also saw the introduction of vertical markets. CPG (36) registered the most finalists, followed by Automotive (34) and Financial (31).
The One Show will take place at Cipriani Wall Street on May 10 and May 12 during Creative Week, the festival celebrating the intersection of advertising, design and the arts.
Here are links to the roundup of finalists announced thus far:
Click here for Cross-Platform
Click here for Direct
Click here for Film
Click here for Print & Outdoor
Click here for Interactive
Click here for Mobile
Click here for Social Media
Click here for UX/UI
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.
The one rule to follow is that... Read More