With 2022 about to enter the proverbial rearview mirror–and not soon enough for many of us–it’s time for reflection on varied fronts, including assessing what work was among the year’s most worthwhile creatively.
Determining any year’s “best” is a highly subjective proposition so SHOOT staffers looked to at least narrow the field by first culling through our weekly Top Spots as well as our “The Best Work You May Never See” gallery entries throughout 2022. We then added to the field select pieces of work that might have fallen through the cracks and not earned weekly Top Spot (perhaps beaten out by another piece in a given week) or “Best Work” distinction yet which we had covered extensively in other stories during the course of the calendar year.
We also reviewed the year’s quarterly Top Ten Tracks and VFX/Animation charts, ultimately choosing a Top Five for the music and visual effects/animation disciplines.
Here’s a rundown of SHOOT’s selections for the Best Work of 2022 divided into Top Spots, The Best Work You May Never See, and our Top Music/Sound Tracks and Top VFX/Animation entries.
Top Spots of the Year
Maybe it’s the nature of our divisive, polarizing times which has us seeking refuge in some positive, life affirming messages. Whatever the case, we found ourselves gravitating to recent holiday ads for their uplifting trajectory–and they figured prominently in our assessment of work that truly resonated in 2022.
Heading the Top Spot parade for the year is an inspiring heartfelt holiday spot from British retailer John Lewis titled “The Beginner.” Directed by Steve Rogers of Biscuit Filmworks UK for adam&eveDDB London, the title character is a middle-aged man who struggles with great comedic effect to become a capable skateboarder. We see through his determined eyes many failed attempts and mishaps as he suffers a series of accidents.
Viewers are left questioning the motive behind his perseverance until the final scene, when there is a knock at the door. We see a social worker standing with Ellie, a young teenager who is waiting anxiously to enter her new Foster home, skateboard in hand. The significance of skateboarding to our protagonist becomes clear, as we understand his resolve to find common ground and a way to connect with Ellie as she is welcomed into their family home. Through “The Beginner,” we see the power that kindness can make in someone else’s life, particularly children in foster care who can often feel isolated and forgotten, particularly at Christmas.
Our #2 pick for the year’s best work also broke during the holidays and on the surface seems incongruous–a tug-at-the-heartstrings piece for AR glasses. Directed by Sune Sorensen via Sorensen Films for agency F5 Shanghai, this film introduces us to a family of four who visit an elder care home. They’re there for Nick’s grandmother but his dad, Sam, warns that she’s been getting worse. A heartbreaking moment later, we realize just how bad it has gotten when she can’t recognize her grandchildren, let alone her own son. Nick and Sam, who clearly don’t see eye to eye (Nick, an almost-adult-soon-to-move-out son and Sam, a somewhat-controlling-can’t-let-go dad) get frustrated and Nick storms out of there. But when he returns later that evening, the car is packed to the brim. He’s up to something–a potential game changer which reconnects grandma with her family, facilitated by Nreal Air AR glasses.
Taking third place in our Top Spot countdown is a moving new spot from Cox Communications which shows the power of connection. Directed by INSTITUTE’s Lauren Greenfield, via FCB Chicago, “Not Alone” focuses on the families of children with Koolen-de Vries Syndrome (KDVS), a rare genetic condition associated with developmental delays and several health concerns. With the rarity of KDVS, it’s crucial for families to share information and support one another in order to navigate the ups and downs of the condition and associated healthcare challenges. Greenfield’s skill in documentary storytelling is reflected in this project as she worked closely with multiple families and the actors bringing their stories to life. She deftly captured their genuine connections and the journeys they have faced together.
Finishing fourth while also furnishing inspiration is a Kroger grocery stores’ holiday ad underscoring food’s incredible power to ensnare our senses and punch through time, bestowing upon us a remarkable window through which we can experience sharing past meals with loved ones once again. This enchanting, magical force is behind “Today’s Holiday Moments are Tomorrow’s Memories” out of DDB New York. Hornet director Yves Geleyn came together with feature filmmaker Mike Thurmeier to co-direct this holiday film, bringing the Hornet CG toolkit to bear. The story centers on an elderly man named Jack, who stumbles upon the cookbook of his late wife, Isabela. He tries to make a few dishes, and after each taste, he relives a holiday memory. The film ends in the present day when Jack carries on his favorite food traditions with his granddaughter.
And rounding out our top five is a Xmas film from PENNY markets in Germany titled “The Rift” directed by Seb Edwards via ANORAK Film for agency Serviceplan Campaign, Munich. “The Rift” addresses the divisions that are increasingly running through our society, and implores viewers to encourage an open dialogue with their neighbors. The campaign is an urgent call to listen to each other again. A plea for fewer barriers and more empathy: a clear message, even beyond Christmas and more topical than ever. “Can we talk?” a boy asks his neighbor in the final seconds of the film. Just a few minutes earlier, we watched him yell at her in anger. It’s a question people have been asking their neighbors less and less in recent years–and one they should ask much more often. War, COVID, the climate crisis and many other disagreements, large and small, have dominated discussions in recent years. Society is more divided than ever. Yet wasn’t Christmas supposed to be the time to reconcile? The film uses powerful images to show the cracks that run through society: generational conflicts, racism, war supporters vs peace activists, cars vs bicycles, fear of COVID vs pandemic fatigue. The spot shows all this within an ordinary apartment block that is increasingly and literally being torn apart. “Silent Night” plays softly in the background, but all festive understanding of each other seems to be missing. The film’s ending query is a thin yet substantive reed of hope that we can still come together.
“Best Work” gallery
Work ranging from the poignant to the seemingly absurd–and places in between–made their mark on our Best of “The Best Work You May never See” gallery for 2022.
Registering on the poignancy scale was “I Knew All Along” for White Ribbon, an organization in Canada that works to highlight the systemic and societal issues that lead to gender-based violence. Conceived by Toronto-based creative agency Bensimon Byrne and directed Hubert Davis of Untitled Films, Toronto, the PSA centers on a new father, while holding his baby daughter in his arms, reflects on how he has behaved toward women and girls in the past. It becomes clear to him that he not only knows what she is likely to face; he could also have made the world better for her by considering his own actions sooner. We see some of what he did in an earlier life, giving profound weight to the observation that “for some men, everything changes when they have a daughter. Women and girls can’t wait that long.”
By contrast, an outlandish tongue-in-cheek premise takes center stage in our #2 Best Work entry for the year: “Happily Ever After” for Thinkbox, the marketing body for TV advertising in the U.K. Directed by Jonny and Will of Blinkink for agency Mother in London, the piece introduces us to Michael Goose, a passionate and devoted lawyer, and his struggle to build his business, which deals exclusively with nursery rhyme-related injustices. Despite his best efforts, the first few years were tough. But after securing a lucrative pay out for Jack and Jill (citing a public right of way and water-fetching bylaw), Michael re-invested the profits in a TV ad for his firm. That’s when everything changed. Overnight, Happily Ever After Law Associates became an institution. It wasn’t long before every blind mouse, eloping spoon, and popped weasel were beating down Michael’s door for legal representation. Cases featured in the new ad include Incy Wincy’s sudden and soaking eviction notice and Mrs Dumpty’s lawsuit for gross “eggligence.” The ad dramatizes a common story for many businesses: to go to the next stage of growth and scale up, they turn to TV advertising to drive new, widespread demand. With its ability to reach vast audiences, grab attention, engender trust, forge emotional connections, and make brands famous, TV helps brands jump over the moon.
Continuing in the humorous vein is our #3 entry, a spot in the “Insure your happiness” campaign for cat-and-dog insurance brand ManyPets created by London-based agency Uncommon and directed by James Rouse of Biscuit Filmworks. The story centers on a pet owner who appears to be at a therapy session. We focus on our patient with tears in her eyes, reclined back on a brown leather therapist sofa. As the film continues, it becomes clear her headspace has changed and she is able to see her previous problems from a different, clearer perspective. She credits the therapist for invaluable help and support. At that moment, the camera cuts to reveal the therapist–her pet. In the series, we see nine different pets, each with their own unique personality, looking back at her from the opposite chair, to show just how much of an impact and care our pets can give us.
Rounding out the top five Best Work You May Never See entries of 2022 are a couple of serious pieces. Settling in at fourth place is Falling in love, a film from Home Centre, a furniture and furnishings retail brand in the Middle East. The short is designed to combat the taboo around adoption and foster care in the Middle East. Falling in love is an emotional visual journey that captures a couple’s apprehension, their joys, their anxieties, their collective perseverance as they overcome familial, societal as well as interpersonal odds to get to the goal of adopting a child. It’s written based on in-depth interviews with couples who have wanted to adopt or have adopted, and their journey over the 6 to 9 months it takes to adopt. Adoption and foster care are actively denounced in the Middle East. The stigma attached runs through society, even often among family relatives. But there is a pressing need for adoption and fostering given children orphaned by war and the refugee crisis—as well as abandoned children across the region. Directed by Tahaab Rais who wrote the screenplay, the film out of Publicis Groupe MENAT–Leo Burnett Middle East features a licensed adaptation of Elvis Presley’s “Can’t Help Falling In Love.” As the film’s soundtrack, the song takes on an entirely new and profound meaning. (Director Rais serves as chief strategy officer for Publicis Groupe MENAT.)
And finishing fifth in our Best Work You May Never See rundown is Little Sister, a five-minute film for Fondation Abbé Pierre, one of France’s leading nonprofits working to combat homelessness and poverty. Directed by Arnaud Desplechin of production house Phantasm for creative agency Fred & Farid Paris, the film introduces us to a young man who finds himself on the streets after a fall-out with his family. He meets a volunteer from the Fondation who helps him get back on his feet, find a job and a place to live.
Olivier Lefebvre, president, partner and executive creative director at Fred & Farid Paris, commented, “We wanted to stay as close to reality as possible, so we decided to tell a story without any gimmicky advertising. We reached out to Arnaud Desplechin who was immediately moved by the story. He wanted to be as close to the reality of life on the street as possible, so he went to meet with homeless people in shelters run by the Fondation to gather their testimonies. The veracity of their situations, experiences, and words was very important to all of us.”
VFX/Animation
The top VFX/Animation entry in our current Q4 Chart–the short film Blue–also ranks as in the #1 slot for the year. Creative and technology studio Preymaker turned out Blue, a real-time animated short film created entirely in the cloud by a team of artists collaborating from around the world, rendered using Epic Games’ Unreal Engine, without the use of compositing.
Taking the #2 position is “Oregon Rocks” for Travel Oregon, directed by Gerson Aguerri via production company CANADA for Wieden+Kennedy, Portland, Ore. The overall campaign focused on the three most basic components that make up Oregon–rocks, water and soil–and deployed live action, stop motion, animation, CG and practical effects to show people how in Oregon, “Extraordinary” is “Ordinary.” The combined disciplines capture the surreal feelings and unique experiences that travelers have in Oregon. W+K’S longtime colleague shop Joint provided and facilitated postproduction, VFX and animation services and coordination–the latter involving the recruitment of notable talent, particularly in the stop motion animation arena, including artisans who worked with Wes Anderson on such stop motion films as Isle of Dogs, meticulously crafting and positioning each puppet and detail.
Earning distinction as the #3 entry is “Extreme by Nature,” a promo spot designed to launch the BBC’s coverage of the Olympic Winter Games. BBC Creative and Blinkink partnered to create the mixed media animation piece that brings to life the intensity of the competition through the harsh worlds of ice and snow. Directed by Balázs Simon via Blinkink, the gritty piece combines in-camera effects and post with intricate stop-motion animation, with entire scenes 3D printed frame-by-frame.
Finishing fourth is the centerpiece of the “Amani” campaign is this film created by Droga5 NY which reflects Meta’s potential to bring people together. The short was directed by Illimité World (French for “Limitless World”) which consists of two directors of color–Aus Taylor and Marleaux Desiré. Turned out by production company Love Song, the “Amani” short tells the story of 12 young African cyclists who have come together to compete in the global cycling scene–shining a light on the next generation of cyclists to show how Meta’s future vision for shared, immersive experiences in the metaverse has the potential to break down barriers universally. Love Song partner/director/EP Daniel Wolfe, who also exec produced Meta’s award-winning and Emmy-nominated film “Skate Nation Ghana,” served again as EP on the “Amani” film.
And rounding out our VFX/Animation Top Five is “Flip” for U.K. home improvement and garden retailer B&Q, conceptualized by London agency Uncommon Creative Studio and directed by Oscar Hudson of Pulse Films with Electric Theatre Collective serving as VFX/post studio. The :90 introduces us to a woman whose home pregnancy test comes back positive. Her eyes glint with equal hope and concern of the unknown ahead as she exhales a deep breath. She knows change needs to happen ahead of welcoming her new child to the world. As she looks down at her phone, she smiles as she proactively and seamlessly clicks to start that process in motion with B&Q, through the brand’s own DIY app. The shadows from outside begin to spill through the window, as we see her home begin, to literally and figuratively, flip.
Controlled chaos unfolds around her and her family; books fall from their shelves, the kitchen table slides to the back wall, pots and pans fall from every cupboard. Our protagonist doesn’t seem fazed–she moves towards it, climbing out of the kitchen window waving to her partner and son. The house is now turned 180 degrees. She climbs effortlessly to the top of the garden, with the support of a garden hose and stepping stones. With confidence and ease she slides down the family’s now refreshed garden, back through the window into their newly designed open kitchen and living area. She makes her way back over to the spare room, opening the door, where we now see a nursery. She excitedly now shares the news with her family: “I’m pregnant.” Her partner gushes with pride and goes to show his support as their family embark on this next chapter–we see the couple embrace through the door frame of their soon-to-be baby’s new room.
We pan out on the surrounding landscape, to see other neighboring homes transforming in this same flip motion. The film finishes with the catchline, “Change. Made Easier,” symbolizing change in life moments made easier through B&Q’s offerings. The film was shot entirely in-camera–after numerous models, 3D builds, and several practice set builds–bringing the massive rotating set to life.
Click here for our Top Five VFX & Animation Chart of 2022.
Music/Sound
Our #1 entry from the quarterly Top Ten Tracks Charts of 2022 is this piece designed to further de-stigmatize the care of pubic hair for P&G’s Gillette Venus. From Grey NY, the spot debuts the song “It’s Time to Care (For Your Pubic Hair)” featuring female rapper Princess Nokia. A worthy follow-up to 2021’s “The Pube Song”–for which BANG Music won the AMP Award for Best Original Song in a commercial directed by Sacha Beeley of animation studio Strange Beast–this new animated film again teamed Grey NY and Beeley, with BANG as the music house.
Taking the #2 slot in our Top Tracks rundown is this DoorDash commercial, part of its “Passion Should Never Go Hungry” campaign. Directed by Luke Monaghan via production company London Alley, the spot follows a diverse crowd of soccer fans, following the lead of an impassioned capo. As he bellows out a rousing soccer chant, set to the tune of “When The Saints Go Marching In” with playfully tweaked Spanglish lyrics, the horde marches through the street, demanding what they most desire: food. Singing about their love of pizza and fries, the chant deepens with increasing layers of harmony and instrumentation, transforming into a full-blown musical experience as it reaches its crescendo. The DoorDash in-house team approached music and sound house SOUTH directly for the project. With the song and lyrics already chosen by DoorDash, SOUTH was tasked with all the rest, from original music and voice casting to arrangement, sound design, and final mix.
Garnering third place is Montefiore Einstein Hospital’s “Caring Makes Magic” directed by Fredrik Bond of MJZ for agency Alto. Composer Emile Mosseri, who earned a Best Original Score Oscar nomination in 2021 for Minari, teamed with music house Walker as well as sound designer Gus Koven of music/sound shop Barking Owl on a soundscape for the Montefiore Einstein film which introduces us to a toy shop owner who needs help. The medical care and treatment he receives translates into healing a village and bringing it back to life, underscoring that holiday time can be magic.
Fourth in our tracks countdown is this Xmas spot for German supermarket/department store chain Kaufland. We are introduced to a family moving into a house only to discover that a trailer home is next door. Suddenly the bloom is off the rose as the new family isn’t too pleased with its neighbors or neighborhood. However, kids of the respective families have no problem. The daughter in the new neighborhood family strikes up a friendship with the boy in the trailer home–much to the chagrin of her parents who proceed to build a fence separating the two residences. Undaunted the kids pass messages through the fence and interact with one another despite the physical barrier put between them. When the girl’s parents grow concerned when they can’t find their daughter one night, they see that she’s at the fence talking to the lad. At that point, her parents come to the realization that the fence must come down. It does and the families share a meal together at a table where a section of fence once stood. A super in German (translated into English) reads: “Friendship Knows No Borders” followed by the Kaufland logo. Kaufland served as client and agency on the Xmas 2022 spot, which was directed by Thomas Garber of Tony Petersen Film, Hamburg, with music and sound design out of Yessian Music in Hamburg.
And rounding out our Top Five Tracks Chart is Moncler’s “Monolith” in which intrepid explorers hit the expedition trail–snowy and icy–following a winged spirit guide in search of the coveted Moncler perfume bottle. Terence Neale of Park Pictures directed for agency General Idea. Music/sound house was Q Department.
Click here for our Top 5 Music Tracks Chart of 2022.
