The One Club for Creativity unveiled entries from 37 countries that have been selected by its juries of top global creative leaders as finalists for the historic ADC 100th Annual Awards.
All finalists will receive a Gold, Silver, Bronze Cube or Merit at this year’s ADC 100th Annual Awards, to be announced on June 9 during the online Creative Week 2021. The complete list of finalists for ADC 100th Annual Awards can be accessed here.
Spotify In-House New York leads the way with 19 ADC 100th finalists, including 10 for “Alone with Me,” five for “Your 2020 Wrapped,” and one each for “Duos,” “Listening Together,” “Save Our Stages” and “Thank You Listeners.”
Goodby Silverstein & Partners San Francisco has 18 finalists, including five for Google/United Nations/Tribeca Enterprises’ “Life Below Water,” four for Cheetos’ “It Wasn’t Me,” three for its own “Respond2Racism—First-Responder Twitter Bot,” two each for Courageous Conversation Global Foundation’s “Not a Gun” and Doritos’ “Flat Matthew,” and one each for BMW of North America’s “Calm Wash” and HP’s “Windows of Hope”.
Also with 18 finalists is The New York Times Magazine , for 13 different entries. They include three each for “Great Performers” and “The Decameron Project,” and two for “Epicenter.” The New York Times for Kids picked up three finalists–“2020 Covers,” “Dogs and Cats” and “How It Works.”
BBDO Group Germany Duesseldorf has 16 ADC 100th finalists, including seven with Sehsucht for “Eurythenes Plasticus” on behalf of WWF Germany, and five with BWGTBLD Berlin for “#ENDviolence–More Than A Mark” on behalf of UNICEF Deutschland.
FCB Chicago also has 16 finalists, including 11 with Lord + Thomas Chicago, Current Global Detroit and FCBX Chicago for City of Chicago “Boards of Change.”
Other top ADC 100th finalists are DDB Paris and FCB New York with 14 each, Serviceplan Germany Munich and The Bloc New York each with 13, 140 and Tencent with 12 each, and Dentsu Tokyo and McCann New York with 11 each.
The entry receiving the most finalists selections with 12 is “Michelob ULTRA Courtside” by FCB New York for Michelob ULTRA, Microsoft and the NBA, followed by City of Chicago’s “Boards of Change” by FCB Chicago with 11.
Tied with 10 finalists selections are Spotify In-House’s “Alone with Me” and “The OREO Doomsday Vault,” with seven of the entries from Mondelez OREO with 360i New York and The Community Miami, and three by The Community with 360i and World War Seven.
In the lead up to the awards announcement during Creative Week 2021, The One Club will announce all Best of Discipline winners for the ADC 100th Annual Awards on June 2. Members of creative teams responsible for a select group of top winners will discuss the work with jury members in live streaming sessions on June 9.
Review: Malcolm Washington Makes His Feature Directing Debut With “The Piano Lesson”
An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson's "The Piano Lesson." Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington's footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.
Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it's second nature, it would be hard, one imagines, to go wrong. Jackson's own history with the play goes back to its original run in 1987 when he was Boy Willie.
It's not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with "Mudbound" screenwriter Virgil Williams, goes beyond Wilson's text and shows us the past and the origins of the intricately engraved piano that's central to all the fuss. It even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family's home. Another fleshes out Doaker's monologue in which he explains to the uninitiated, Fisher's Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes... Read More