A tamed down :30 of this online :60 for Kraft Heinz’s frozen food brand Devour is slated for this year’s Super Bowl.
In this uncensored version designed to generate buzz for the brand and its upcoming Super Sunday ad, a woman talks about her boyfriend’s addiction to “frozen food porn,” replete with obsessive watching of videos and a hidden stash of photos.
The Super Bowl work is from agency David Miami.
Client Kraft Heinz/Devour Agency David Miami Ignacio Ferioli, Joaquin Cubria, chief creative officers; Ricardo Casal, Juan Javier Pena Plaza, executive creative directors; Jean Zamprogno, Fernando Pellizzaro, associate creative directors; Melusi Mhlungu, sr. copywriter; Sofia Rosell, jr. art director; Veronica Beach, head of global production; Carlos Torres, sr. producer; Renata Neumann, Marina Rodrigues, producers. Production Landia Andy Fogwill, Agustin Carbonere, directors; Juan Taylor, exec producer. Laureana Ferrucci, producer; Julian Ledesma, DP; Ludmila Herms, head of production; Juan Cavia, Walter Cornas, production designers. Editorial & Online Cosmo Street Editorial Lorenzo Bombicci, editor; Yvette Cobarrubias, exec producer; Idalia Deshon, producer; Andrew Corrales, assistant editor; Tim Miller, Flame artist. Color Apache Quinn Alvarez, colorist; LaRue Anderson, exec producer. Music Beacon Street Studios Andrew Feltenstein, John Nau, composers; Adrea Lavezzoli, exec producer. Audio Post Beacon Street Studios Amber Tisue, miser; Aaron Cornacchio, mix assistant; Kate Vadnais, mix producer; Adrea Lavezzoli, exec producer.
Dancer turned director Ezra Hurwitz collaborates with Ailey II artistic director Francesca Harper, featuring movement as museum pieces against the Whitney Museum of American Art’s striking architecture for this short film titled Echoes of Ailey. Commissioned to celebrate “Edges of Ailey” at the Whitney Museum, the film accompanies the first large-scale exhibition on the life and enduring legacy of visionary artist and choreographer Alvin Ailey. “Edges of Ailey” is currently on view at the Whitney until February 9.
Animating iconic images from Alvin Ailey’s 20th-century repertory, the film expands on the exhibition by constructing a visual narrative around his storytelling and influences. Set to Radiohead’s “Everything In Its Right Place,” dancers from the Alvin Ailey American Dance Theater, Ailey II, and The Ailey School capture the emotional core of the company’s history--physically situating Ailey’s masterworks amongst the Whitney’s collection.
“As a child, my grandmother took me to Ailey’s Revelations once a year,” said Hurwitz. “No matter how often I saw it, the work captivated me. There isn’t one specific thing I hope viewers take away from the film--or one way to interpret its images. It’s meant to be an abstract work, like Ailey’s creations.”
Turning to his archive, Hurwitz and Harper illuminate key sequences symbolic of Ailey’s profound legacy, closing on an uninterrupted sequence from "I’ve Been Buked," the opening movement of Ailey’s legendary "Revelations." Carrying a watershed moment back to its own medium, Echoes of Ailey captures the multigenerational impact of Ailey’s work, continued by his organization. The short film first premiered on Nowness.
Hurwitz is... Read More
