Cannes Lions film award: deconstructing the winners
If the Harvey Nichols 2013 Christmas ad Sorry I spent it on myself was a suspect in a crime, it would have almost given in by the end of the Cannes Lions festival. It was subjected to relentless interrogation, a spotlight pushed continually into its face to try to expose any inconsistencies in its story, its motivation and its authenticity. The 21 jurors never stopped cross-examining this film, but it didn't buckle under pressure, not for a second.
That's why, following hours of intense discussion and seven straight days of searching for the world's best advertising and film content of 2012, we decided to award one of two Grand Prix to this work – because it felt right.
It's bold, brave and beautifully executed. But most of all it found a very different way into solving a business problem. In this it achieved something we felt was extremely difficult: to make self-indulgence funny.
But it goes much deeper than that. First off, it's absolutely unapologetic in its agenda. This year, buy expensive stuff … only, for yourself instead. As an insight, it recognises this trait – this little guilty voice within the target audience – and presents them with an idea that gives them the means to be able to indulge it.
The whole thing works because the balance is right. Embarrassed, pregnant pauses contrasted with guilty, slightly worried laughs. Accusing stares juxtaposed with oblivious self-obsession. The Christmas morning present-unwrapping ritual is a very British situation, and yet because of its uniquely human insight, it becomes a universally understood one, as exemplified by the fact that a jury of 21 people from countries as diverse as the US, Argentina, Japan, Thailand, India, Brazil, South Africa, Mexico and Norway connected with it.
The epic split ad for Volvo Trucks, on the other hand, was probably the least-biggest surprise ever in the history of Cannes, but that's exactly what's so powerful about it. A lot has been written about the elements that make the film sublime, such as the music, the precise timing of the sun rising, the gold trucks and, of course, the serenity of the entire piece.
What's most appealing to me is how all of these moving parts work seamlessly together to create a feeling of harmony. It leaves me with a sense of exactly what Volvo Dynamic Steering must actually feel like, and that is what remains long after the film has finished. That's why I believe the film will still remain fresh, remarkable and memorable for many years to come.
If the Harvey Nichols ad was a crisp enactment of a brilliant insight, then the Volvo Trucks was the capturing of a certain feeling. Both ideas were brave; both were focused; both were, we believed, benchmark pieces of work that should be rewarded and recognised accordingly.
Jeremy Garner was on the film jury at Cannes Lions 2014 – he is a creative consultant at Orange Digital
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