Work of the Week: 27/06/25
Turtle Wax - You Are How You Car
Chosen by Sunna Coleman, Asia reporter
I hear time and time again – from consumers and experts alike – that they'd love to see more humour in advertising. And if Turtle Wax's 'You Are How You Car' doesn't make you laugh, or at least smile at the complete absurdity, then I don't know what will.
Directed by Not Just Any's Aidan Gibbons and Nate Robinson, the spots feature car owners taking the utmost care of their vehicles which happen to be made up of gigantic versions of their heads, on wheels. From using an extra large cotton bud to clean the ears to giving its grill (i.e. teeth) a wipe, the spots capture car lovers' pride in keeping their vehicles gleaming. Just like Turtle Wax does.
VanMoof - Ride Like No Other
Chosen by Zara Naseer, EMEA reporter
Atmospheric, transcendent, surreal – 100% director Folkert Verdoornhe invites us to soar through the skies in this minute-long masterpiece for VanMoof. The cinematic film represents the return of the Dutch e-bike brand, as well as the arrival of its first new product since being acquired by McLaren Applied.
The whole experience, from the visuals to the music, seems equal parts nostalgic and futuristic, hardcore and peaceful, capturing a feeling of Amsterdam-cool. Thoroughly enjoyed by the LBB editorial team.
The British Skin Foundation - The Burnable Billboard
Chosen by Zhenya Tsenzharyk, UK editor
It’s not often a piece of work has it all, including enthusiastic nods from the entire editorial team. Well, this week the honour goes to Wonderhood Studios’ work with The British Skin Foundation. Using live UV data and Ocean outdoor screens, the team created ‘burnable’ billboards depicting how different skin tones react to sun exposure over time. The close-ups of skin skirt a sultry line, as pointed out by a fellow editor, and are certainly eye-catching while the minimalist copy and branding transmit the information needed aesthetically, and with restraint.
The screens were placed strategically in high footfall areas powered by live data feed technology, API and data from weather sensors, providing an exact UV level in that location in real time. AI helped to power the creative. The organic, visual effect of burning skin was achieved by collaborating with a dermatologist and a technical team at The Gardening.club who developed an AI model trained to produce realistic depictions of sun damage within just a few hours of unprotected UV exposure.
In the UK, the cases of melanoma – the deadliest form of skin cancer – are on the rise and only 27% of Brits protect their skin adequately from sun damage. ‘The Burnable Billboard’ gets this message across powerfully and with style.
Nedbank - #GetMoneyFit
Chosen by Paul Monan, head of creative excellence
For the next few months I'm going to be training for September's Berlin marathon. My training plan is on a meticulously crafted spreadsheet with target paces, actual paces, distances and rest days all mapped out. Some of my long runs will be at stupid o'clock – to avoid the stifling summertime air – and I'll turn down plenty of post-work beers to avoid even a sniff of a hangover. So maybe that's why this NedBank film struck me this much: if I put this much care, effort and planning into my running, why don't I do it with my money?
It's a smart story told through a sporting lens by ROMANCE's Greg Gray, who teamed up with Joe Public and the bank to challenge South Africans to put their money through the same paces as they put themselves. A traditional bank ad would be pushing boring products like loans or cards or insurance. This film is not that – it's cinematic, well crafted and leads the audience into thinking it's big, genre-conforming sports work. But the reveal is that this is a metaphor for your money and has an insight that could work at scale, for a global banking brand or in other markets quite easily.
Jansport - Always With You
Chosen by Tará McKerr, Americas reporter
This is one of those things that in theory probably sounds a bit shit. Singing backpacks. Jansport backpacks, to be specific. But the trio of films lean on simple strategy and universal humour. The wee giggles that escape our lips when we encounter something that’s just plain… silly. And isn’t that what we need more of? It’s certainly a conversation that came up during Cannes this year – the need for more joy. Simple, uncomplicated, just-for-the-sake-of-it, joy. The backpacks belt ballads out of key – tune is not in the room with us. My favourite is the third, but I recommend indulging yourself. Take a moment to let the outer corners of your mouth turn upright, even if you will them not to.
Gruen - Youngbloods Vic Pitch
Chosen by Tess Connery-Britten, news and features editor AUNZ
'Gruen' is an Australian TV show about advertising, and every week 'The Pitch' sees two two agencies go head to head to make an ad with an unconventional brief. This week the teams were tasked with convincing people to spend their children's inheritance.
Run by the Ad Council of Australia, Youngbloods is an organisation helping young industry professionals break into advertising. In every season of 'Gruen', one episode puts Youngbloods in the spotlight.
We've all seen rug-pulls before, but this one is the most effective one I've seen in a while. Despite knowing what the brief was, I didn't see it coming at all.
Even though this isn't an official ad that will be shown anywhere other than 'Gruen', I've been thinking about it for days.
It's worth checking out the New South Wales committee's entry as well. After all, panellist Todd Sampson said, “They’re two of my favourites. Whenever we see the Youngbloods, I think advertising has a future… or the world is doomed.”
Whānau Ora - Māori Roll Call
Chosen by Tom Loudon, AUNZ Reporter
The campaign is a success in its culturally-grounded activism, which meets strategic communications. Centring the simple but profound act of name-recitation – a deeply Māori cultural practice – the work transforms electoral enrollment from a bureaucratic process to a collective ceremony. The 30-minute format itself makes a statement: this isn't about snappy soundbites, but the weight of history and community.
The symbolism is deliberately crafted, from the poutama (stairway) pattern representing progress, to the Beehive-inspired set connecting directly to political power structures. Most importantly, it flips traditional voter emphasis on individual action to frame enrollment as whānau responsibility. When Tāme Iti asks "Will you answer the call?", he invokes generations of Māori activism.
Tennis Canada - Welcome to the Tennis Playground
Chosen by Alex Reeves, managing editor, EMEA
The great thing about this tennis campaign is it's totally not what we envision when we think of a tennis campaign. It's not really about the tennis, which is why the work from Sid Lee stands out. It's much more about the National Bank Open's host cities of Montreal and Toronto and their general vibe – open, fun and inclusive. It's not playing tennis. It's playing with tennis. And the result is uniquely enjoyable.
COACH - Not Just for Walking
Chosen by Ben Conway, Americas reporter
Directed by Lief's Alma Har’el, this stylish film for COACH’s Soho Sneaker is a dynamic vignette of Hollywood luxury. Charles Melton plays a self-serious actor darting around the soft, warm light bathing his wooded home, conjuring images of Frank Lloyd Wright usonian masterpieces set into the hills of Los Angeles.
He's rehearsing lines – or is he? – as fiction and reality quickly intertwine when a paparazzo appears in the garden. The paranoid line deliveries become an expression of the actors' own surveillance, prompting Charles to use his shoes as a decoy and make a quick getaway – in a convertible, of course.
It's a little tongue-in-cheek but filled with plenty of charm and an engaging jazz percussion soundtrack, and stars the perfect leading man to balance modelling and acting. It's hard to keep your eyes off it.
Amazon - What’s Next?
Chosen by Addison Capper, managing editor, Americas
My last contribution to Work of the Week was Walmart's 'Who Knew?' starring Walton Goggins – a legitimately funny, off-the-wall campaign for one of America’s biggest retailers. This week, I’m spotlighting another retail giant: Amazon. I realise they probably won’t love me name-dropping a direct competitor, but hear me out. This latest Prime Day ad, created by Amazon’s in-house team and directed by Hungry Man’s Wayne McClammy, sees LeBron James – who, I must add, delivers impeccably – pondering life after retirement in a series of enjoyably absurd scenarios. It’s sharp, universally funny, and proof that often the best strategy is simply to have fun.
Second Nurture - 18 Months
Chosen by April Summers, North America features lead
So much imagination and heart went into creating this — all in the name of meaningful storytelling. The true story, in fact, of Danny Stewart and his partner Pete Mercurio, who had to fight for the right to adopt the sweet baby boy Danny discovered on the streets of New York, 25 years ago.
Watching this film, I was transported to the dark and dingy New York subway station where Danny stumbled across his future son, all those years ago. Thanks to the craftsmanship that went into conveying the emotional shifts experienced by this couple - any many other couples around the world - I felt the fear, the anxiety, the judgement: each emotion conveyed with subtle yet profound skill.
This magical marriage of stop-motion, 2D animation, CGI, and handmade dolls utilises mixed media as a vehicle to convey true emotional depth to the characters’ performances. Fighting the good fight on behalf of non-profit organisation Second Nurture, who are challenging outdated ideas about parenting and family dynamics, this is a brilliant achievement by Zombie Studios and Klick Health. And the awe-inspiring case study is well worth a watch!
