| Title | MARRIAGE MARKET TAKEOVER |
| Brand | SK-II |
| Product/Service | SKINCARE |
| Category |
A01. Direction |
|
Entrant
|
FORSMAN & BODENFORS Gothenburg, SWEDEN
|
|
Idea Creation
|
FORSMAN & BODENFORS Gothenburg, SWEDEN
|
|
Media Placement
|
BE ON Copenhagen, DENMARK
|
|
PR
|
BE ON Copenhagen, DENMARK
|
|
Production
|
TOOL Los Angeles, USA
|
Credits
| Susanna Fagring |
FORSMAN & BODENFORS |
Account Supervisor |
| Linda Tiderman |
FORSMAN & BODENFORS |
Account Manager |
| Sophia Lindholm, Karina Ullensvang |
FORSMAN & BODENFORS |
ART DIRECTOR |
| Tove Eriksen Hillblom |
FORSMAN & BODENFORS |
Copywriter |
| Amat Levin |
FORSMAN & BODENFORS |
PR-strategist |
| Christian Sundén |
FORSMAN & BODENFORS |
Designer |
| My Troedsson |
FORSMAN & BODENFORS |
PLANNER |
| Alexander Blidner (film), Peter Gaudiano (digital) |
FORSMAN & BODENFORS |
Agency Producer, Film/Digital |
| Joey Chung (freelance) |
FREELANCE |
Chinese writer |
| Cut n Run |
Cut n Run |
Postproduction |
| Be On / AOL Platforms |
Be On / AOL Platforms |
Client Lead: Jakob Stigler, Head of Planning & Strategy: Thor Otar Nielsen |
| Floyd Russ |
TOOL |
DIRECTOR |
| Mary Church |
TOOL |
PRODUCER |
| Victor Magro |
Future Perfect Music |
MUSIC |
| Robert Helphand |
TOOL |
Exec producer |
| Jacob Moller |
TOOL |
D.O.P |
| Robert Ryang |
TOOL |
EDITOR |
| Cut n Run |
Cut n Run |
SOUND |
Brief Explanation
The film opens with a glimpse into the immense pressure Chinese women face regarding marriage. It then proceeds to explain “Sheng Nu”, a term designed by the government to label and stigmatize unmarried women over the age of 27. At the same time, four independent Chinese women are introduced, sharing their own personal views on the subject. Their parents are shown too, and they explain that matchmaking was an integral part of how marriage worked in their days. This leads to an examination of the marriage market, a place where parents go to match their sons and daughters using personal ads. The daughters agree to attend the market with their parents, but only to deliver their own personal messages – that they refused to marry just for the sake of it. The film ends with the parents understanding their daughters’ viewpoint and the first steps towards reconciliation.
Execution
To create the story we shot a documentary with four single women, aged 27-36, and their parents. We used real women and not actors, making it easier for the target audience to relate. Through deep diving interviews we got the women and the parents to open up about an issue they normally don’t talk about, resulting in a very authentic and emotional film. The interviews combined with shots of their everyday lives resulted in a story about how Chinese women struggle to keep the balance between the traditional expectations from family and their own modern way of living as well as their hopes and dreams for the future.