| Title | ORIGINS |
| Brand | LA FRANÇAISE DES JEUX |
| Product/Service | LA FRANÇAISE DES JEUX |
| Category |
A01. Direction |
|
Entrant
|
HAVAS Paris, FRANCE
|
|
Idea Creation
|
HAVAS Paris, FRANCE
|
|
Media Placement
|
HAVAS MEDIA Paris, FRANCE
|
|
Production
|
PARTIZAN Paris, FRANCE
|
|
Production 2
|
ROYAL POST Paris, FRANCE
|
|
Production 3
|
MIKROS IMAGE Paris, FRANCE
|
|
Production 4
|
HRCLS Paris, FRANCE
|
|
Additional Company
|
THE HOURS PUBLISHING PARIS, FRANCE
|
|
Additional Company 2
|
SIXIEME SON Paris, FRANCE
|
Credits
| Christophe Coffre |
Havas Paris |
Chief Creative Officer |
| Guillaume Blanc |
Havas Paris |
Creative Director |
| Florian Roussel |
Havas Paris |
Creative Director |
| Alfred Pelamatti |
Havas Paris |
Art Director |
| Antoine Palle |
Havas Paris |
Copywriter |
| Benoit Lozé |
Havas Paris |
Planning Director |
| Julie Malet |
Havas Paris |
TV producer |
| Fabienne Meric-Rougier |
Havas Paris |
Producer |
| Antoine Bardou-Jacquet |
Partizan |
Director |
| Matias Boucard |
Partizan |
Director Of Photography |
| Isabelle Labeylie |
Partizan |
Production manager |
| Khalid Tahhar |
Partizan |
Producer |
| Jonathan Trebois |
Royal Post |
Post production manager |
| Sophie Reine |
Royal Post |
Editor |
| Didiera Lefouest |
Royal Post |
Calibrator |
| Damien Canameras |
Mikros Image |
VFX Supervisor and flame artist |
| Ivan Jovanovic |
HRCLS |
Sound producer |
| Alex Louboutin |
HRCLS |
Sound designer |
| Benjamin Falsimagne |
HRCLS |
Sound Designer |
Write a short summary of what happens in the film
The story takes place in 1933 in Paris. Bienaimé Jourdain and Albert Jugon, two broken faces (facially disfigured World War I veteran) chatting leaving a coffee. Bienaimé is having the idea to create a big lottery to help the broken faces but his friend is skeptical. Then, in a subtle transition, we change period to discover Melanie and Alexandre, in the same café but in 2019. They are actually talking about this lottery but 86 years later. A dialogue between the two periods then begins. Mélanie discusses with her companion, but the editing gives the impression that she answers to the characters of 1933. Through their walk in Paris, from the Place de la Bourse to the Sacré Coeur, we learn that they are at the origin of the Loterie nationale, which become La Française des Jeux, and that its solidarity model has never stopped ever since.
Cultural / Context information for the jury
This commercial, based on a true story, reveals the origin of the corporate model of La Française des Jeux and illustrates how moderne and timeless it still is. It bridges two eras to reveal Française des Jeux's unique model. At the end of WW1, the wounded in face and head, popularly known as the "Gueules cassées",as they were not considered as war invalids, did not receive any State assistance. Two of them, Bienaimé Jourdain and Albert Jugon, had the idea of creating a lottery to raise funds to help those war wounded. Today, 85 years later, La Française des Jeux is still operating on this same contributive model by redistributing 95% of the bets. This unique model is placing FDJ at the avant-garde of an economic and social structural movement, the one of companies with purpose, combining economical performance and profit with a collective interest objective.
Tell the jury anything relevant about the direction. Do not name the director.
This film tells us the story of the Française des Jeux, from 1933 to nowadays. The director's idea was not to make it an historical epopée but a dialogue between the times, to create a contemporary film. He chooses to use an equivalent cinematography (lighting, image processing) on both periods to link the scenes as naturally as possible. Thus, it is the sets (reconstruction of the Paris of the 30s, the smoky and dark atmosphere of the streets, the vintage cars and buses, etc.), the casting and styling (100 figuring and as many old costumes) which mark the change of era. The visual process isn’t caricatural. The choice of transitions, their modernity, allows unexpected jumps in time while preserving the fluidity of the storytelling. The music, played by a philharmonic orchestra (49 musicians), totally participates in this temporal journey by balancing the historical side with the modernity of the images.