Title | ORIGINS |
Brand | LA FRANÇAISE DES JEUX |
Product/Service | LA FRANÇAISE DES JEUX |
Category |
A06. Editing |
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 edit. Do not name the editor.
The editing plays a key part in the narrative of this film, it allows us to go back and forth between two periods while bringing a modernity to the whole. Each transition is different and unexpected: many characters, period change through a car window, crossing a tunnel by bus, melted scenery (in 1933 car traffic, 2019 vehicles are gradually entering the traffic), fields/counterfields, pigeon flight.
All these effects give the visual rhythm but also the feeling that the periods (dialogue and characters) respond to each other, which is the main mechanism of the film. Indeed this editing gives a better understanding of the model of the company and its origins through a conversation which remains fluid despite the large number of informations to convey.