| Title | SEX IS A DIALOUGE |
| Brand | RFSU |
| Product/Service | CONDOMS |
| Category |
B01. Editing |
|
Entrant
|
RADON CREATIVE Stockholm, SWEDEN
|
|
Idea Creation
|
RADON CREATIVE Stockholm, SWEDEN
|
|
Media Placement
|
RADON CREATIVE Stockholm, SWEDEN
|
|
PR
|
RADON CREATIVE Stockholm, SWEDEN
|
|
Production
|
RADON CREATIVE Stockholm, SWEDEN
|
|
Post Production
|
RADON CREATIVE Stockholm, SWEDEN
|
Credits
| Maja Haraldsson |
Radon Creative |
Senior Project Manager |
| Alexandra Arvidson |
Radon Creative |
Creative copywrite |
| Furkan Bayraktar |
Radon Creative |
Developer |
| Leo Köhler |
Radon Creative |
Motion |
| Anton Nicolau Noren |
Radon Creative |
Editor |
| Marcus Lundin |
Radon Creative |
Director |
| Erik Skånmyr Hero |
Radon Creative |
Agency Producer |
| Johanna Lindberg |
Radon Creative |
PR lead |
| Petrus Lidbeck |
Radon Creative |
Editor |
| Frida Sarachu Nilsson |
Radon Creative |
Project manager |
| Andreas Knutsson |
Radon Creative |
Designer |
| Christopher McClaren |
Radon Creative |
Paid media lead |
| Oliver Powers |
Radon Creative |
Paid media |
| Christoffer McKie |
Radon Creative |
Designer |
| Christian Persson |
Radon Creative |
Developer |
| Karolin Gu |
Radon Creative |
Motion designer |
| Albin Sjödin |
Freelance |
Director Of Photography |
| City Father . |
Freelance |
Music Artist |
| Ponytail . |
Ponytail |
Sound |
| Miles Lembke |
Freelance |
Grade |
| Johan Broome |
Freelance |
Set designer |
| Sofi Gregersdotter |
Freelance |
Stylist |
| Soley Astudottir |
Freelance |
Hair and make up |
| XO Mgmt, The Talent Group and Art Official . |
Freelance |
Talent, etc |
| Gabriella Engdahl |
Freelance |
Actor |
| Peter Lundhall |
Freelance |
Actor |
| Anette Otterström |
RFSU |
Nordic brand manager |
| Christina Gjerluf Brantling |
RFSU |
Marketing manager |
| Pelle Ullholm |
RFSU |
Sex ed |
Write a short summary of what happens in the film
The viewer is able to switch between the perspectives of two subjects: a man and a woman, both in their 20s. At a house party, the guy has just spotted a girl he’s been hoping will show up. She does, and she wonders if he’s still single. Soon, they’re chatting on a couch, and we hear the nerves building in their minds. Visual effects evoke the sexual electricity that begins to spark between the pair, and before we know it, they’re outdoors and night is turning today. Kissing is followed by foreplay, and thoughts bounce between body insecurities, pleasure, condoms, and performance anxiety. The girl hopes he’ll use a condom, though the guy is worried about one killing the vibe. He reaches for one anyway. Moments later, passionate sex ends. Text appears: “Reading someone isn’t always easy. A condom is a perfect way to start the conversation.
Cultural / Context information for the jury
The thoughts voiced in the script are based on real interviews with young Swedes, revealing questions, concerns, and insecurities about sex that many would never dare say out loud.
The cast is made up of regular Swedes (no famous actors) to make the film more relatable to the target audience. The main characters are also a young couple in real life, making the intimate acting both natural and vulnerable.
A diverse cast was also key to make it feel genuine, mirroring society as it is, casting an array of shapes, sizes, sexualities, and ethnicities.
The setting of a house party in the suburbs as well as a typical Scandinavian lake in the summer also played a role in making it relatable to the memories of young Swedes across the country.
Tell the jury anything relevant about the edit. Do not name the editor.
This film gave us an unprecedented challenge in the editing room; we were making two edits that would later play simultaneously in an interactive player, with the viewer able to cut between the two perspectives.
Both edits needed to work on their own, meaning that if the viewer decided to just watch one perspective, the story, emotions, and messaging should be conveyed in a clear way without feeling sluggish or slow-paced.
At the same time, they needed to be synced in their rhythms so that the viewer didn’t get disoriented when swapping perspectives.
What we found was that using the exact same cutting points in both films helped make the interactive viewing experience less jumpy. And we slowed the editing pace down to roughly 50-60% to account for the viewers making their own cuts.