| Title | REVERSE SELFIE |
| Brand | UNILEVER, DOVE |
| Product/Service | DOVE MASTERBRAND |
| Category |
A03. Casting |
|
Entrant
|
OGILVY London, UNITED KINGDOM
|
|
Idea Creation
|
OGILVY London, UNITED KINGDOM
|
|
Media Placement
|
MINDSHARE New York, USA
|
|
PR
|
EDELMAN New York, USA
|
|
PR 2
|
HALPERN PR London, UNITED KINGDOM
|
|
Production
|
INDEPENDENT London, UNITED KINGDOM
|
|
Post Production
|
THE QUARRY London, UNITED KINGDOM
|
|
Post Production 2
|
ABSOLUTE POST London, UNITED KINGDOM
|
|
Post Production 3
|
GRAND CENTRAL RECORDING STUDIOS London, UNITED KINGDOM
|
|
Post Production 4
|
BIG SYNC MUSIC London, UNITED KINGDOM
|
|
Post Production 5
|
THE FORGE London, UNITED KINGDOM
|
Credits
| Alessandro Manfredi |
Unilever |
Global Dove, Executive Vice President |
| Sophie van Ettinger |
Unilever |
Global Brand Vice President - Dove Masterbrand |
| Leandro Barreto |
Unilever |
Global Vice President - Dove Masterbrand |
| Edo Briola |
Unilever |
Global Brand Director. Dove Masterbrand |
| Hugo Rawlinson |
Global Brand Manager, Dove Masterbrand |
Global Brand Manager, Dove Masterbrand |
| Alix Colin |
Unilever |
Global Brand Manager, Dove Masterbrand |
| Daniel Fisher |
Ogiilvy |
Global Executive Creative Director Unilever |
| Juliana Paracencio |
Ogilvy |
Global Creative Director |
| Liam Bushby |
Ogilvy |
Art Director |
| Alison Steven |
Ogilvy |
Copywriter |
| Ollie Jarrott |
Ogilvy |
Head of Copy |
| Matt Nankivell |
Ogilvy |
Head of Art |
| Sian Hughes |
Ogilvy |
Design Lead Integrated |
| Jo Bacon |
Ogilvy |
Global Business Lead, WPP Unilever |
| Sam Pierce |
Ogilvy |
Global Managing Partner |
| Georgie Howard |
Ogilvy |
Global Business Director |
| Grace Boyle |
Ogilvy |
Account Manager |
| Zahra Mair |
Ogilvy |
Project Manager |
| James Brook-Partridge |
Ogilvy |
Head of Integrated Production |
| Sally Lipsius |
Ogilvy |
Film Producer |
| Sue Lee Stern |
Ogilvy |
Film Producer |
| Sarah Thomson |
Ogilvy |
Head of Art Production (Unilever) |
| Chloe Jahanshahi |
Ogilvy |
Art Producer |
| Ben Kay |
Ogilvy |
Chief Strategy Officer |
| Ila De Melloa Kamath |
Ogilvy |
Strategy Partner |
| Justin Jackson |
Ogilvy |
Senior Social Strategist |
| Benito Montorio |
Independent |
Director |
| Steve Annis |
Independent |
Director of Photography |
| Verity White |
Independent |
Executive Producer |
| Eakhurst Eakhurst |
Independent |
Producer |
| Sam Jones |
The Quarry |
Editor |
| Scott Crane |
The Quarry |
Editor |
| Phil Oldham |
Absolute |
VFX Supervisor and lead flame artist |
| Lucas Warren |
Absolute |
VFX Artist |
| Tom Clapp |
Absolute |
VFX Artist |
| Carl Godwin-Alvarez |
Absolute |
VFX Artist |
| Jonas McQuiggan |
Absolute |
Motion graphics and design |
| Sally Heath |
Absolute |
Executive Producer |
| Munzie Thind |
Grand Central Studios |
Engineer |
| Philip Klein |
Big Sync |
Composer/Arranger |
| Sophie Harris-Taylor |
Swerve Represents |
Photographer |
| Lucy Barbour |
Swerve Represents |
Stills Producer |
| Justin Shurmer |
The Forge |
Retoucher |
Write a short summary of what happens in the film
With the self-esteem crisis at boiling point, Dove had a responsibility to act, we launched the modern-day sequel to Evolution. ‘Reverse Selfie’ follows the true story of our real girl, Grace. In the film, Grace appears to be a 19-year-old woman trying to achieve the ‘perfect’ selfie. Her skin air brushed, her nose thin, her lips plumped, her eyes wide and her hair immaculate. We then reverse backwards, journeying to see all the retouching tools Grace used to create this ‘ideal’ selfie. Through close and macro shots we see her lip gloss reverse from her lips and the drip of her nail varnish return to the bottle. The distortion is troubling. When all filters are removed, to our surprise, we are left with the real 12-year-old Grace. The film gives us a small glimpse into the beauty pressures millions of girls around the world face every day.
Cultural / Context information for the jury
Please explain any cultural terms, references or viewing context which would be known by the local audience, but may not be known by our international jury.
Since the film Evolution, Dove have been fighting unrealistic beauty standards. Sadly, those same unrealistic beauty standards still exist today and it’s far worse: instead of media distorting their images, the young girls are distorting their own selfies using retouching apps. A disturbing trend that has been exacerbated by social media pressures and phone time during the pandemic. In fact, 80% of girls are now using retouching apps by the age of 13. This level of distortion is going as far to cause selfie dysmorphia and a rise in cosmetic surgery. It’s something parenting groups are becoming increasingly anxious about.
Tell the jury about the casting process.
Dove embody authenticity, it’s baked into the brand’s DNA. The approach was to give women and girls a platform to tell their stories and have their voices heard. We knew for this to be a success, authenticity was paramount. We only cast real girls who use these retouching apps and social media every day. Grace was our stand out, in her interview she talked about the toxic world of social media, the pressures and how easy it was to be sucked in. Every retouched shot seen in the film was recreated based on tools within the face apps Grace used; whatever Grace altered or airbrushed, we replicated and brought to life in the film. This ensured our film would reach the Dove standard of authenticity and feel genuine and relatable to the viewer and millions of girls who go through this every day.