Tessa’s comment: ‘Karien’s natural talent for storytelling comes alive in this performance. With her unique blend of experience, skill, and insight, she delivers a seamless and captivating narrative that feels incredibly relatable. The character she’s crafted is rich with layers and depth, making us feel every emotion—because who hasn’t been there? This is a fresh twist on the classic Chicken Licken humour, and I love it!’

Neema’s comment: ‘I am in love with how crisp and uncomplicated this piece is. There is a quiet perfection. The use of natural light is exquisite and the contrasting of earthy tones with bursts of colour gives a visual depth that feels intentional and effortless. And then there is the music. Ah! I believe in striving to “perfect every detail. And limit the amount of details to perfect”. This piece did that for me –  focused and refined.’

Imraan’s comment: ‘Really beautiful storytelling, filmic textures and heartfelt voice over culminate to celebrate our everyday heroes in a way that feels timeless and honest. Great work to all involved.’

Steph’s comment: ‘It’s been wonderful to watch Thina’s growth as a director over the years and I think her latest spot for Hunter’s is worthy to be called ‘Best in Craft’. The casting and performances are excellent – smart, considered and never veering off into slap stick although it would have been quite easy to do so. Loved the ridiculous comedic touches (like the crying goldfish) which help land the comic beats. But what makes it my pick is that in essence this is a promo ad, but so much love went into it that it feels like much more.’

Anton’s comment: ‘I have a soft spot for this kind of comedy! I love the universe of the spot, the writing, the characters, performance, editing, production design and all the small little touches. But that stuff only hangs together when you have a clear vision. Well done to Thina – she has a strong, clear comedy voice.’

Glenn’s comment: ‘What I really love about this spot (and the others in the campaign) is the subtlety of the direction. And how that subtlety amplifies the drama. The performances are tiny yet immense and work so powerfully to dramatise the messaging in the titles. It felt like it was an exercise in directorial restraint from Karien to pair back the performances until they were just enough, yet they become more intense for it. And that subtlety extends to everything about the spot, all of which is so carefully considered: the barely there lighting, the close-up framing, the slowness of the camera movements. Everything intensifies the drama of a single moment. A great example of how exceptional craft brings an idea to life. Beautifully made.’

Zwelethu’s comment: ‘The misdirection throughout this entire campaign kept me engaged creating tension from the very first frame. The text captions also give a great juxtaposition of tone by telling an alternate narrative of what is visually seen. This ending made me laugh out of relief and that it wasn’t that bad for the characters that I was worried about only moments ago. Cleverly crafted and well executed from the performance right through to the dramatic lighting and cinematography.’

Zwelethu ‘s comment: ‘This is another example of visual contrast and emotive performances that cause the viewer to interpret another narrative. I really enjoyed trying to figure out what they were really struggling with after seeing the first (Housemates) spot. Without the strong performances these films wouldn’t work, the director did an excellent job at creating the right atmosphere for the performers and again visual translation’

Chantelle’s comment: ‘The beer category has many tropes; traditionally featuring celebratory moments with that Toto backing track or a beergasm of golden liquid shots, set in a sexy bar with questionable lighting. Karien did none of that. She was able to capture delicate moments, sincerely. The opening scene is quiet, small and intimate; the music subtly draws you in. It’s so restrained with great performances that help land the message clearly. This is why Karien deserves Best in Craft.’

Fausto’s comment: ‘I have seen scripts like this before, and I’ve seen them executed really badly. It’s very easy to over-cook them. There’s a subtlety and restraint happening here with the direction from Karien, in all aspects of production, that I think translates and champions the idea very well. It left me feeling positive about South Africa, for a classic South African brand. And that’s valuable.’

Chantelle’s comment: ‘The beer category has many tropes; traditionally featuring celebratory moments with that Toto backing track or a beergasm of golden liquid shots, set in a sexy bar with questionable lighting. Karien did none of that. She was able to capture delicate moments, sincerely. The opening scene is quiet, small and intimate; the music subtly draws you in. It’s so restrained with great performances that help land the message clearly. This is why Karien deserves Best in Craft.’

Fausto’s comment: ‘I have seen scripts like this before, and I’ve seen them executed really badly. It’s very easy to over-cook them. There’s a subtlety and restraint happening here with the direction from Karien, in all aspects of production, that I think translates and champions the idea very well. It left me feeling positive about South Africa, for a classic South African brand. And that’s valuable.’

Grant’s comment: ‘Whenever I go through the judging process I try to find four elements in what is standout work: Educate me, Enlighten me, Entertain me and Envy. Any combination of these gives me great pleasure and this piece delivered all four in varying degrees. The Voicenote storytelling device was used elegantly and with enviable simplicity, beautifully considered cinematography, patient pacing, insane sound design, that hologram of thought had me going back a couple of times to see it again, car shots that were very present yet unimposing and the car was very clearly an integral character in the story, and and and. I really enjoyed it. Well done. I’m very happy that we are back to telling dope stories again. Delicate where they need to be and in your face all the same.’

Nicole’s comment: ‘I really appreciated how well thought out every aspect of the piece was – the cinematography, lighting, performance, grade, music, technique and the unexpected (modern) love story. Beautifully and sensitively handled – you can really feel how the idea was elevated by well-considered direction.’

Carl’s comment: ‘‘I love this piece so much. I consider direction to include all the various aspects and layers that go into producing something. Cinematography, editing, music, it’s all there and it’s all pretty dramatically epic. A little mini 4’40” movie that has drama, and tension. The pictures are beautiful, but the feeling of it all is just so powerful. Well done to Paul and the rest of the team.’

AK’s comment: ‘Anyone know what Animism means? If not watch this piece. Well done to Director Paul and Editor Xander for the love and care they took in their respective roles on this impressive piece of work. I enjoyed being swept away in this abstract, poetic short film that also manages to stay on-brand for Mami Wata surf apparel and accessories.’

Mpho’s comment: ‘This was the standout film for me, as a lover of all things sports, I thought it was well crafted and not a typical ‘sports promo video’ you’d expect from Supersport. Loved how they treated the lighting and cinematography. The intercutting between archival and shot footage is seamless, and helps to tell the story in an emotive way. I also appreciate that they didn’t try and recreate something we’ve seen before, and rather went for something unique, that stands out. This piece is a reminder why Ian is one of the great custodians of this commercials industry – such a fantastic leader. Everything about this film works hard. The cinematography is key. With very intentional lighting that aides the cinematography. Sound design plays its part. And the voice-over helps the spot flow.’

Charmaine’s comment: ‘The visual poetry articulates the architecture of this film both externally and internally. It speaks of love as an infection, a rejection and then redemption. Remarkable film-making.’

Neo’s comment: ‘From the opening shot I knew I was in for a treat. I just didn’t know that Paul Ward would be serving sour worms mixed with fireballs in his quest to showcase love and its mixed bag of emotions under an Afrofuturism backdrop. Every shot executed to take you through the pain and joy of love and its effects. Paul must’ve worked with an all-star crew because all the craft elements are exceptional. It’s a visual orgasm.’