BEST IN CRAFT (DIRECTION)
Castle Milk Stout ‘This is African Time’
Darling Films | Zee Ntuli

Awarded by Kate De Bruyn

Judge’s comment on DIRECTION CRAFT:
“In an industry where we are constantly told the first three seconds are the most important, this piece of work does exactly that. It demonstrates the power of what great craft is all about – making the viewer invested in the story from the very first frame so they choose to go on the journey with you. I love the use of light in this piece to bring the story to life. The way it interplays with the characters, creating a world for them to belong in and set’s them outside of time itself.

The pacing in this piece is also beautiful. The way it uses the power of still photography to create movement and energy, but the moving footage brings in the calm and the still. From this alone you can tell that every moment was thought through and considered. The craft takes the film away from being just anther brand manifesto piece with a clever metaphor, to being a work of art that makes you feel something.”

– Kate De Bruyn, Creative Director at Studio One, Publicis Groupe

BEST IN CRAFT (DIRECTION)
Castle Milk Stout ‘This is African Time’
Darling Films | Zee Ntuli

Awarded by Greg Gray

Judge’s comment on DIRECTION CRAFT:
“For me, Castle Milk Stout’s ‘This is African Time’ is the standout commercial this month because every creative decision serves a single, beautifully expressed idea. It takes a phrase that’s often used negatively and turns it into something generous and human. Rather than being about lateness, it becomes about slowing down, being present, and making time for the people and moments that matter. It’s such a simple shift in perspective, but it creates enormous creative opportunity, and the film captures that brilliantly.

What really elevates the film, though, is the originality of the execution. Rather than relying on familiar cinematic devices, it finds a completely fresh visual language to express the passing of time. The movement of light, still photography, subtle motion blur and stop-frame imagery all work together to create something that sits somewhere between photography and cinema. You don’t simply watch time passing, you actually feel it. None of these techniques ever feel decorative or gimmicky; every choice deepens the central idea.

A huge amount of credit has to go to Zee Ntuli for holding that vision together. It’s an incredibly disciplined piece of direction. The performances are beautifully measured, never overstated, just quiet, truthful moments that trust the audience and allow the emotion to land naturally. The pacing reflects the very idea the film is celebrating, taking time rather than rushing through it, and every department feels like it’s pulling towards exactly the same outcome.

I also think Ross Garrett’s contribution as the stills photographer deserves special mention. The photography isn’t simply supporting the moving image; it’s fundamental to the storytelling. The stills are not only beautiful in their own right, but they’re also integrated so intelligently into the film. Through long exposures, creating subtle movement, and stop-frame editing, the photographs begin to breathe, creating this wonderful sense of time suspended and time passing simultaneously. It’s an incredibly sophisticated piece of visual storytelling.

Finally, what impressed me most is how unified the craft feels. Direction, cinematography, photography, editing, sound and music all work together seamlessly. As a director, I know how difficult it is to get every discipline aligned behind a single idea, and this film achieves it with an effortless confidence that’s incredibly rare.

For those reasons, it’s my choice for Best in Category this month. It’s emotionally resonant, technically exceptional, and a wonderful example of how outstanding craft can genuinely elevate a great idea.”

– Greg Gray, Director at Romance Films

BEST IN CRAFT (EDITING CRAFT)
Castle Milk Stout ‘This is African Time’
Post Modern | William Kalmer

Awarded by Greg Gray

Judge’s comment on EDITING CRAFT:
“For me, the editing in ‘This is African Time’ doesn’t simply shape the footage; it’s where the idea really comes to life. The rhythm shifts between urgency and stillness, reflecting the tension between measured time and time well spent. The pacing is calm, confident and beautifully restrained, inviting the audience to feel time rather than simply watch it.

What I found particularly impressive is the way Ross Garrett’s still photography is integrated with Zee Ntuli’s moving footage. Through motion-blurred stills, stop-frame techniques and carefully judged pacing, the edit creates something that sits beautifully between photography and cinema. None of it feels self-conscious or indulgent. Every image feels deliberately chosen, every cut purposeful, and every editorial decision is in service of the central idea.

Ultimately, that’s what makes it such an outstanding piece of editing. It’s the rhythm of the edit that makes you feel ‘African Time’ rather than simply understand it. For that reason, William Kalmer would be my choice for Craft Best Editing.”

– Greg Gray, Director at Romance Films

CRAFT MENTION (SOUND – FINAL MIX CRAFT)
Pick n Pay ‘Eat Like a Champion’
Pressure Cooker Studios | Alex Smillie

Awarded by Kate De Bruyn

Judge’s comment on SOUND – FINAL MIX CRAFT:
“Good sound design is often an undervalued part of the production process, but done right, it can make a huge impact. So, as a writer by trade, I need to call out this piece as an example of that impact. 

In a commercial that chops and changes between many different scenarios and countries, the first element that lets the viewer know where you are is the sound. This always runs the risk of sounding disjointed and jarring, but the sound design here makes it seamless and easy to follow. There is a great mix of energy and stillness to really let the scenarios breath and allow you to absorb what’s going on before you jump into the next scenario. So, what could very easily become fast and frantic, rather feels like a journey with ups and downs, as well as space and movement that not only matches, but accentuates the editing in a smart, engaging manner.”

– Kate De Bruyn, Creative Director at Studio One, Publicis Groupe