Bruno’s comment: ‘This spot put me in exactly the right mood. The mood that makes other moods look moody. Every moment is perfectly crafted without being gratuitous unless gratuitous is the mood you’re in. Apart from being a bit of a category changer (Makro!) this piece entertains from start to finish. No doubt because every wardrobe choice, every transition, every lens choice and every piece of post-production keeps the mood going. It’s well-written, expertly directed and perfectly edited. The casting and performances are great, the approach is fresh and there should be more of this work around. Having a great agency, client & director collaboration is critical to producing this kind of work. But you have to have the right versions of all of the above, and did I mention having the right director. So basically Greg, well done!’

Jacquie’s comment: ‘The energy was palpable with every scene, keeping us intrigued as to what is going to spring up next. Great directing brought this ad to life!’

Tebogo’s comment: ‘This month has had some incredible spots, so judging was particularly difficult. However, this spot stood out for me as it ticked many craft boxes, every medium used was executed in the highest level. The intricate balance of multi-media the director struck with a surprising twist in every scene and well crafted sound design makes this spot my favourite, well done Greg Rom and all the technicians involved.’

Mark’s comment: ‘This is a fun brief and shout out to Jono for executing it with a deft touch. There’s a classic elegance to the direction that doesn’t try too hard to make me laugh. At the same time, the performances are beautifully understated, with Jono trusting the medium itself to deliver the comedy. High five Jono.’

Neo’s comment: ‘What an intriguing and watchable little campaign! The shot selections, as well as the information packed into each one, tell so much of the story and provoke the right emotions. Each shot is playfully yet expertly considered, curated and composed, resulting in a level of cinematic storytelling that does not need dialogue and frills to fill in the gaps – because the director’s visual storytelling leaves nothing out. Adding to its watchability is its multi-layered storytelling. Every time you watch each individual piece, you discover something different. What makes it a visually strong campaign is how the composition of each shot contributes meaningfully to the narrative. From the depth of each shot to the camera’s position, nothing is wasted and nothing is superfluous. Even though the shots are often static or have slow tracking, the movement is deliberate in its intentions; inviting you to engage but leaving you feeling uneasy! Yet another strong element in this treatment is the colour palette. At first glance, it is bright and colourful and optimistic. On closer inspection, it communicates something insidious that lies beneath. The result? You smile at the commercials’ comical nature but are left uneasy by…something. Very clever! I’m definitely fan-girling for this entry. Well done!’

Karien’s comment: “Time is a great indicator of a piece of work’s craft value. Despite the fact that this film isn’t timely or relevant or new or edgy, Greg’s deft handling of the leads’ performances earns him my Direction Craft Best this month. A tonally sure-footed short with solid storytelling, it entertained me all the way through. Special mention to the sound treatment which brings this imaginative story to life. Congratulations.”
“You can’t make a good film without a good script. Well done to Greg and Evy for developing this offbeat idea into a story that keeps surprising us. Good old storytelling gets a well deserved Special Mention.”

Molefi’s comment: “This short film is another great example of how to engage your audience from start to finish. And in my opinion it also follows one of the most important rules when it comes to drawing viewers in, it engages the imagination. It offers up visual suggestions and your mind fills in the blanks. Though it’s set in a bank, a scene most of us are familiar with thanks to countless movies, the creators have given it a twist that makes this piece mesmerizing and rewarding all the way to the end. Add the charming performances and I was won over by this film. Congratulations to Greg Rom and Evy Katz.”

Judges Comment: “You know whats my worst? Crowd participation. Like in live shows when they point into the crowd and ask you to come up on stage and get involved. That’s partly the reason that I don’t like theatre in general. I went to Grahamstown once and it really wasn’t for me. My mate fell in a ditch and someone stole his Air Max’s off his feet. Who does that? Also, I was late for a performance (cos I had to piggy back my mate whose foot was buggered from falling in the ditch and then walking home lank far with no shoes on) and we had to sit in the front row and then the lights went down and a naked white dude ran on stage with a buck skull over his face and shouted “AFFFRRRIIICCCCAAAAA” and then splashed blood all over his penis. Fuck sakes man. Then I got straight back up and had to piggy back my mate out again. So yeah, I don’t really like theatre at all, including musicals. But I don’t mind this ad. In fact, I had to watch it to the end more than once because it was in a few categories and I was totally happy to do that. So yeah, that’s a good thing. Nice one.”

Judges Comment: “You know you’ve watched something good when it changes something in your world. And what “Noodles” by Greg Rom of Gentlemen Films changed for me is the way I will approach a bowl of noodles for the rest of my noodle eating time on this planet. “Oh my God, I’m going to eat the gushy, evil tears of a depressed woman,” I will think, as I slurp up those stringy, sticky bits of yum that slap my cheeks on either side. “Noodles” is a bit of bizarre and dark and funny and poignant and that’s why I love it. Greg Rom’s picture manages to capture the strangest, yet most provocative angle on our emotions and the sick way we indulge them. He tells without over telling and rewards without giving you everything at once. It’s Ew. And Wow. And that’s what a good piece of film needs – your own emotions to have it out and leave you feeling a little weird and wooed at the same time.”