Nwabisa’s comment: “Full disclosure, this came out of my agency, but it’s not my work, so pls don’t call nepotism  It was just one of those pieces that immediately stood out to me.

There’s a lot packed into this film, but nothing feels rushed. Each interaction is allowed to breathe, and the chemistry between the actors makes it all feel considered yet completely organic. The fly-on-the-wall approach brings us into their world without intruding, with the camera keeping its distance and only coming closer for the subtle glances and pauses that give the piece so much texture.

I also love how it takes that uncomfortable moment we all recognise, when you realise you’ve overstayed your welcome at a restaurant, and instead of leaving us with the panic of it, we end on a high. What stays with you is everything that happened around the table before.

The direction and edit feel like an exercise in trust and restraint. Trusting the performances, the pauses and the smaller human moments to do the work. A lot is being said without much being said at all.”

Greg’s comment: “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.”

Shane’s comment:  ‘Special Craft Mention to William Kalmer at Post Modern for this one. Using stock is never easy or that fun but the way he has combined stock, shot footage and animation makes for a nice piece of craft. Re-watching I noticed more and more craft detail that I might have missed on the first watch. Solid.
*Please note: While I work at the agency that made this spot, I had no input or participation in this project whatsoever.’

Thibedi’s comment: ‘This ad sold me on these shoes in the first minute. And when they started unselling the shoes I wanted to give them all my money. It’s brilliantly done. Its steady pace and the contemplative inner voice of the main character give it a daydream feeling that makes it very enjoyable to watch.’

Trevor’s comment: ‘This is such a beautifully constructed spot and it really comes together in the way it was edited. So often longer ads can become indulgent without the discipline of 30 seconds. But this edit has a beautiful momentum that never wastes a moment. The tone and pace and flow with the music, the timing and performance selection, all great choices.’

Judge’s comment: “A close contender for Best in Craft as all aspects were of such a high standard. It loses its way a bit in the middle, a trap we perhaps fall into when duration is not an issue and we become a tad indulgent. However, the performance, cinematography and edit work hand in hand to deliver on this emotional story. The music is handled well around the narration and while perhaps a little expected, still lends well to the mood. Congratulations to all on the hard work apparent in this piece.”