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    Home » The Best Work You May Never See: Women’s Aid, House 337, Director Sara Dunlop Show The Darker Side Of World Cup 

    The Best Work You May Never See: Women’s Aid, House 337, Director Sara Dunlop Show The Darker Side Of World Cup 

    By SHOOTMonday, November 28, 2022Updated:Tuesday, May 14, 2024No Comments2187 Views
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    A chilling new campaign by House 337 for Women’s Aid highlights that domestic abuse can become more frequent or severe during big football tournaments, including the FIFA World Cup.

    The tournament takes place in winter for the first time this year, when the cold and dark will mean that more fans than usual will choose to stay at home to watch the games. For many women, it is a time of fear, where existing domestic violence can increase, with incidents going up by as much as 38% (University of Lancaster). While football does not cause domestic abuse, existing abuse can intensify around key tournaments, meaning that increased awareness can help the charity to save lives.

    House 337’s campaign reassures these women that they are not alone and reminds us that, if we can all come together as a nation to support a football team, we can also come together to tackle domestic abuse. 

    The unsettling film takes the form of a single tracking shot through a cul-de-sac, showing the flags hanging up outside in support of the national team, while inside people are enjoying the game.

    But as we round on the final house, the mood changes. The cheers stop and we see a huge flag that reads, “He’s coming home,” highlighting the fear and isolation that many women will experience throughout the tournament. 

    Directed by Sara Dunlop of The Corner Shop, this film  is part of Women’s Aid’s two-year “Come Together To End Domestic Abuse” campaign, which runs until 2024 and encourages the public to act together wherever they are and use actions big and small to end domestic abuse. Backed by Women’s Aid Patrons including Spice Girls star Melanie Brown and actor Dame Julie Walters, the campaign promotes five actions that everyone can take to stop domestic abuse, from adding their voice to campaigns to learning what to say to someone experiencing abuse. 

    Christoper Ringsell, creative director from House 337, said, “During this time as the nation comes together we want to subvert the usual football tropes and shine a light on the chilling fact that for many women it’s a time of fear, not celebration. They need your support too. The visual spectacle of the flag retains its power, but with a new, chilling twist. We want to encourage people to be aware of friends and neighbors in their community and come together to try and end domestic abuse.”

    OOH sites across England will display the “He’s coming home” flag, which was designed by Corbin Shaw, a young artist whose work features hard-hitting words over the St George’s flag to challenge stereotypes of masculinity, class and LBGTQ+ issues. The flags will be auctioned at the end of the campaign to raise further funds.

    The campaign launched on November 25, which marks International Day for the Elimination of Violence Against Women, just after England’s second group game in the World Cup against the USA. Women’s Aid is the national charity working to end domestic abuse against women and children. It is a federation of over 170 organizations which provide just under 300 local lifesaving services to women and children across England. For almost 50 years, Women’s Aid has campaigned on behalf of its members and survivors to shape policy and practice, and to raise awareness of domestic abuse.  Its support services, which include Live Chat, the Survivors’ Forum, the No Woman Turned Away Project, the Survivor’s Handbook, Love Respect (a dedicated website for young people in their first relationships), the national Domestic Abuse Directory and our advocacy projects, help thousands of women and children every year. 

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    Credits

    Client Women’s Aid Agency House 337 Jo Moore, executive creative director; Chris Ringsell, creative director; Holly Fallows, Charlotte Watmough, sr. creatives; Georgina Murray-Burton, head of strategy; Laura Sammarco, strategy director; Paul Lynch, sr. influencer strategist; Tash Dean, sr. producer;  Chelsea Chapman, sr. project manager; Aaron Pacey, design director; Victoria Fischer, head of production; Melody Sylvester, executive producer; Corbin Shaw, artist (flag design). Production The Corner Shop Sara Dunlop, director; Harry Wheeler, DP; Anna Hashmi, founder; Tess Mitchell, exec producer/producer; Alice Pitt Carter, production manager; Johnny Hopkins, location manager; John Ebden, production designer. Editorial Work Editorial Bill Smedley, editor; Ellie McNaughton, Charlie Dalton, edit producers. Postproduction Absolute Matt Turner, colorist; Jasmine Cooper, Chris Tobin, Phil Oldham, Flame artists; Ollie Ireland, post producer. Sound Design King Lear Jack Sedgwick, sound designer.

    Media Type:Commerical: PSA
    ScreenWork Categories:Commercial
    Screenwork Type:Best Work
    Video Tags:House 337Sara DunlopThe Corner Shop



    Blinkink Crafts A Baroque Stop-Motion Trip To The Moon For Dior

    Friday, February 13, 2026

    Blinkink has unveiled this richly imaginative stop-motion film for Dior titled A Ride of the Moon, directed by Nina Gantz and Renee Zhan, and voiced by 070 Shake. Conceived as a collaborative triumph of human craft, the film stands as a poetic reminder of the value of handmade artistry in an era increasingly shaped by automation and AI.

    Inspired by classical cinema--most notably Georges Méliès’ Voyage dans la Lune--the film for Dior’s Lunar New Year campaign is a baroque-infused journey that blends cinematic language with theatrical illusion. Set within an ornate 18th-century French theatre, it unfolds as a modern fairy tale told through flamboyant design, charming stop-motion animation and playful surrealism.

    The film builds around a Lunar New Year story, where a brave little horse’s showdown with a powerful, sassy adversary plays out. While cinematic and ambitious in scope, the film never takes itself too seriously, finding humor in exaggerated performances and clever theatrical tricks.

    The horse character is modelled after the Dior horse charm, assembled from sewing components and brought to life through meticulous stop-motion craftsmanship. The Moon appears as a Marie Antoinette-esque figure, who brings humor through an over-the-top performance.

    The production embraces old-school theatre mechanics to enhance its sense of wonder. Strings holding up clouds are deliberately visible, trapdoors open in the stage floor and sheets of translucent fabric become shimmering fountains. These visible illusions celebrate the joy of theatrical ingenuity and handmade problem-solving.

    The sets were entirely hand-painted and constructed, combining flat, painted backdrops with half-2D, half-3D elements. Layered sets,... Read More

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