This film portrays all that can go wrong during the Xmas season–getting stuck in the snow, long shopping lines, coping with the fights that flair up during family get-togethers, the perils of preparing holiday meals, airport layovers–as people struggle to sing along in unison the Andy Williams classic, “It’s the most wonderful time of the year.”
The pairing of the song with the pitfalls of the holidays makes for a delightfully ironic pairing to promote the Wonderful Christmas by Orange, the place where you can get the gifts that bring a smile to your face no matter what the holidays may otherwise bring. Indeed at the film’s end we see folks unwrap their gifts with joyful results–all the trials and tribulations are forgotten thanks to the perfect presents bought at Orange.
This Orange Xmas was conceived by a creative ensemble at Publicis Conseil, Paris, and directed by Megaforce via production house Iconoclast.
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Credits
Client Orange France Agency Publicis Conseil, Paris Fabrice Delacourt, executive creative director; Kevin Salembier, copywriter; Julien Boissinot, art director; Lucie Puybonnieux, Alexandre Perdereau, art directors assistants. Production Iconoclast Megaforce, directors; Arnaud Potier, DP; Nathalie Le Caer, producer; Alexia Levy, line producer; Coralie Rose, casting; Marco Puig, production designer. Postproduction Prodigious/Mathematic Franck-Herve Marc, Laura Warnault, post producers; Sophie Fourdrinoy, editing; Mathieu Caplanne, grading; Frederic Brandon, VFX supervisor/lead artist. Audio Prodigious/750MPH Boris Nicou, Joel Tessonneau, sound producers; Sam Ashwell, sound designer (750MPH); Alex Firla, sound engineer. Music “It’s The Most Beautiful Time of the Year (Andy Williams; Eddie Pola, George Wyle), Barnaby Music Corp.
Directed by Sam Gainsborough via Blinkink, this film from agency Uncommon Creative Studio transforms video game Clash Royale’s beloved characters into an extraordinary balloon-built world, where more than 10,000 real twisted balloons were used to forge every aspect of what you see on-screen. In this surreal universe, the balloon nature of the characters is never questioned--it simply is. The Goblin trembles in genuine fear. The Barbarian rages with helpless fury. The King, confronted with an impending explosion, quietly accepts his fate.
To bring this ambitious vision to life, Gainsborough involved Airigami, a team of expert artists who create large-scale installations, illustrations, and experiences entirely out of balloons. Each character was meticulously handcrafted to ensure immediate recognizability while embracing the uncanny qualities of their inflated counterpart. Through extensive pre-production, the team refined not only the likeness of each figure, but also the physical behavior of the balloons, carefully designing how they expand, where pressure builds, and how their forms distort under strain.
Working across multiple scales, the artists achieved remarkable levels of detail, allowing for both intimate character moments and large-scale visual impact. The cinematography also draws heavily from the horror genre, using extreme close-ups, dramatic angles, and dolly zooms to build tension and amplify the expression of each puppet.
As the pressure mounts, the characters swell beyond their limits; their balloon forms pushing against the letterbox frame itself, visually reinforcing the escalating tension while also nodding to the film’s underlying absurdity. The climactic moment delivers a visceral payoff: balloon explosions captured at... Read More
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