After a two-year hiatus, the Cannes Lions International Festival of Creativity will host a field event in 2022.
Global creative work will be celebrated by the industry at its red carpet awards parties June 20-24.
Like always, India Campaign will lead the charge for this region by showcasing all of India’s entries to the festival through our “Cannes Contenders” series.
This is based on the premise that Cannes jurors don’t have enough time to review and deliberate on work they haven’t really encountered before. This series is a way to familiarize them with the good work of India and South Asia before their time as judges. And of course, to introduce the rest of the sector to the work of this region, which is competing for the Cannes Lions this year.
Wunderman Thompson has three such entries:
Entry title: The Unnamed Women’s Project
In Bangladesh, women face a unique problem. As they live, they lose something dear to them. Their name, their sense of self. They become somebody’s mother, somebody’s wife, somebody’s daughter. The various roles they take on take over their own inherent existence, without them even realizing it.
How was Warah, a popular fashion brand in Bangladesh, which believes in empowering women through its clothing, able to help these women own their name, their birthright?
The traditional Tangail Sari is proudly won by the women of Bangladesh. Handmade by weavers, the sari is a symbol of the country’s culture and patriotism.
Warah took this ancient sari and, with the help of the weavers, created a story for the women who wore them. Each Sari bore the name of its wearer reminding women of their true personality. The recreated sari represented a woman’s birth name, her birthright.
Entry title: The lost girls
It is estimated that 16 million women are victims of sex trafficking in India. Unfortunately, only 7% of them are saved.
When a woman is rescued from sex trafficking, families often refuse to accept her because of social stigma and fear of being rejected by society. There are women who are abandoned by their loved ones and who have lived in despair for years. Some families even refuse to recognize the existence of their daughter and cut all ties with her.
During Durga Puja, one of the biggest festivals in the world, people welcome Goddess Durga as a daughter. But, they refuse to accept their own daughters at home because of social stigma and patriarchy.
After being rescued from human trafficking, a girl’s trauma worsens when she is abandoned by her own family. This unjust social practice affects millions of women and happens every day.
The Lost Daughters activation is an attempt to raise awareness of this issue to help more girls return home with dignity.
Durga Puja, one of the biggest festivals in the world, welcomes Goddess Durga as a daughter.
Countless pavilion-like structures called ‘pandals’ are built with Durga’s idol and devotees visit these pandals (pavilions) to worship and spread love over the idol.
But this year pandal without Durga idol was created.
The Lost Daughters used this pandal (pavilion) without the idol as a reminder of the hypocrisy that welcomes the Goddess as the daughter but abandons the daughters who have been rescued from human trafficking.
The venue then became neutral ground for a reunion, where the girls came face to face with their families.
Entrance: Snap The Supply Chain AR Innovation
It is estimated that 16 million women are victims of trafficking in India. Unfortunately, only 7% of them are rescued because human trafficking networks operate through sophisticated supply chains. Most people are oblivious to this fact and it allows the criminal industry to thrive.
Victims of human traffickers find themselves caught in a supply chain. From the moment they are sold into the flesh trade, they find themselves caught up in a gruesome journey, launched from master to master. A cruel passing game perfected by its authors, making it almost impossible to find and save them. This sad reality is the inspiration for our campaign.
Traffickers view the lives of their victims as something to play with. So we represented their supply chains as a football formation. We followed a complex and elaborate art style juxtaposing the victim’s journey from a safe environment to the hands of these evildoers. As the eye travels the drawing, the victim’s story unfolds and more details are revealed. The more time spent decoding every detail, the deeper the connection with the viewer.
Each poster is integrated with AR technology, so once scanned, the posters come to life on phone screens and the victim’s journey is played as a video. An interactive feature allows the audience to touch and flip the victim’s story. This reverses her trip and returns her to safety. Thus, showing how, with Sanlaap, human intervention can permanently break this supply chain.
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