Title | THE SICKEST MANNEQUIN CHALLENGE |
Brand | PROTECT & SAVE THE CHILDREN |
Product / Service | PROTECT & SAVE THE CHILDREN |
Category | A01. Direction |
Entrant | NAGA DDB MALAYSIA Selangor, MALAYSIA |
Idea Creation | NAGA DDB MALAYSIA Selangor, MALAYSIA |
Production | RESERVOIR WORLD Kuala Lumpur, MALAYSIA |
Name | Company | Position |
---|---|---|
Alvin Teoh | Naga DDB Tribal | Executive Creative Director |
Alex Wong | Naga DDB Tribal | Creative Director |
Jeremy Yeoh | Naga DDB Tribal | Associate Creative Director |
Candice Chhoa | Naga DDB Tribal | Copywriter |
Rachel Hoo | Naga DDB Tribal | Senior Art Director |
Simon Yip | Naga DDB Tribal | Art Director |
Sharon De Silva | Naga DDB Tribal | Head of AV |
Han Pei Lee | Naga DDB Tribal | Agency Producer |
Albert Ang | Naga DDB Tribal | Video Specialist |
Soh Chia Lok | Reservoir World | Director |
Lau Wei Kai | Reservoir World | Cinematographer |
Abdul Hadi Bin Abdul Hamid | Reservoir World | Production Designer |
Chow Chun Son | Reservoir World | Executive Producer |
Nadia See Hui Ci | Reservoir World | Film Producer |
By leveraging on the “mannequin challenge” viral video trend on social media, we created a webfilm that took viewers on a tour of a brothel selling sex with children. The film showed “clients” with helpless underage sex workers frozen in time, which conveyed the key message of stopping perpetrators in their tracks to put child sexual exploitation at a standstill. The film led to an online petition for harsher laws in the prosecution of grooming, trafficking and sexual exploitation.
We spoke to social activists to get a sense of a child brothel would look like. With this visual description in mind, we visited low budget backpacker inns within the vicinity of where these brothels are known to be. With guidance from these activists, furnitures were removed, curtains replaced doors and talcum powder and tissue paper were placed on tables. These are low cost brothels are usually catered to street people and migrant workers, so we did street casting. As for the kids, we casted mixed-race people because the victims were migrant children. For their clothes, we got them from second hand thrift shops. We shot relying on mainly tungsten lighting and kept it as raw as possible to give it a low budget feeling believing that all these little things will create the sort of mood that's befitting the heavy subject matter.