Cannes Lions

The Cloud Hunter

LEW'LARA\TBWA, Sao Paulo / NISSAN / 2017







The film shows an arid and dry region, almost uninhabited.

Two farmers meet in a small village. One of them shows a dry corn cob to the other, sorrowfully.

The other farmer, looking thoughtful, looks at a mountain far away. Around it, there’s a big cloud. When he sees a piece of clothing fly away from a washing line, he has an idea.

The farmers begin to build something very ingenious, improvising it with several items.

They get inside a Frontier and drive towards the mountain until they enter the cloud. There, a machine inside the truck bed is turned on, firing some kind of parachute that grabs a piece of the cloud.

They drive away carrying a piece of the cloud and the car is chased by a bigger cloud that is visibly upset.

When they arrive at the village, the car releases the tiny cloud that goes up and finds the mother cloud.


In this film we have three elements made completely with CGI. The mountain, the cloud capture mechanism, and the cloud itself, which is the big star of the campaign: it goes from a calm to a dense storm, it releases lightning, it chases a speeding car, and finally it makes it rain. Each of these situations requires a different texture, design, and carefully thought-out plans for composing the scene. All of this was created with the objective of showing the cloud with the most realism possible.

The film takes place in a distant village devastated by drought. Therefore, each element of the film was designed to accentuate the scorching climate of that region. In the cinematography, the yellowish tone underscores the warm climate. In post-production, the clouds were removed, leaving a totally blue sky and highlighting the omnipresence of the sun.

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