Branded content grows by establishing a closer dialogue between advertisers and society; producers believe in a path of no return
In recent years, the interest of brands in developing branded content has increased a lot. The growth of this type of work has a lot to do with the desire to experiment with different languages to attract more and more consumers. And the works have corresponded with relevant results.
Rejane Bicca, publicity director at O2 Filmes, believes that the increase in demand for branded content at her production company is very much related to recognition of the natural connection that exists between the areas of advertising and entertainment. We always work together, with all areas connected in some way. And over the years, that connection has had a positive impact on demand for branded content. In the last three years alone, we’ve seen growth of between 40% and 50% in demand from brands interested in this type of content, she reveals.
She also thinks that branded content is another option for dialogue with the public, visually very attractive, which is of great interest. That’s because branded is an additional way for advertisers who already work with several different formats and platforms. And nothing like having innovative, different content that ends up attracting attention. So, the client who didn’t have the opportunity to work with this format is flirting and testing this possibility, while the client who already works with this type of content seeks solidification as a generator of branded entertainment, she explains.
For her, advertising is very eclectic and professionals have many different visions and perspectives to be worked on. And the delivery of a more cinematic vision, with an entertainment profile, is becoming a trend. So, the language proposed by directors for this type of content is less conventional, compared to films and content that we are more used to seeing in 30 seconds, which ends up reinforcing this entertainment feature, she comments.
way of no return
Rejane agrees that branded content is a strong trend. According to her, a path of no return. This type of format offers one more possibility that customers can bet on and have their brand as an entertainment provider. In these films, branded content is strongly present, but the narrative brings the key messages in a more natural way, within the script, mixed with the story. For her, with this type of material, the customer gets closer to the lives and desires of consumers in a light way. The objective is to be closer to the consumer’s daily life, she exemplifies it.
The executive talks about some works that, for her, are a reference in the area. Among the first ones that she cites, which were marked in the public’s memory, are: for Vivo, in a clip by Eduardo and Mônica, with Africa in 2011; and also the film The Last Gol do Pelé, created by Y&R (currently VMLY&R, in 2010), which was awarded at Cannes.
From that moment on, we made history with a lot of relevant branded content. We developed the 01.09 webseries for Volkswagen, together with AlmapBBDO; and the documentary Bekoji for Ambev, with Crispin Porter + Bogusky Brasil, filmed in Ethiopia, he says.
Rejane also mentions that they produced seasons of the series “Quasi na boa” with AlmapBBDO, for Cerveja Antarctica, between 2016 and 2018. And, more recently, they made Farofadas de Natal for Guaran Antarctica for Christmas 2021, with Soko. We also had three very interesting short films for Fiat Toro together with Leo Burnett, which were successful in international and Brazilian entertainment festivals. And, in the second half of last year, one of our most commented projects in the market was the film Buscap for Vivo and Motorola, together with VMLY&R.
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