FAM
Director’s treatment
FAM · One continuous teaser
Bedoun
Aflama
A sincere luxury beauty film. Then the context changes.
Three Saudi women inhabit perfume, deodorant and beauty campaigns. Farah’s voice gives them a direct, everyday meaning; a pullback reveals the hangar set.
One campaign · two separate films
One teaser.
One live conversation.
The teaser ends before Farah sits. The separate Revealer begins with her phone’s front camera inside a busy hangar.
01 / ONE CONTINUOUS FILM
The teaser
Perfume → deodorant → beauty → the hangar revealed → Farah arrives.
Separate film02 / A SEPARATE FILM
The livestream
Her phone stays live as she switches off the ring light and leaves the set.
Director’s interpretation
Three luxury worlds.
One personal message.
Perfume, deodorant and beauty, each played with complete sincerity.
Farah’s direct voice gives the worlds an everyday meaning. Then one continuous pullback reveals the elaborate hangar set. The humour comes from the change of scale, never from the women.
People in the film
Three women.
Three distinct worlds.
Each woman has a distinct look and advertising world. These portraits guide continuity; they are not casting approvals.
Perfume
Desert portrait · sand abaya · lilac shayla
Deodorant
Sunrise climb · lilac jersey · white helmet
Beauty
Makeup chair · ivory silk · dark hair
01 / The teaser · one continuous run
Three campaigns.
One continuous film.
Perfume, deodorant and beauty give each woman a distinct visual world. Farah’s voice links them; the pullback reveals the production behind them.
THE PERFUME CAMPAIGN
Let the landscape carry the scent.
One unhurried walk becomes a fragrance portrait. A low three-quarter camera gives the dunes scale; the breeze carries her fabric.
Sand abaya · lilac shayla · golden-hour rim
THE TRANSITION
Cut on the wing.
A falcon fills the lens and carries the cut into the deodorant campaign.
THE DEODORANT CAMPAIGN
Make the effort feel immense.
A second woman rides uphill at sunrise. Track low beside the incline; cool dawn finds a warm edge on her shoulder.
Lilac jersey · white helmet · real effort
THE BEAUTY CAMPAIGN
Hold one quiet gesture.
She sits while makeup is finished. Keep her face and the artist’s hand in the same measured frame, with window light keeping skin tactile.
Ivory silk · warm mirror bulbs · soft window key
THE CHANGE OF SCALE
One continuous pullback.
Return to the same woman, wardrobe and light. Keep drawing back until the physical screen, small sand patch, fan, sand toss, lights, crew and hangar are all in view.
This is the proposed endpoint; the camera path and geometry remain for the animatic.
THE TEASER’S LAST IMAGE
She arrives. We cut before she sits.
Her face stays unseen. The crew keep working as a chair is prepared in her path.
Voice, music & sound
The score lets go.
A polished score gives each campaign world exaggerated importance. At the pullback it falls away to room tone, the fan, footsteps and the chair being prepared.
Approved teaser voiceover · exact wording
مو لازم تحبيها
ومو لازم تخافي منها
هي جزء منك وبس..
من الآخر
بدون أفلمة.!
A warm, spontaneous read, lightly amused. Farah records separately; the voiceover does not need to match individual gestures or lip movement.
Film references
Choices, not templates.
These references guide light, material and point of view. Their casting, branding and performances are not being copied.
Execution approach
One visual world. Two kinds of production.
Remote direction and AI generations shape the advertising worlds. The client supplies the real hangar, crew, equipment and practical props.
Some backgrounds and transitions may use AI and/or VFX. Match the women, wardrobe and light to the practical screen and sand patch.
About 45 seconds is provisional until the animatic and voice read. No additional compositing, VFX or final-post scope is assumed.
Next: align on the direction, then resolve timing and pullback geometry in the animatic.
02 / The Revealer · separate film
The livestream conversation
The opening is seen through Farah’s own front-facing phone camera. The hangar crew keep moving around her; she speaks as if they are not there.
Farah is a temporary visual placeholder. The teaser remains a separate film and ends before she sits.
Back to the teaser
Phone front camera · Live
Conversation begins · original main-film draft
هي بس زيارة شخصية
أحياناً تكون خفيفة وأحيان تكون ثقيلة على القلب
مو لازم تحبيها
ومو لازم تخافي منها
وما تحتاجي حملة تفلّم على زيارتك الشخصية
THE SHIFT
She notices the light.
Mid-sentence, she gets up and switches off the oversized ring light herself. We cut briefly from her phone’s front camera to the ad camera, then return to the phone. The crew carry on; no one acknowledges anyone.
In the ad-camera cutaway, keep the light and her hand in the same moving frame. No reaction shot or comic pause: she turns it off, then the phone view returns as she carries on speaking.
هي جزء منك وبس
ماهي سالفة
ولا هي محتوى لازم تشاركيه
THE WALKOUT
She keeps talking as she leaves.
Farah keeps talking as we move between her phone’s front camera and the ad camera’s wider view. Crew continue passing without looking at her; their voices recede with the set.
One last request follows from behind the camera, still asking for more campaign.
Off-camera direction · original draft
وقف! ممتاز… بس ممكن واحدة كمان بابتسامة أكبر؟ طاقة أكتر؟ إضاءة أكبر؟
يعني محد يحدد لك كيف المفروض تحسي.
لا إعلان.
ولا ترند.
ولا براند.
إنت أدرى بجسمك
اختاري اللي ما يضايقك ويريحك ويحميك
من الآخر اختاري اللي تحتاجيه
Campaign line + supplied FAM identity.