Inside the Jury Room: AUNZ Jury Opts For The Timeless at Immortal Awards

The 2024 AUNZ Immortal Awards judging session saw 28 campaigns scrutinised for their creativity, cultural impact, and lasting legacy. Jurors deliberated on what makes a campaign truly "immortal," ultimately selecting five campaigns to progress to the global stage

What makes a campaign truly "Immortal" was the guiding question for the AUNZ edition of judging for the 2024 Immortal Awards, with the local jury most impressed by the work they believe will still be talked about in 10 years' time.

Yesterday, a group of 11 jurors including Micah Walker, Katrina Alvarez-Jarratt, Melanie Bridge, and Brent Smart convened at ARC in Sydney to determine which Australian and New Zealand work from the past 12 months will progress to the final global judging round of ��'s notoriously hard-to-win awards show.

Twenty-eight shortlisted entries faced intense scrutiny as jurors evaluated them for creativity, cultural resonance, and lasting impact. The show has no categories, and no minimum or maximum number of winners: the jury must simply decide which work is truly immortal.

As the penultimate regional round before the global finals, the AUNZ jury room delivered on their job to deliberate and celebrate the best of the best.

“It wasn’t just about great work, it was about work that truly changes something,” said Bridget Jung, executive creative director at Ogilvy Sydney.

Jurors debated whether the shortlisted campaigns would still be talked about in 10 years or simply popular in a moment in time, and whether they were pushing boundaries.

They also discussed the challenges of creating work that resonates globally while expressing local context.

Bridget highlighted how some campaigns by major Australian brands might not translate internationally, but remain worthy of international recognition.

“It’s not just about the craft in the case study,” she said. “It’s understanding the enormity of shifting an entrenched brand to do something radically different — and to do it so well.”

The jury ultimately selected five campaigns that they believe transcend borders and time:

Telstra – Better on a Better Network (Bear Meets Eagle on Fire)
Sydney Opera House – Play it Safe (The Monkeys)
Pedigree – Adoptable (Colenso BBDO)
Minderoo Foundation – Plastic Forecast (M&C Saatchi)
+61 – Brand Identity (+61 and Telstra)

These projects now advance to the global finals, representing AUNZ on the world stage.

�� went inside the jury room for the jurors to explain why they chose each piece.

Telstra – Better on a Better Network (Bear Meets Eagle on Fire)

“‘Better on a Better Network’ - incredible,” said Leti Bozzolini, creative director at Special Group Sydney.

“It was incredible the way they depicted each of the areas of Australia because it's easy to think about Australia as one singular place, but the tribute to how diverse it is through the voices – with all local people cast – was something that I feel like taking everywhere. And that is ultimately the campaign’s target — coverage relevant to everyone.”

Gavin Chimes, chief creative officer of Howatson+Company, added, “It's a phenomenal rethinking of the 15-second format, putting a craft usually reserved for a Wes Anderson film into such a short piece of communication, and then doing that at scale over 20 times.

“I think it’s a truly deserving, immortal ad, because it redefines what a category can be, but also inspires any creative to think that little bit harder on any brief.”

Sydney Opera House – Play it Safe (The Monkeys)

“It’s a beautifully executed piece of work,” explained Winnie O’Neil, executive producer at ARC.

“To me, it just feels so complete. All the elements work together in a way that feels effortless. I think that's notable.”

Paul Meates, executive creative director, CHEP Network, also praised the work for its level of craft and commitment to executing a central idea.

“It leaves room for the viewer to think and doesn't treat you like an idiot. That's perfect for a piece of work like this.”

Pedigree – Adoptable (Colenso BBDO)

“The idea is alive again,” said Bridget Jung.

“Local ads that connect people with animals in need – you've almost got a new way to think of the animal like a brand asset. The dog that's always the same in every ad all of a sudden becomes hundreds of different ads with hundreds of dogs connected to purpose, all built into their actual media space. Wow.”

“It’s a brilliant bit of work,” agreed Katrina Alvarez-Jarratt, executive creative director, TBWA\Sydney.

“It's funny! I did a few award shows last year, and I'm kind of surprised at such a clever use of technology.

“Actually using the AI tech for a creative end is great. I love the fact that they then figured out

the placement of the media to pitch the right pet to the right person. There's just so much clever insight.

“Insightful, beautiful, smart, and definitely emotional. Awesome.”

Minderoo Foundation – Plastic Forecast (M&C Saatchi)

“For every argument around the environment, it's difficult to feel like we're sharing a new kind of catastrophe,” said Micah Walker, founder and chief creative officer of Bear Meets Eagle On Fire.

“I think it's a conversation that wasn't being had, and it was manifested in a way that felt beautifully crafted. The way it fit into the newscast made it really quite special.”

Simon Vicars, the chief creative officer at Colenso, said, “as creative people, we all have ideas that can change the planet.

“But the trick is trying to get the world to talk about those ideas, and The Plastic Forecast does that brilliantly.”

+61 – Brand Identity (+61 and Telstra)

The +61 branding work was praised for its chaos and madness. In application, it means every Telstra presentation starts with a different version of the logo, and a framed still sits in the Brad Whitcomb's office, Telstra's group executive of consumers.

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