BMW Films – The Escape

BMW Films has teamed up with Academy Award nominated director Neill Blomkamp (“District 9,” “Elysium”) to create an action-packed short film to promote the new upcoming 2017 BMW 5 Series.

The story centers around a young girl simply named “Five”, played by Dakota Fanning, who is the subject of seemingly illegal experiments.

With the FBI cracking down on the company responsible for such experiments, Oscar nominated actor Clive Owen plays the nameless transporter who is hired to get Five out of there. The action ensues.

Why BMW Films still works as a launch format

This is not a product demo dressed up as content. It is content where the product belongs naturally. The car is not the “message”. It is the tool that makes the story credible.

  • Talent creates attention. Director and cast set a quality bar that feels like entertainment, not advertising.
  • The vehicle role is functional. Driving, control, and decision-making are essential to the plot.
  • Shareability comes from story. People pass it on because it is a short film worth watching, even without shopping intent.

The brand job: make the new 5 Series feel inevitable

When a film like this lands, it does two things at once. It signals confidence and it frames the new model in an emotional territory that spec sheets cannot reach. Capability, composure, speed, control.

The benefit is not that viewers remember a feature. The benefit is that they remember a feeling, and they connect that feeling to the 5 Series before they ever step into a showroom.

What to take from this if you are launching something complex

  1. Earn attention with craft. If you want people to choose long-form, it needs to deserve their time.
  2. Give the product a role, not a cameo. If it does not matter to the plot, it will feel bolted on.
  3. Let story carry the distribution. The strongest paid media is the one you do not need because people share it anyway.
  4. Build a universe, not a one-off. Formats like BMW Films work best when audiences expect the next chapter.

A few fast answers before you act

What is “BMW Films: The Escape”?

It is a branded short action film created to promote the upcoming 2017 BMW 5 Series, directed by Neill Blomkamp and starring Clive Owen and Dakota Fanning.

Why use a short film instead of a classic launch ad?

Because story earns time and attention. It creates emotional association and premium perception that traditional product messaging often cannot deliver on its own.

What is the product role of the BMW 5 Series in this format?

The car functions as an essential tool in the narrative. It supports the transporter premise and makes the action feel credible, rather than serving as a standalone showcase.

What makes branded entertainment feel “credible”?

High production quality, real creative talent, and a story where the brand presence is natural and necessary, not forced.

What is the practical takeaway for launch teams?

If you want to use long-form content, design it as entertainment first, then embed the product so it belongs, and the attention will travel further.

Cloudy

Miami based animation studio FriendsWithYou has produced “Cloudy”, a short film exploring the concept of clouds singing and performing their duties in a joyful manner while showing the viewer that everything in our world has a role and a purpose.

Sit back and enjoy this sweet visual soundscape that takes you through a personal journey into the sky…

The Black Hole: Greed Meets Gravity

A photocopied black hole in a tired office

A sleep-deprived office worker accidentally discovers a black hole. And then greed gets the better of him.

The temptation ladder that drives the story

The mechanism is minimal and ruthless. An impossible object appears in a painfully ordinary environment, and the plot becomes a sequence of decisions. First curiosity. Then small opportunism. Then the one step too far, when he is unobserved and convinced he can get away with more.

In digital-first marketing teams, shorts like this are often used as reference for how to compress a human truth into under three minutes without losing clarity.

Why it lands: humour, surprise, and a very human loss of control

It works because the character is recognisable. The film does not need backstory. Sleep deprivation, dull repetition, and the sudden possibility of an easy win are enough. The humour comes from how quickly the “reasonable test” becomes a greedy plan.

The external conflict arrives right at the end. The office worker’s attempt to take the money leaves him imprisoned in the safe, which snaps the whole story shut with a clean, memorable payoff.

Craft choices that make the twist hit harder

The look supports the emotional state. Desaturated colour and a flat office environment underline the dull, repetitive job, then the discovery injects energy into both the performance and the pacing. Visual rhythm is handled through fast cutting and movement within the frame, and it intensifies when he enters the room with the safe.

Sound does a lot of work too. It helps sell the supernatural element while keeping everything grounded in familiar office items, which makes the concept feel closer and more unsettling.

What to steal for your own short-form story

  • Start with a one-sentence premise. The audience should understand the setup immediately.
  • Escalate through choices, not explanation. Each decision should feel like the next “tempting” step.
  • Let craft mirror psychology. Colour, cutting, and sound can track the character’s shift from boredom to adrenaline.
  • Deliver an inevitable ending. A twist lands best when viewers can replay the steps and realise it was always heading there.

A few fast answers before you act

Who made “The Black Hole”?

It is directed by Philip Sansom and Olly Williams and features Napoleon Ryan as the office worker.

What is the core mechanism of the film?

An ordinary office setting plus an impossible “black hole” object. The story escalates through a chain of increasingly greedy decisions.

Why does the short work so well?

Because the character is instantly recognisable, the premise is one sentence, and each choice feels like a believable next step until the inevitable consequence lands.

What makes this a useful reference for marketers and storytellers?

It shows how to compress a human truth into a tight arc. Minimal setup, clear escalation, and a payoff that recontextualises every prior step.

What is the most transferable takeaway?

Start with one impossible object, escalate via choices rather than exposition, and land a twist that feels inevitable in hindsight.