Some ads sell products. But the right ones transcend into art.
Tableau, John Lewis’ centenary campaign directed by Kim Gehrig, is the latter: a 100-second film that plays like a living painting, rich with history, culture, and cinematic flair.
The British department store’s policy of “Never Knowingly Undersold” has been around for 100 years.
From flapper era to modern day, it’s all represented.
A Century, Compressed
Shot at 100 frames per second, the film condenses a century of British life into a seamless flow.
Flapper dancers mingle with modern parents, bakers collide with beauty gurus, and vintage John Lewis products sit alongside contemporary designs.
It’s non-linear, impressionistic, and mesmerizing.
The range of faces, eras, and personalities is impressive.
Instead of chronological, we see eras mixed together in artistic ways.
Painterly Precision
The spot borrows from the tradition of tableau vivant “living pictures.” Every frame is carefully staged, culminating in a Bruegel-inspired wide shot that feels more like fine art than advertising.
It’s dense with detail, encouraging viewers to watch and rewatch.
With old and young, we also see subtle hints of the range of products that John Lewis offers.
The Beat Goes On
Underscoring it all is Mike Skinner’s reimagining of The Beat Goes On, a clever reminder that while styles shift, life’s rhythms endure.
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One Take, or Seamless Illusion?
Much has been made of whether Tableau was filmed in a single continuous take. While described as a “oner,” production notes suggest otherwise.
The fluidity comes from hidden cuts, visual effects, and meticulous choreography, crafted to feel impossibly seamless.
Tableau is striking because it dares to overwhelm. It layers costumes, props, and movement into a kaleidoscope of British life, yet never collapses into chaos. It honors heritage, embraces modernity, and trusts its audience to catch the nuance.
They’ve made a cultural artifact.
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