Press Record.

Just because the sub-conscious is normally Michel Gondry's providence doesn't mean pal Spike Jonze can't visit from time to time. Available in :90, :60 and :30 configurations, Jonze's latest for Adidas is a gorgeous, delicate stroll through a dreamworld that feels blissfully out of step with the flex and testosterone of most running shoe commercials. The premise is simple: a man 'awakes' in a half-dream state, his shoes find their way onto his feet, he susses a door through the darkness of his bedroom and goes on a jog that takes him down forests, city streets and back alleys. Along the way, he flees a bear and a street sweeping machine and has an unfortunate collision with a fire hydrant; but really, the particulars of his adventure aren't that important -
it's the casual, light-as-air tone of the scenes and the way they instantly shift from one to the next that cements the spot's dreamlike feel. Even better are the sudden shifts in perspective (you know the kind: the ceiling becomes the floor becomes the wall becomes the ceiling, etc), which contribute to the disorienting tone in an organic way that doesn't detract from the spot or
send you thinking about the particulars of CGI. If anything, the charm of "Hello Tomorrow" comes from how quaint and homemade it feels, which, given the level of technical wizardry that no doubt went into it, is a testimony to the director and his crew. Tracked by a soundtrack composed by Jonze's brother Sam Spiegel and performed by his main squeeze, Yeah Yeah Yeah's Karen O, this is beautiful, immersive stuff.
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