Narrated by English writer and poet Benjamin Zephaniah, the film follows various figures coming together to lay artifacts in a serene field.
Director Anders beautifully captured as much detail as possible, building an enduring image of Mandela through various symbolic pieces. From a Springbok jersey, a voting box, rally placards to a worn out prison mattress, all items are carefully laid down so that memories, thoughts and dreams are entwined together to form stunning picture that charts and celebrates the life of Nelson Mandela. A final portrait of Mandela is revealed through a zoom pan at the end of the film.
Artists at The Mill worked on building and capturing this image to craft the recognisable likeness of Mandela.
Seamus O'Kane, Head of Colour, at The Mill in London explains, "The South African authorities allowed The Economist to have access to Mandela throughout his time in prison and this spot makes that connection without any over sentimentality.
"During the commercial the various characters lay pertinent but everyday possessions and mementoes construct a cognitive portrait of Nelson Mandela that, in the final shot, is revealed in actuality. It was shot in a minimal and uncomplicated style and we sought to preserve this elegant simplicity as we subtly enhanced details and deepened the overall colour palette. It was important to see the depth of feeling expressed in the faces of the characters and to recognise the solemnity of grief mixed with the confidence and strengthened purpose of their transformed lives following the influence of Mandela".
The film marks a deeply fitting tribute by The Economist, which staunchly supported the ANC's spiritual Leader during his incarceration for over 27 years on Robben Island.