In an era of meticulously curated social media feeds and highly polished commercial aesthetics, there is something profoundly disruptive about the raw, unvarnished truth. It is the central tension of “Life Needs a Biscuit,” a series of short films that eschews the traditional artifice of advertising to focus on the quiet, unremarkable rhythms of Novel Zealand life.
The campaign features everyday Northlanders captured in Florian Habicht’s latest ad campaign, transforming a simple commercial for Griffin’s biscuits into a poignant documentary study. Rather than utilizing actors or scripted scenarios, Habicht leaned into the authenticity of the people he encountered, creating a tapestry of “unscripted slices of life” that range from thirty seconds to a minute in length.
The project, developed in collaboration with creative agencies Motion Sickness and The Tuesday Club, organizes its vignettes by the hour of the day. The result is a chronological exploration of the New Zealand spirit, where the act of having a biscuit serves as a universal anchor—a brief, shared ritual of pause in an otherwise demanding world.
The beauty of the unscripted
For Florian Habicht, the appeal of the project lay in its refusal to conform to the sterile standards of modern marketing. Habicht, whose career has long been defined by a commitment to documenting real people, viewed the campaign as an opportunity to showcase characters who are typically invisible in the world of high-budget advertising.
“But this was different, it was unscripted, people were being real,” Habicht said. “The people that wrote in were so generous, and it was quite moving as well, how lots of them are doing it tough.”
This willingness to embrace vulnerability is what gives the series its emotional weight. Habicht noted that the participants were remarkably natural on camera, observing that “there wasn’t one person that was nervous or camera-shy,” a quality he found “quite refreshing.”
The campaign seeks to highlight the “in-between” moments—the smoko breaks, the post-practice wind-downs, and the solitary minutes of peace—that rarely create it to a television screen. Allison Yorston, a spokeswoman for Griffin’s, described the series as a celebration of “the beauty in the ordinary,” specifically targeting those unremarkable moments that people typically do not share on social media.
A cinematic map of the Far North
While the campaign touches on various regions—including Sage in Tākaka, who pairs a brisk ocean swim with a Gingernut, and Renée in Kaukapakapa, who finds a moment of respite with a Toffee Pop after her baby falls asleep—the heart of the project beats strongly in Northland.
Habicht’s lens captures a diverse cross-section of the region’s identity. The films feature the inter-generational Piriwiritua Ratana brass band from Kaikohe, the grit and camaraderie of the Kerikeri Rugby Club, and the niche passion of Lenni from Maungatapere, who has gained national attention for raising miniature horses.
This focus on the Far North is not accidental; it is a continuation of Habicht’s lifelong fascination with the region. He has previously established himself as a chronicler of Northland’s unique subcultures through films such as Kaikohe Demolition, which explored the world of demolition derby, and James & Isey, a touching study of the relationship between Isey Cross and her son James in Kawakawa.
His body of work in the region also includes Woodenhead and Land of the Long White Cloud, as well as public service work for the NZ Transport Agency. By applying this documentary rigor to a biscuit commercial, Habicht bridges the gap between commercial viability and ethnographic art.
Global acclaim for local authenticity
The industry response to “Life Needs a Biscuit” suggests a growing appetite for honesty over artifice. The series was recently named the best global ad campaign by bestadsontv.com, a recognition that underscores the effectiveness of its minimalist approach.
Guest judge Benjamin Bregeault praised the production, stating he was “blown away by the consistent quality of the craft in every single episode, from start to finish.”
The success of the campaign suggests that the “raw” approach resonates because it acknowledges a fundamental human truth: that small rituals do not solve life’s larger problems, but they provide the necessary space to endure them. As Habicht observed, while a biscuit won’t make problems “magically disappear,” these breaks are universal experiences that allow people to “simply enjoy the present.”
Campaign Snapshot: “Life Needs a Biscuit”
| Element | Approach |
|---|---|
| Casting | Unscripted, real people (non-actors) |
| Structure | Chronological vignettes by hour of the day |
| Duration | 30 to 60 seconds per episode |
| Core Theme | The “beauty in the ordinary” and daily rituals |
| Key Locations | Northland (Kaikohe, Kerikeri, Maungatapere), Tākaka, Kaukapakapa |
As the advertising landscape continues to shift toward “authentic” storytelling, the work of Florian Habicht serves as a benchmark for how brands can integrate into the cultural fabric without overwriting it. By treating his subjects with the same respect he afforded the demolition derby drivers of Kaikohe, Habicht has created more than a commercial; he has created a mirror for the New Zealand public.
The campaign remains a testament to the power of the “smoko”—the essential, unremarkable break that defines the working day for so many across the motu. With the project’s global recognition now secure, the industry will likely look to this model of “documentary advertising” as a viable alternative to the hyper-stylized norms of the digital age.
We invite you to share your thoughts on the intersection of art and advertising in the comments below.
