Grab the iTissues before watching this emotive Apple film
Smuggler director Mark Molloy once again crafts a perfect three-minute short for the tech brand, this time telling the heartwarming story of a family Christmas after the loss of Grandma.
Credits
View on- Agency Media Arts Lab
- Production Company SMUGGLER
- Director Mark Molloy
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Credits
View on- Agency Media Arts Lab
- Production Company SMUGGLER
- Director Mark Molloy
- Producer Alex DeSantis
- Co-Founder Patrick Milling-Smith
- Co-Founder Brian Carmody
- Executive Producer Sue Ahn
- DP Rodrigo Prieto | (DP)
- Production Designer Jason Hougaard
- Edit Company Exile Editorial
- Editor Kirk Baxter
- Colorist Tom Poole
- VFX Company a52
- Producer Arlene McGann
- Production Supervisor Rod Bailey
- Production Designer Caitlin Byrnes
Explore full credits, grab hi-res stills and more on shots Vault

Credits
powered by- Agency Media Arts Lab
- Production Company SMUGGLER
- Director Mark Molloy
- Producer Alex DeSantis
- Co-Founder Patrick Milling-Smith
- Co-Founder Brian Carmody
- Executive Producer Sue Ahn
- DP Rodrigo Prieto | (DP)
- Production Designer Jason Hougaard
- Edit Company Exile Editorial
- Editor Kirk Baxter
- Colorist Tom Poole
- VFX Company a52
- Producer Arlene McGann
- Production Supervisor Rod Bailey
- Production Designer Caitlin Byrnes
If someone tells you they didn't weep like a baby during the first five minutes of Pixar's masterpiece UP, they are either a heartless monster or a goddam liar.
Clearly taking its influence from the animated weepfest (the use of the film's music being a delightfully knowing nod), TBWA\Media Arts Lab's holiday film for Apple, The Surprise, presents a heartfelt family reunion in which everyone is missing the presence of Grandma.
Presenting moments everyone who's travelled home for the holidays would be familiar with - the manic journey made tolerable through judicious use of screen-time, the discovery of harks back to the past, the constant calls of "settle down" - the film not only presents a credible-looking family dynamic, it also demonstrates the ubiquitous prevalence of iPads and the like, somehow avoiding the dreaded 'product placement' feeling that would be all too easy a trap for it to fall into.
Filled with authentic performances, relatable situations and a killer denouement that isn't lessened by it's clear signposting, the film once again shows that Smuggler's Mark Molloy is the master of short-form, lovingly-crafted emotional manipulation. And we mean that in the best possible way.