Confronting the Discomfort: Amplifying Kotex’s Call to Action
This International Women’s Day, Kotex is confronting the discomfort that comes with being female. Being uncomfortable is something women have sadly grown accustomed to and this is message that sits the heart of their latest film, shot by Rakish director, Jaci Judelson.
Despite making up 50% of the global population, the world is still “not made for women”. These are words taken from the powerful monologue written by Capital A creative chief officer, AJ Hassan, whose script punctuates the film. The arresting words are paired with captivating visuals and a minimal but impactful score which sets the tone as the relatable on-screen stories unfold. Refusing to shy away from these uncomfortable truths plaguing society in 2024, Kotex recruited a team of fierce female talent to communicate this crucial call to action. United in their struggles, each story in the film accurately portrays the ways in which women are bravely demanding progress for all.
Eager to hear from the incredible female-led team, LBB’s April Summers sits down with Jaci Judelson, director at Rakish; Molly Salas, music supervisor and partner at Halo Music & Sound; and AJ Hassan, CCO at Capital A, to discuss how they amplified this vitally important message at a cultural moment when it’s needed to be heard most.
LBB> AJ, can you tell us what inspired this campaign? Where did the original idea come from?
AJ> The “#ProgressFeelsLike” campaign sprung from a truth on our client’s brief about what women everywhere are facing today, that essentially “Progress is no longer a given.” This is something many of us recognise with the increasing numbers of women's rights under threat and making headlines, but the true feeling of it became all the more exasperating when I saw it stated so plainly. The data from Kotex’s global study also made it clear: they uncovered that 60% of women believe the speed of women’s progress is either stagnant or moving slowly. Half of the women polled indicated that the world is a more uncomfortable place for them than ever before.
LBB> What initial ideas came to you and how closely do they resemble the finished film?
AJ> It started with all those headlines, and wanting to somehow capture and make visible the reality of what it feels like for women both intimately, and collectively. The script speaks through a single voice but spans continents, touching on a sampling of key issues to help express what continues to feel like an innumerable set of barriers that exist, big and small. These realities are now being passed on to the next generation of young women. That inspired much of the casting, the new generation now being called alongside to help punch through it all with the resilience and togetherness we know is the only way forward. So the essence of the story was crafted early and has stayed true to its core, but grew big wings when we partnered with Jaci.
Jaci> I created a fairly long list based on what is actually going on around the world, and what moments I could imagine to represent our resilience. Not so much the notion of hope, to be honest, but the necessity for some faith based on interaction globally, which is the goal of this whole initiative by Kotex – that progress can be made if we keep talking about it and know about what’s going on everywhere. From there, the litmus test was total truth. Reality shaped the scenes and the casting, which was what I hoped for – those are always unexpected gifts. All this was underscored by Halo’s music, which was cinematic and spare at the same time.
LBB> Molly, at what part of the process were Halo approached to work on this project? What initial ideas did you have upon first receiving the brief?
Molly> We were brought in relatively early, when there was a script and footage had been shot but there was not yet a cut. We had a really productive conversation with AJ, Jaci, Lindsay (EP) and Amanda (editor) about the substance and emotion of the film which gave us several ideas for direction. We received the script and production stills, but the majority of those were moments of solitude in the piece. Girls alone, in hallways, bathrooms, homes, quiet shame. In our first chat with creatives, we’d talked a lot about “one step forward, two steps back” as a metaphor for women’s progress. The vibe for me was quiet defiance, resentment that builds alone, cracks that start to form in a hardened exterior because, frankly, it sucks to be a woman right now. This tension between feeling like there’s progress only for it to be taken away, or progress for some but not all, was in the back of my mind while we were brainstorming.
LBB> The monologue, written by AJ, is an integral aspect of this film – how did it influence your ideas for the music?
Molly> Discomfort is the central refrain to the film. Early drafts were a bit more defiant; had vocal cacophony to play with women having voices to use them, had clocks to signify not only how we’re kind of going back in time but how much our periods are oriented around measuring time. Our composer in the end recorded doors, locks, latches, shutting around the studio as part of the percussion. Many of the women’s experiences that we see in this film happen alone, behind closed doors. And also, as the narration suggests, at a time when so many doors are closing, it felt important to reflect that sonically.
LBB> The score intensifies as the monologue unfolds. Can you tell us a bit about the process of unearthing a suitable musicality to marry the hard-hitting words and powerful visuals?
Molly> The opening of the score is minimal, incessant, sets the tension of the film, as each character is seen experiencing a private hardship. Progress isn’t comfortable, but it also isn’t happening without active defiance nor without the power of community. We scored tightly to each act of the piece, and it was important that the end wasn’t too “hopeful in an ads way”. Progress isn’t comfortable, but the way forward isn’t a given. Progress Feels Like continuing to resist and persist while women continue to experience discrimination; Black maternal health is deeply unsafe compared to white women’s maternal health because of explicit bias in medicine, abortion access is being curtailed in every state that will allow it, gender based violence against women and crucially, trans folks of all genders, is occurring at unprecedented rates, the gender pay gap persists, Greta Gerwig was snubbed as Best Director, men are still afraid of tampons, the list goes on. We’re exhausted and we’re angry. But collective anger can be a galvanising force. Musically, the end of the piece looks forward, but is grounded in reality – it's hopeful but restrained.
LBB> It is important to note that this project was led by a predominately female team – in what ways would you say this influenced the tone of the spot?
AJ> A unique team of incredibly talented women were at the helm. Being women with our own experiences gave us a natural compass for what we believed the film should say and do. There was less navigating the comforts or approval of what male peers might have wanted us to say.
Molly> The feelings the spot evokes were understood and explicit from the jump thanks to this team. Every woman has felt the fear and pain and discomfort and silencing that the spot highlights, and it was understood on all of our creative calls without having to be named overtly. The shared experience was something we got to collaborate on and build through toward the final piece, bringing our own unique perspectives to a greater vision.
Jaci> We were predominantly female, and that was very cool. However, my crew was full of ‘everyone’. It felt important that we were all in this together, that our brothers were present and invested in this effort. The ambience on set is always important to me, especially when working with ‘real people’ in front of the lens – and it was a beautiful collective effort on every level. I find that allows what happens on camera to be grounded in something real.
LBB> What were the agency’s creative goals for this campaign? And do you feel you have you achieved them?
AJ> My creative goals are always that the work creates impact artfully and authentically. The rest is icing. We have an incredible client in Kotex, who have a global megaphone and use it to champion women’s progress. They are activating teams with this on every continent and in nine languages, and partnering with “She’s The First”, a non-profit organisation with a ground game that fights for girls education and futures. These things ripple. The success that’s harder to measure precisely, are women truly feeling seen and invigorated. It is something we’re beginning to hear back a lot in newsfeeds when it's shared. That brings me the most pride, as I hope it means #ProgressFeelsLike we’re not alone and are fuelling more action to change it.
LBB> And finally, as a female creative, I am curious to find out what cultural event from the last year you believe has helped move the needle the most when it comes to gender equality and women’s empowerment?
Jaci> I think the bravery we are witnessing in Iran is hard to even grasp; young women continue to rise up while being systematically crushed and threatened. And Roe vs. Wade being overturned in the US - both are examples of the many enormous motors towards ‘empowering’ women to fight for what is just, not only in their own countries but worldwide. Endless sources of outrage and heartbreak, but this project was also about embracing our resilience.
AJ> There’s too many to pinpoint just one. Unfortunately, the yo-yo has been driving the momentum as of late. An example being the U.S. Women’s Soccer Federation winning equal pay. The 2023 Women’s World Cup following by quadrupling compensation. Then Jenni Hermoso being assaulted on the winning stage of that same World Cup final for all to see. The “SeAcabo” movement and global backlash from women everywhere to hold FIFA accountable, and winning. Of course, Taylor Swift and Barbie did their part this year too.
Molly> It’s hard not to feel like the needle is mostly moving backwards, but there were glimmers of light last year: the Barbie movie, because it brought the ills that patriarchy creates in our society to a mainstream blockbuster in a fun and accessible way (it’s not just horses, it’s sinister!); at The Grammys this year not one man spoke on stage, just a few years after the Grammy President said women just needed to step up and they’d be nominated more; and then there was the Renaissance World Tour...
