Partygoers Fight for Morning After Revival in Nile Coffee Club Campaign

Nile Coffee Club has teamed up with director Myles of Revolver Films for the brand’s dramatic online campaign, ‘Good Enough To Fight For’.

The commercial opens on a scene of post-party lethargy, guests sprawled over the floor, lawn, and even roof. The ring of the doorbell announcing a Nile Coffee Club delivery snaps them out of their stupor and sets off a tense race to the front door, temperature rising as they clamber over one another to the tune of Vivaldi’s violins. Nerves are finally eased once the coffee is in hand, gently nursing them back to life.

The concept for the campaign was born from a joke between director Myles and brand co-founder Sandrine Somé – old friends from film school – that the only thing that can get people up the morning after a party is a coffee or a food delivery. Drawn to elevated chaos, Myles took this prompt and ran with it, finding humour in the balance between light-hearted fun and orchestral, choreographed drama.

The shoot was orchestrated by producer Lisa Kannakko, who ensured the project's financial viability and that everyone had the tools to work efficiently. During production, Myles worked with DOP Shady Hanna, whose work he had long admired for its attention to composition and detail. Both drawn to theatrical blocking, their way of working knitted together seamless on set. In post, the vision was elevated by editor Leah Lalich, with whom Myles has collaborated for over five years.

Myles, director at Revolver Films, commented, "This project really reflects where I'm at artistically. I love taking everyday moments and cranking the intensity to one hundred. I'm inspired by nostalgia and think the commercials of the early 2000s really got it right. Everything had a campy feel to it. I wanted this spot to feel like it could play on a Saturday morning while you're making breakfast."

Leah Lalich, editor at Nimiopere, added, "When I read Myles' script and concept, I loved the idea of a bunch of bored hot people needing coffee. There wasn’t dialogue or VO, so I approached the edit almost like a silent film. The edit comes from this energetic place that we were able to have a lot of fun with. We knew that the music needed to serve the narrative, so we tried a lot of different approaches – as soon as we went classical we immediately knew that was the right direction. Sound and music definitely were my favourite characters in the spot because they were always informing where we went next and giving us these interesting moments of discovery.”