Baz Luhrmann’s 2014 short film, *Chanel N°5: The One That I Want*, isn't just a perfume advertisement; it's a cinematic experience. A departure from the typical glossy perfume commercial, it's a meticulously crafted narrative short that explores themes of love, longing, and the elusive nature of desire, all wrapped in the iconic aura of Chanel No. 5. This article delves into the film's production, its artistic merit, its place within the broader context of Chanel No. 5's cinematic history, and its lasting impact on the world of advertising.
The film, officially titled *Chanel N°5: The One That I Want* (and often referred to as *The One That I Want* for brevity), is a significant entry in the ongoing saga of Chanel No. 5's screen adaptations. It follows a lineage that includes the earlier, equally iconic short film directed by Baz Luhrmann's close collaborator, Baz Luhrmann himself, in 2004, simply titled *Chanel N°5: The Film*. While both films showcase the allure of the fragrance, they do so in vastly different styles. The 2004 short, starring Nicole Kidman, is a more surreal and dreamlike exploration of the perfume’s mystique, whereas *The One That I Want* embraces a more grounded, though still highly stylized, romantic narrative.
This shift in aesthetic reflects not only the evolution of cinematic storytelling in the intervening decade but also a conscious decision to connect with a contemporary audience. The 2004 film was revolutionary for its time, but *The One That I Want* aimed to be more relatable, weaving a narrative that resonates with the complexities of modern relationships. This is achieved through its compelling characters, played with captivating grace by Gisele Bündchen and Michiel Huisman, and the masterful direction of Luhrmann himself.
The film follows the intertwined lives of two individuals, played by Bündchen and Huisman, whose paths repeatedly cross in a series of chance encounters. These encounters aren't explicitly romantic at first; instead, they are fleeting moments of connection, imbued with a palpable sense of unspoken attraction and shared experiences. The narrative is non-linear, jumping between present-day interactions and flashbacks that gradually reveal the subtle connections between the protagonists. The use of flashbacks is crucial, adding layers of depth to their relationship and hinting at a destiny that unfolds slowly, almost imperceptibly.
Luhrmann's signature stylistic flourishes are evident throughout the film. The vibrant cinematography, punctuated by sweeping camera movements and dramatic close-ups, creates a visual feast. The colour palette is rich and saturated, further enhancing the opulent feel associated with the Chanel brand. The soundtrack, a carefully curated selection of music, perfectly complements the film's mood, shifting seamlessly between moments of intimacy and exhilaration. The music underscores the emotional nuances of the narrative, amplifying the feeling of longing and anticipation that permeates the characters' interactions.
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