A shift worker in a toxic dystopia is seen by an earthly goddess who gifts her a natural wooden box. The box is out of place in the plastic-filled toxic world. Whilst eating synthetic food with plastic chopsticks, mid-scroll, the shift worker finally pays attention to the box. She finds a woollen cardigan inside. She tries it on at home and is completely taken by the feeling of the soft and natural fibres on her skin. It then powers her to run through the dystopian landscape of pollution, unhappy crowds in plastic clothing, past an advertisement for clean air canisters, and through a flock of sheep growing plastic fleece lining up to be shaun. She continues running until she escapes dystopia and arrives in nature above the fog of the city. She finds herself on a rocky mountain surrounded by sheep thick with natural wool.

It was a worldwide campaign, so it is suited to all audiences.

Live and Breathe is an impeccably crafted piece. The edit is seamless, sweeping, visually rhythmic and a richly tonal cinematic experience.

The impressive elements such as the scale of production are brought together by the edit.

The audience are taken on a journey with the worker. The cuts allow us to feel what she feels. This journey ranges from dullness, uniformity and confusion to intrigue, fear, and shock. We feel her determination and once she arrives in nature, experience with her a palpable sense of relief and wonder. The edit is the embodiment of her release from the binds of dystopia.

Because of a high amount of VFX the editor was working with plates. To be able to achieve such a level of timing, subtle reveal of the world, and a clear story arc with this creative constraint at hand, Live and Breathe is a piece of editing mastery.