Cedevita - Ono Nešto Campaign

Ono Nešto with Tamara Dragičević

Creative concept, OOH, Digital

Directress

Nađa Subakov

Producer

Marija Milosavljević

DOP

Andrey Goretskiy

Costume

Nevena Vuković

BTS

Mihailo Marković

Photo

Boris Jovanović

Cedevita’s summer campaign is built around a simple observation: even when the day goes sideways, there’s usually something in it worth holding on to. Starring actress Tamara Dragičević, the campaign brings Cedevita’s long-standing “Ono nešto CE” platform into a series of Tamara’s everyday situations where things are just slightly off — an emotional crisis over drinks, an overenthusiastic stranger who won’t stop talking, a film set descending into chaos. Tamara takes it all in stride, breaking the fourth wall to share the joke with the audience and finding a small reason to stay optimistic along the way.

Mother came on board as a creative and production partner, developing the campaign idea and scripts and leading the project through several months of creative development and production. Together with Cedevita, we built a creative system that could travel comfortably between formats while keeping the same voice and sense of humor. Production itself was condensed into a single shoot day with a crew of around 15 people. With a tightly planned schedule, we moved Tamara through three physical locations, transforming them through styling, art direction and framing to create five distinct settings on screen. By the end of the day, we had shot five videos as well as a series of campaign and PR images. This is also a good example of how we like to work at Mother: keeping teams lean, preparation thorough and production agile. Rather than scaling the crew or number of shooting days, we put the work into pre-production, planning each setup and transition so we could move quickly on set without compromising the quality. The result was a compact production with the scope and visual variety of something much larger — made possible by a client who understood and trusted the process. After all, this kind of agility only works when it goes both ways.

Before the shoot, we knew the campaign would move outdoors, so we approached OOH as an extension of the same creative idea rather than simply repeating one message. We developed a flexible copy system around “Ono nešto”, adapting it to different cities and local contexts, while the shoot gave us the visual material to carry that system across formats. The campaign eventually rolled out across more than 30 cities in Serbia.

It was one of those projects we got to spend real time with. Over several months, ideas were written, questioned, rewritten, tested, produced and refined, with both teams closely involved throughout the process. Having that time and openness meant we didn’t have to treat the first good idea as the final one — there was room to challenge things, change direction when something could work better, and let each part of the campaign inform the next. What did we learn? Agility isn’t necessarily about doing things faster. Sometimes it means doing more thinking upfront, staying flexible, and knowing where to simplify without making the result feel smaller. Trust, quick decisions and honest conversations made it possible to keep moving.