Choco Hoax
Exposing the deceptive practice of greenwashing
Directed by Alice Fassi
Interview by Tatev Avetisyan
After releasing her documentary on the Universal White Brotherhood in Bulgaria, Alice Fassi is back with a satirical film, Choco Hoax, on greenwashing and its impact on modern advertising techniques. The film revolves around a fictional futuristic "chocolate bar" – a supposed snack that ironically lacks chocolate. Choco Hoax reveals deceptive product labelling, concealing harmful aspects while removing associations with controversial ingredients.
Curation Hour caught up with Alice Fassi to learn about the inspiration behind Choco Hoax, the behind-the-scenes and personal reflection on the issues of greenwashing and the current state of consumerist culture.
Choco Hoax satirically critiques greenwashing and consumerist tendencies in contemporary society. How did you decide to frame this trending topic? What stood as the inspiration behind this futuristic visual feel?
For a while now, I have been wanting to explore the topic of greenwashing. Working as a director in the fashion industry, I am well aware that fashion is one of the primary contributors to climate change. It applies to the production of the majority of everyday products as well. Capitalism can never be ecological.
The concept of Choco Hoax emerged while I was grocery shopping and I started reading the product labels. Suddenly, every product seemed deprived of its harmful characteristics. "No sugars," "No palm oil," "No preservatives," "No fats," "non-GMO." We have become accustomed to choosing products based on what they lack. It encapsulates the grand promise of contemporary capitalism: buy, consume, and without any risks. By removing these elements, they attempt to prove that their products are not only good for our health, but also environmentally sustainable. This is the next level. Not only is it a “conscious” product, but it also helps you feel proud of yourself because you contributed to something good for the world. By this, they have eliminated the only factor that could impede us from consuming: the sense of guilt. It is a brilliant marketing strategy. Naturally, the consequences depicted in my film are paradoxical. However, I wouldn't be surprised if, in the future, someone invents a way to convince people that nuclear waste can be consumed.
When it comes to my visual/narrative inspirations, I have explored various paths, even ones quite different from each other, with a retro-futuristic approach. For some time now, we have been living in a sort of retromania: a constant reference to the past, as melancholy subconsciously connects us to positive emotions. And I believe that in the future this will be extreme. So, you could say my references are a mix of different worlds. For storytelling, I found inspiration in the hilarious sketches of Monty Python and the wit of Mel Brooks. As for the aesthetics, it was inspired by the cult horror film "Re-animator" (1988). As for the set design, I combined the vibe of 1970s television studios with the iconic Simpson's nuclear power plant. I really enjoy blending genres, and I see it as a fantastic exercise in creating the most unusual things.
How did the branding for Choco Hoax chocolate come to place? What is the creative process behind the narrative and the aesthetics?
From the very beginning, I envisioned Choco Hoax to mirror most of the products available today – all appearance and no substance - a colossal Hoax. It led to the concept of a chocolate bar even deprived of chocolate itself. Instead, it would contain nuclear waste, giving it a fluorescent green hue and extreme toxicity, drawing inspiration from the Simpsons' nuclear power plant. For the packaging, I aimed to conceal the Hoax while gradually unveiling the deception as the film unfolds. Collaborating with my graphic designer, Alberto Ricchi, he proposed to go on a silver colour base with fluorescent green decorations, evoking an exaggerated representation of radioactive waves. The choice of a black and corporate font was intended to lend a serious tone to the snack and inspire confidence in the minds of consumers. In the meantime, I delighted in devising subliminal messages to be inscribed on the bar. These subtle details may not catch one's attention at first glance, but upon pausing the video on a frame featuring the bar, viewers will notice that nothing is left to chance.
This advertising turned into a surrealistic and ironical narrative, figuratively calling out all the greenwashing brands and also tackling those brands on how they market the "sustainable" labels. What do you think the viewer should take from this film?
This film invites viewers to delve deeper into things, educate themselves about the products they purchase, and analyse the marketing strategies employed by major brands. We constantly receive warning signs indicating how sustainability has become entangled with economic interests. Just consider the United Nations Climate Change Conference. Coca-Cola, the world's largest producer of plastic waste, was the official sponsor of last year’s conference (COP27). How is this possible? It serves as just one of the countless examples, highlighting the importance of questioning and maintaining a critical perspective.
The film is well thought out and very detailed: starting from the clothes to the mise-en-scene and sound effects. During the production of Choco Hoax, what were some of the challenges you and your team faced, and how did you overcome them to bring your vision to life?
Choco Hoax has undoubtedly been the most intricate project I have embarked on to date. As a passion project without any profit, the primary challenge was finding a balance between the budget I had and the overly ambitious ideas I had in mind. I received frequent advice to trim certain elements, as each additional detail brought a higher risk percentage. Nevertheless, I am relieved I didn't succumb to the obstacles and stayed true to my original vision. I am truly at a loss for words to express my gratitude to my team for believing in the project and patiently working on it despite the challenging circumstances. Despite having only two days of shooting and an array of elements to coordinate, I firmly believe we did the best we could.
“One of the key warning signs of greenwashing is the use of vague claims or the deliberate omission of relevant information. Additionally, it is essential to assess whether a brand merely touts sustainability as an incidental addition rather than a fundamental aspect of its business model.”
The casting enhances the overall message with professional acting; how did you meet the actors, and what was the process behind the casting?
In our cast, only the presenter (Alastair Cumming) and the old lady (Toni Pandolfo) are professional actors. Everyone else consists of fashion models. It was love at first sight with Alastair. He sent us his audition tape from London, and I immediately knew, "He's the one." He perfectly grasped the character. I envisioned him as a caricature of the typical presenter, representing the schizophrenic system he works for, which can leave the audience feeling uneasy.
Regarding Toni, I had worked with him before, and I knew he always gives himself completely, even if it means throwing himself off a chair and vomiting green liquid 20 times in a row. As for the other characters, as I mentioned earlier, they are all fashion models, and my Casting Director (Giorgia Aversa) organised specific auditions. I turned to the fashion industry for convenience, seeking iconic faces rather than strong acting skills, but rather individuals unafraid to take risks. I selected the ones that embraced the crazy things I asked them to perform during the castings.
Fashion is on point; how did you work with the stylist and agree on the wardrobe so that it perfectly represents the characters and adds value to the narrative? Are any hidden references intended?
The stylists I worked with are a duo, Francesca and Rafaela; I briefed them on each character, and we discussed for a long time how to portray them in the best, most iconic way. We worked extensively on their personality traits so that they could transpose these peculiarities into the clothes. For example, I needed the character of the TV presenter to be extreme, self-confident, and charismatic: the stylists took this starting point and made him be a sort of ringmaster at the circus (and our cast of actors was quite the circus indeed!). I also wanted to include some subliminal messages, and they had the idea of adding some pins on his lapel. If you have a close look, you might find them. In addition to the hidden references, there are some hints to cinema and advertising: the TV presenter’s assistant, for instance, recalls Lurch from the old Addams Family movies but from a more modern point of view.
Choco Hoax has a few somewhat disturbing scenes; for instance, a woman with the womb, the vomiting man and the closing scene of happy faces standing next to the dead body; can you explain their symbolism and choice of the characters?
Television is continually seeking the unusual, grotesque, and scandalous to leave a lasting impression on its audience. Biologically, we are drawn to the macabre due to factors related to our survival. Television, advertising, cinema, and journalists are all adept at capturing viewers' attention. The special guests were deliberately selected to add another layer to the final climax. I wanted characters that would allude to the false inclusivity of Choco Hoax. "Choco Hoax is so inclusive that it appeals to everyone," from the youngest to the oldest. And there they are - the exuberant foetus, the handsome thirty-year-old, and the elderly transsexual. They are mere puppets, serving no real purpose other than to illustrate that advertising stops at nothing. It doesn't hesitate in the presence of a radioactive foetus or a woman so old she is actually already dead, likely due to a diet rich in nuclear waste. Not even death halts advertising. In fact, because death holds such magnitude, it is transformed into a spectacle to attract even more viewers. All characters want to appear in the same frame exploiting these situations to boost their fame.
What advice would you give to viewers on making environmentally conscious shopping decisions? Do you have any personal rules in terms of sustainability that you follow on a daily basis?
The first step is undoubtedly to educate ourselves about the brands we support with our purchases. One of the key warning signs of greenwashing is the use of vague claims or the deliberate omission of relevant information. Additionally, it is essential to assess whether a brand merely touts sustainability as an incidental addition rather than a fundamental aspect of its business model. Numerous fashion brands, for instance, proudly proclaim their use of degradable natural fibres like viscose, rayon, and bamboo. However, it is crucial to delve into the sourcing and treatment of these materials to truly ascertain their level of sustainability. Furthermore, it is imperative to recognize that "sustainability" encompasses the ethical dimensions of working conditions and does not automatically translate to improved working conditions or wages. Identifying genuinely sustainable brands is a challenging task, further complicated by the absence of subsidised controls and studies.
What are you working on next?
I have got a couple of scripts I started, and I am excited to jump back in and work on them again. They all centre around satire, a genre that embodies the most how I feel right now. But I am always into trying new things and growing in my projects. Right now, I feel the urge to shift my focus more towards storytelling and getting involved in longer collaborations with actors. One of my goals is to write a new short film, staying true to my personal style and striking a balance between irony and absurdity.
Written and directed by: Alice Fassi
Director of Photography: Giulio Melani
Co-production: C41, Eclettica
Alastair G Cumming - The Presenter
Khoudia Thiam - showgirl 1
Paula Sanz - showgirl 2
William Ginnis Crabb - the employee
Toni Pandolfo - Old lady
Aurelio Baiocco - special guest
Jihane Benassar Mootassem - pregnant girl
1st Ass. Director: Costanza Doria
Casting Director: Giorgia Aversa
Head Set Designer: Viola Aprile
Photographer on set: Marco Gehlhar
Make up Artists: Elisa Maisenti, Ilaria Bosco, Daniela Decillo
Key Hairstylist: Yuri Napolitano
Fashion Stylists: Francesca / Rafaela
Mother Belly Artpiece by Amanda Colares Silva
Editing: Alice Fassi and @margheritafreyrie
VFX: Giorgio Ajello
Soundtrack: Giorgio de Lauri (Jiz)
Graphic Designer: Alberto Ricchi
Motion Designers: Francesco Bocchini and Diletta Guidolin