THE SILVERADOS
We didn’t change the car.
We changed what people see when they see it.
In Kuwait, the Chevrolet Silverado became more than a vehicle; it became a perception shaped by aggression and recklessness.
This film challenges that perception by moving beyond the machine and into the lives of the men behind the wheel, fathers, protectors, and individuals rarely seen beyond the stereotype.
Here, strength is not redefined. It is reinterpreted as responsibility.
What once symbolized intimidation becomes an expression of trust.
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Chevrolet AlghanimClient
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Mohamed MagedDirector
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Mohamed MagedWriter
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Dash GroupProduction House
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Ahmed ShoiabProducer
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Ahmed AlhashashProducer
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Karim MohamedDOP
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Othman AlzendiOperator
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Karim GharibFocus
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Barbershop studiosPost House
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Osama BendaryPost Managing Director
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Omar SherienEditor
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Mahmoud AliColorist
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Gorilla - Ali AlhaadiEquipment
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Baqer AhmedAssistant Director
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Ammar AljeraiwiDrone
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Musaed AlmutairiStylist
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Ayman ElghndourArt Director
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Ahmed Abdul MonemVFX
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Sherif AdelVFX
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Nawaf RakanCasting
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Ammar HajjiArabic VO
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Austin NoxEnglish VO
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Project Type:Short, Other
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Genres:Branded Content, Automotive, Advertising, Commercials, Social Commentary
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Runtime:1 minute 30 seconds
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Completion Date:November 6, 2025
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Country of Origin:Kuwait
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Country of Filming:Kuwait
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Language:Arabic, English
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Shooting Format:ARRI ALEXA 35 opengate
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Aspect Ratio:16:9
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Film Color:Black & White and Color
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First-time Filmmaker:No
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Student Project:No
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Digital Cinema Package:Unavailable
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The Telly Awards - 2026New York
United States
SILVER WINNER -DIRECTING -
The Telly Awards - 2026New York
United States
SILVER WINNER - AUTOMOTIVE
Mohamed Maged is an Egyptian film and creative director based in Kuwait. He is the co-founder and Chief Creative Officer of DASH Group Media & Film Production.
He works across film and advertising, focusing on clear, human storytelling that reflects everyday life and culture in the Middle East.
His work is rooted in cinematic simplicity and emotional honesty, aiming to bridge commercial storytelling with real human experiences.
As a director, I was drawn to a contradiction I couldn't ignore. In Kuwait, the Chevrolet Silverado became associated with a very specific stereotype: aggressive driving, intimidation, and recklessness.
The more I observed the culture around the vehicle, the more I realized that this
perception had started to define not only the drivers, but the truck itself.
My goal was to use that stereotype as both a narrative and advertising opportunity. Instead of promoting the Silverado through traditional automotive language, the film reframes the
vehicle through the humanity of the people who drive it.
The film was designed in two stages.
First, the audience was shown the exact stereotype society associates with Silverado drivers, reinforcing the familiar image through teaser films.
Then it revisits the same characters from a more human perspective, completing the picture and reframing both the drivers and the vehicle itself.
The storytelling intentionally plays on a double meaning: while the film challenges the public image of Silverado drivers, it simultaneously reshapes the emotional identity of the
vehicle itself.
Visually, I chose a cinematic approach that moves away from the loud energy commonly associated with automotive advertising. The intention was to create a film that feels observed rather than constructed, allowing the audience to gradually reconsider both
the driver and the machine.
For me, the project became more than a commercial. It was an attempt to show how advertising can influence cultural perception while still achieving its core purpose: making people see the product differently, and ultimately, desire it for a new reason.