by Emma Burton, Planning
When Netflix released the trailer for The Last House around six weeks ago, I was instantly hooked. I found myself counting down to the launch date, which is probably exactly what Netflix wanted. Interestingly, it’s only in the last week or so that I’ve started to see the wider advertising campaign appear, suggesting a deliberate strategy of building intrigue through owned channels before hitting the market with a broader media push.
Scrolling through LinkedIn, I came across Netflix’s special-build billboard on Sunset Boulevard, which quickly seemed to capture attention on both sides of the Atlantic. It’s a great example of how powerful outdoor advertising can be when paired with social media. A single installation in Los Angeles suddenly becomes a global talking point as people share photos, videos and opinions online.
The creative itself lands because of the emotional territory it taps into. Anyone who’s watched the trailer will understand the feeling of confinement at its core. It evokes memories of Covid and those months spent largely stuck indoors. While the circumstances are obviously very different, the campaign cleverly taps into a shared experience that almost everyone can relate to.
The billboard is also refreshingly simple. There’s no complicated technology or convoluted message. It’s a straightforward execution that immediately communicates the film’s premise to anyone passing by, including those who may never have seen the trailer. That’s often the sign of a strong outdoor idea: it works in a matter of seconds.
I’m sure the production costs weren’t insignificant, but the amount of earned media and social coverage the installation has generated makes it look like money well spent. It’s a reminder of the role that special-build OOH can play in a campaign. When budgets tighten, these types of executions are often the first things to be questioned, but when they’re genuinely idea-led they can punch far above their media spend.
Personally, I also love the placement. It feels perfectly suited to the creative and gives the installation a sense of scale and spectacle. The only downside is that, judging by what I’ve heard from friends and seen online, the trailer and the billboard may be receiving better reviews than the film itself.
That said, advertising can’t fix a disappointing product. What it can do is capture attention, create conversation and build momentum. On that front, Netflix has absolutely succeeded. Whether people end up loving the film or not, they’ve created a piece of advertising that people are talking about, sharing and remembering, which is a win in itself.
