ARCHIVEAndes Beer Explains Why Hurricanes Are Named After Women
Andes Beer's "Hurricane Martha, Hurricane Laura" campaign is a two-film advertising series produced in Argentina in June 2013 by Del Campo Saatchi & Saatchi, built on the comic premise of explaining why tropical storms have historically been given women's names, using the tension between men seeking time with friends and the partners who interrupt that time.
The campaign consists of two distinct film assets, each carrying a self-contained narrative within the same creative universe. Released in Argentina under the Andes Beer brand — an AB InBev product with its strongest foothold in the country's Andean region — the work extends a creative lineage Del Campo Saatchi & Saatchi had been building for the brand since at least 2010. The strategic territory is consistent: Argentine men, cold beer, and the elaborate social choreography required to carve out uninterrupted drinking time with friends. The hurricane films translate that tension into meteorological metaphor, casting destructive weather events as the ultimate alibi and the ultimate joke simultaneously.
In Argentina, where beer advertising has long competed on masculine camaraderie as its primary emotional register, the campaign arrived as a sharp, genre-aware entry into that tradition. Andes Beer occupies a regional rather than nationally dominant position in the Argentine market, making creative prestige a meaningful lever for brand differentiation. The Clapboard Score for "Hurricane Martha, Hurricane Laura" is 63 out of 100, reflecting the campaign's strong craft credentials and award recognition against the context of its regional platform. The creative announcement date, as documented by Saatchi & Saatchi, is July 2, 2013, with the archive publication date recorded as June 2013 in Argentina.
ARCHIVEDel Campo Saatchi & Saatchi built the Andes Beer creative strategy on a single durable consumer insight. Argentine men treat time with male friends as a protected resource, one that requires negotiation, excuse-making, and occasionally elaborate social engineering to secure. That insight had already powered the brand's celebrated "Teletransporter" campaign in January 2010, in which a soundproof booth equipped with ambient sound options allowed a drinker to disguise his location when contacted by his partner. According to Saatchi & Saatchi, "Teletransporter" won Grand Prix honours in both Outdoor and Innovation at the 2010 Cannes Lions Festival, along with two Silver Lions in Direct and two Bronze Lions in Promo and Activation — making it, as Saatchi described it, one of the most decorated campaigns of that year.
"Hurricane Martha, Hurricane Laura" operates within that same strategic frame but escalates the metaphor. Rather than a workaround device, the films offer a cosmological explanation: women, embodied as forces of nature, have always had the power to disrupt. The joke lands because the insight holds. The creative premise, as documented across campaign records, explained why hurricanes are always named after women — a convention the films treat as evidence rather than coincidence.
The Argentine beer market provides the competitive backdrop. According to data cited by wine-economics.org, Quilmes held an estimated 44.2% average market share in Argentina, with Brahma as the second brand at an estimated 14.8%. Both Quilmes and Brahma, alongside Andes, operated under the same AB InBev and Quilmes corporate structure at the time, according to ab-inbev.com. For Andes, which held strongest presence in the Andean region rather than nationally, creative distinction at a festival level served as a primary vehicle for brand visibility beyond its core geographic base.
Rebolucion served as production company on "Hurricane Martha, Hurricane Laura." The two film assets were directed by Armando Bo and Andrés Salmoyraghi, as documented by Saatchi & Saatchi and bestadsontv.com. Bo, an Argentine filmmaker with a profile that extends well beyond commercial work, brings a cinematic register to the material that elevates it beyond the register of a standard beer spot. Salmoyraghi's parallel direction of the companion film gives the two-asset campaign tonal coherence without redundancy.
The executive creative directors on the campaign were Maxi Itzkoff and Mariano Serkin, with Ariel Serkin and Juan Pablo Lufrano serving as creative directors, according to Saatchi & Saatchi. The creative team included Daniel Minaker, Sebastian Tarazaga, Lucas Bongioanni, and Javier Agena Goya. Agency producers Adrian Aspani, Camilo Rojas, Lucas Delenikas, and Felipe Calviño managed production logistics. Advertiser supervisors were Ricky Fernandez, Juan Zarattini, and Matías Mediña, as recorded in campaign documentation.
The films rely on comedic timing and a clean narrative structure rather than production extravagance. The humour operates through escalation and misdirection — both devices that require precise editorial control to land. The two-film format allows the campaign to develop its meteorological metaphor across more than a single punchline, giving each asset room to build its own arc while reinforcing the campaign's central premise. In the context of Argentine advertising in 2013, where the El Diente awards represent the domestic industry's highest creative recognition, the craft decision to trust the idea over production spectacle proved to be the correct one. Del Campo Saatchi & Saatchi won a total of 22 trophies at the 2013 El Diente awards, as reported in campaign records, though specific asset-level attribution across those honours is not publicly documented.
"Hurricane Laura" won the Grand Prix at El Diente, the Argentine Creative Circle Awards, in 2013. It was the festival's only Grand Prix awarded that year, as documented in campaign records. That distinction places the film at the apex of Argentine advertising for its year, in a market where domestic creative recognition carries significant industry weight.
Del Campo Saatchi & Saatchi's total haul at the 2013 El Diente awards reached 22 trophies, as reported in campaign records, though the precise distribution of those awards across individual campaign assets — including the Hurricane films specifically — is not publicly itemised. The Grand Prix for "Hurricane Laura" remains the documented centrepiece of the agency's performance at that ceremony.
No independent third-party data on consumer reach, media spend, brand lift, or sales impact for the "Hurricane Martha, Hurricane Laura" campaign is publicly available. What the record does establish is structural effectiveness: a two-film campaign built on a single, transferable insight, directed by a filmmaker of commercial and cinematic standing, executed by a creative team that had already proven the strategic territory viable with prior Andes Beer work. The campaign entered a competitive Argentine beer market in which both Quilmes and Brahma commanded significantly larger national footprints, according to wine-economics.org, and it responded with creative prestige rather than media weight. The El Diente Grand Prix validates that approach on the industry's own terms. The Clapboard Score of 63 out of 100 reflects the campaign's award credentials and creative coherence, balanced against the absence of verifiable consumer performance data.
"Hurricane Martha, Hurricane Laura" is a two-film campaign by Andes Beer, created by Del Campo Saatchi & Saatchi in Argentina in June 2013. The campaign uses the comic premise of explaining why hurricanes are named after women, rooting the joke in the brand's established creative territory of men protecting their social time with friends.
"Hurricane Laura" won the Grand Prix at the 2013 El Diente awards, the Argentine Creative Circle's annual festival. It was the only Grand Prix awarded at the festival that year, making it the top honour in Argentine advertising for 2013, as documented in campaign records attributed to Saatchi & Saatchi.
Armando Bo and Andrés Salmoyraghi directed the two films, with Rebolucion serving as production company. Bo is an Argentine filmmaker with a profile extending beyond commercial work. Executive creative direction came from Maxi Itzkoff and Mariano Serkin, as documented by Saatchi & Saatchi and bestadsontv.com.
The Hurricane films continue a creative strategy Del Campo Saatchi & Saatchi established with the 2010 "Teletransporter" campaign. Both campaigns centre on Argentine men seeking uninterrupted time with friends. "Teletransporter" won Grand Prix at Cannes Lions in Outdoor and Innovation, according to Saatchi & Saatchi, establishing the strategic territory the Hurricane films later developed.
Andes Beer is an AB InBev product with its strongest presence in Argentina's Andean region rather than nationally. In the broader Argentine market, Quilmes held an estimated 44.2% average market share and Brahma an estimated 14.8%, according to wine-economics.org, with Andes operating under the same corporate group.
The Clapboard Score for "Hurricane Martha, Hurricane Laura" is 63 out of 100. The score reflects the campaign's strong creative credentials and its Grand Prix win at the 2013 El Diente awards, balanced against the absence of publicly available consumer performance or media effectiveness data for the Argentine market.
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