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Krispy Kreme Spain Turns Doughnuts Into Unexplained Phenomena
Krispy Kreme's 2019 Spain campaign, titled Tornado, Bermuda Triangle, Dinosaur, is a three-film series produced by LOLA MullenLowe Group that uses absurdist storytelling to explain, with comic sincerity, why a box of Krispy Kreme doughnuts might suddenly and mysteriously disappear from your hands.
Published in June 2019, the campaign arrived at a significant moment for the brand in Spain. Krispy Kreme was not yet a household name across the Spanish market, and the creative challenge facing LOLA MullenLowe was not simply to advertise a product but to establish a personality. Rather than reach for the conventional registers of food advertising — warmth, indulgence, family occasion — the agency built a campaign architecture around a single comic premise: that Krispy Kreme doughnuts are so irresistible, the universe itself conspires to take them from you. Each of the three films deploys a different agent of chaos. A tornado arrives. The Bermuda Triangle opens its claim. A dinosaur makes its appetite known. The doughnut is always the victim, and the viewer is always complicit.
In Spain, where the quick-service and bakery food category is intensely competitive, establishing a tonal distinctiveness in advertising can function as a genuine differentiator. The campaign was created under the creative leadership of Chief Creative Officer Chacho Puebla alongside Executive Creative Director Tomás Ostiglia, with production handled by Landia and direction by Martin Rietti. The three films constitute the entirety of the campaign's media assets, making the creative execution itself the primary vehicle for brand-building rather than a broader integrated effort. The campaign earned coverage from LBBOnline, which described the films as adorably bizarre, a phrase that accurately captures the register LOLA MullenLowe was targeting throughout. Clapboard scores this campaign 57 out of 100.
Krispy Kreme entered the Spanish food and drink market with limited existing consumer recognition. According to samy.com, the brand had approximately 15% awareness among the Spanish population before the launch campaign aired, a figure that frames the strategic stakes clearly: this was not a defence of established territory but an attempt to claim new ground in a crowded category.
In Spain, the bakery and doughnut segment is shaped by deeply entrenched local habits and domestic competitors as well as international quick-service players. Dunkin', which rebranded from Dunkin' Donuts in 2019, operates a substantial presence across the Spanish market and had years of consumer familiarity ahead of Krispy Kreme's more recent expansion efforts. Against that backdrop, LOLA MullenLowe made a strategically coherent choice: do not compete on product feature parity or price signalling, but instead compete on cultural distinctiveness. A brand that makes people laugh in an unexpected way occupies a different kind of memory than one that merely communicates taste or value.
The selection of film as the sole medium reinforces this orientation. Film allows for the construction of a narrative world, and LOLA MullenLowe Group used that capacity fully, building three self-contained comic universes that share a single emotional logic. The decision to anchor the campaign in Narrative rather than demonstration or testimonial is consistent with how challenger food and drink brands tend to build affinity in markets where they lack distribution heritage. The three-film structure also created a release mechanic that could generate sequential attention across social and digital channels in Spain, extending the campaign's surface area without requiring additional production formats. According to samy.com, the launch activity generated more than 10 million views and more than 5 million impressions, suggesting the films found meaningful organic circulation across the Spanish and broader digital landscape.
Director Martin Rietti brought a precise visual sensibility to the three films produced by Landia for the Tornado, Bermuda Triangle, Dinosaur campaign. Each film is constructed around a single escalating gag, and the craft challenge in that format is considerable: the joke must be legible, the timing must hold, and the production values must be high enough to make the absurdity feel earned rather than cheap.
The creative team assembled by LOLA MullenLowe Group for the project was substantial. Chief Creative Officer Chacho Puebla provided overarching creative direction, with Executive Creative Director Tomás Ostiglia shaping the executional approach. Creative Directors Saulo Rocha and André Toledo, alongside Global Account Director Tom Elliston, completed the senior creative and account leadership, with Felipe Antonioli, Camilo Jiménez, and Luis Giraldo also credited as part of the wider creative group. This depth of creative investment on what is formally a three-film campaign signals the strategic importance LOLA MullenLowe placed on getting the tone exactly right for the Spanish market.
LBBOnline, in its coverage of the campaign, described the films as adorably bizarre, a characterisation that speaks directly to the tonal precision Rietti and the creative team achieved. Absurdist advertising is difficult to execute because it operates on a knife edge between charm and alienation. The films for Krispy Kreme Spain stay on the right side of that edge by keeping their emotional core intact: the doughnut is always desirable, the loss of it is always genuinely felt, and the culprit — tornado, Bermuda Triangle, or dinosaur — is always treated with deadpan solemnity. That combination of sincerity and silliness is a craft achievement, not an accident, and it reflects the experience that production company Landia brings to comedy film work of this kind.
No verified performance data linking the Tornado, Bermuda Triangle, Dinosaur campaign to measurable commercial outcomes for Krispy Kreme Spain, such as sales uplift, store traffic, or brand tracking shifts, is publicly available. The campaign also does not appear in verified award records across Cannes Lions, the Effies, the One Show, D&AD, the Clios, the Webby Awards, or WARC, based on available research.
Distribution metrics do exist. According to samy.com, the launch activity generated more than 10 million views and more than 5 million impressions, with more than 20,000 additional engagement actions recorded across platforms. These figures indicate that the films moved through digital channels in Spain and beyond with genuine momentum, which is a meaningful outcome for a brand whose awareness in the Spanish market stood at approximately 15% ahead of the campaign, per samy.com.
Structurally, the campaign is well-designed for the goal it was pursuing. Three distinct films give publishers and audiences different entry points, reducing the fatigue that a single repeated creative asset would generate. The absurdist narrative register travels effectively across cultural and language boundaries, which would have aided the campaign's performance on platforms where the Spanish market intersects with broader Spanish-language audiences. The coverage generated by LBBOnline signals trade press recognition of the creative ambition, even in the absence of formal award recognition. At 57 out of 100 on Clapboard's scoring framework, the campaign registers as a competent and creatively distinctive execution whose structural effectiveness is clear, but whose impact on Krispy Kreme's long-term position in the Spanish food and drink category remains unverifiable from publicly available data.
The Tornado, Bermuda Triangle, Dinosaur campaign is a three-film series created by LOLA MullenLowe Group for Krispy Kreme Spain, published in June 2019. Each film uses absurdist storytelling to suggest a different fantastical force — a tornado, the Bermuda Triangle, or a dinosaur — is responsible for making Krispy Kreme doughnuts disappear.
LOLA MullenLowe Group, the Madrid-based agency within the MullenLowe network, created the campaign. Creative leadership included Chief Creative Officer Chacho Puebla and Executive Creative Director Tomás Ostiglia, with production handled by Landia and direction by Martin Rietti, according to documented campaign credits.
Martin Rietti directed all three films for the campaign. Production was carried out by Landia, a production company with a track record in comedy film work. The films were described by LBBOnline as adorably bizarre, reflecting the precise tonal balance Rietti and the LOLA MullenLowe creative team pursued throughout the project.
According to samy.com, the Krispy Kreme Spain launch activity generated more than 10 million views and more than 5 million impressions. No verified commercial performance data, such as sales uplift or brand tracking results, is publicly available for the Tornado, Bermuda Triangle, Dinosaur campaign in the Spanish market.
Krispy Kreme had approximately 15% awareness among the Spanish population ahead of the 2019 campaign launch, according to samy.com. That limited recognition shaped LOLA MullenLowe Group's strategic decision to prioritise tonal distinctiveness over product messaging, positioning the brand through personality rather than competing directly on category features.
No verified award recognition for the Tornado, Bermuda Triangle, Dinosaur campaign has been found across Cannes Lions, the Effies, the One Show, D&AD, the Clios, the Webby Awards, or WARC. The campaign did receive positive trade press coverage from LBBOnline, which highlighted its playful and distinctive creative approach in the Spanish market.
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