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Renault Good Resolutions Drives Everyday Optimism in France
Renault's Good Resolutions is a French automotive film campaign created by Publicis and published in France in June 2013, using the popular cultural device of personal renewal to connect everyday consumer behaviour with the act of choosing a new car.
The campaign arrives at a moment of genuine market tension. In France, the passenger-car market declined nine percent in June 2013, according to data cited in Renault Group's own published market reporting via Media Renaultgroup. Against that contraction, Renault's passenger-car market share rose two percentage points to reach 21.3 percent in the same period, a figure also documented via media.renaultgroup.com. That combination of macro headwinds and brand momentum forms the commercial backdrop against which Good Resolutions operates. The campaign's single film asset is its entire creative statement — no out-of-home extension, no digital activation layer is documented in the Clapboard archive.
The campaign's central conceit is the idea of resolutions: the familiar human habit of declaring intentions to live better, act differently, or make smarter choices. Renault and Publicis deploy this conceit not in January, when resolution culture peaks, but in June — repositioning the impulse as perennial rather than seasonal. In the French market, where automotive purchase decisions are heavily influenced by household practicality and value perception, anchoring a car choice to the rhetoric of self-improvement carries strategic logic. The campaign belongs to a broader creative lineage at Renault during 2009 to 2013 that, as documented across the Clapboard archive, consistently emphasised everyday lifestyles, family utility, and accessible benefits over aspirational luxury positioning. Good Resolutions extends that register while adding a layer of gentle self-awareness. The Clapboard Score for this campaign is 63 out of 100.
Renault held approximately 21.3 percent of the French passenger-car market in June 2013, according to media.renaultgroup.com. That figure places the brand in a dominant domestic position, yet the nine-percent contraction in overall French passenger-car registrations during the same month, also reported via media.renaultgroup.com, signals a market where volume growth cannot be assumed. The strategic question Publicis faces is therefore not how to grow a category, but how to sustain and build share inside a shrinking one.
The answer Good Resolutions proposes is emotional rather than rational. Rather than competing on price, fuel economy, or feature specification — the default registers of automotive advertising in France during this era — the campaign competes on feeling. The resolution metaphor invites the viewer to see a car purchase not as a grudging necessity but as an act of positive intention. This is a meaningful distinction in the French market, where competitors including PSA Peugeot Citroën and Volkswagen's French operations were simultaneously running product-led campaigns emphasising efficiency and engineering. Renault and Publicis choose a different frequency entirely.
The Publicis relationship with Renault in France stretches back to 1963, making the partnership approximately fifty years old at the time of this campaign's production, as documented via horizont.net. That institutional depth matters creatively: it allows Publicis to speak in Renault's brand voice with confidence, avoiding the tentative positioning that often characterises newer agency-client relationships. The decision to publish in June rather than January also reflects market intelligence — French automotive retail patterns mean mid-year is a competitive purchase window, and arriving with an emotionally distinctive campaign at that moment rather than during the crowded new-year period represents a deliberate scheduling choice.
Good Resolutions takes the form of a single film asset, as documented in the Clapboard archive. The campaign's creative execution sits within the Publicis France operation, and the credited individuals associated with the campaign include Olivier Altmann, Mathieu Vinciguerra, Olivier Dermaux, Lena Monceau, Patrick Lara, Aurore Duhamel, Franck Agnel, and Grégoire Verdet. The specific role designations for each credited individual — whether creative director, copywriter, art director, account lead, or production — are not fully detailed in publicly available documentation beyond the Clapboard archive record.
Olivier Altmann was, at this period, one of the senior creative figures at Publicis France, and his presence in the credits signals the campaign received meaningful creative investment rather than being treated as a routine product release. Publicis France's creative output during 2012 and 2013 was widely recognised within the French industry for its emphasis on storytelling over specification, a house style that aligns directly with what Good Resolutions attempts. The film's use of the resolution device — inherently narrative, character-driven, and rooted in universal human psychology — is consistent with that creative philosophy.
The choice of film as the sole medium is itself a craft statement. In 2013, French automotive advertisers were navigating a transitional moment between broadcast-dominated media plans and the emerging weight of digital video. A single, well-constructed film could function across television broadcast, cinema, and early digital distribution simultaneously. Good Resolutions, in committing entirely to this format, bets on the power of a single emotional idea executed with discipline rather than a fragmented multi-channel content strategy. Whether the film's production values matched its creative ambition cannot be fully assessed from available archive materials, but the assembled credits suggest a production taken seriously by both agency and client.
No verified performance data for Good Resolutions is publicly available. No sales lift, brand-tracking movement, awareness or consideration change, lead generation figure, or market-share attribution specifically tied to this campaign is documented in any publicly accessible source, including Renault Group's own communications via media.renaultgroup.com or trade databases from Campaign, Ad Age, Adweek, The Drum, or Contagious. No awards recognition for this campaign appears in the Cannes Lions, Effies, The One Show, D&AD, Clios, or Webby Awards databases.
What the surrounding market context does confirm is that Renault's overall position in France during June 2013 was strengthening relative to its competitors even as the broader French passenger-car market contracted, according to media.renaultgroup.com. At the global level, Renault Group sold 2,628,208 vehicles across 2013, a rise of 3.1 percent year over year, as reported by media.renaultgroup.com. The Renault-Nissan Alliance, including AVTOVAZ, sold 8,264,821 vehicles in 2013, representing approximately one in ten vehicles sold worldwide, per Global Nissannews. These are group-level figures and cannot be attributed to any single campaign.
Structurally, Good Resolutions demonstrates sound creative logic: a single-minded idea, an emotionally resonant cultural hook, and deployment timed to a commercially active period in the French market. Its Clapboard Score of 63 out of 100 reflects a campaign that executes a coherent strategy competently without reaching the level of creative distinctiveness that earns industry recognition or generates documented consumer response. It is a responsible piece of brand advertising — purposeful, well-crafted, and market-aware — operating within the parameters its commercial context demands.
Good Resolutions is a Renault film campaign created by Publicis and published in France in June 2013. It uses the cultural idea of personal resolutions to connect the decision to buy a car with the human impulse toward positive change, positioning Renault within everyday lifestyle values rather than technical specification.
Publicis created Good Resolutions for Renault in France in June 2013. Credited individuals on the campaign include Olivier Altmann, Mathieu Vinciguerra, Olivier Dermaux, Lena Monceau, Patrick Lara, Aurore Duhamel, Franck Agnel, and Grégoire Verdet, as documented in the Clapboard archive.
Good Resolutions has no verified awards recognition. No record of the campaign appears in the Cannes Lions, Effies, The One Show, D&AD, Clios, or Webby Awards databases. The campaign carries a Clapboard Score of 63 out of 100, reflecting competent execution without reaching award-level creative distinction.
The French passenger-car market contracted nine percent in June 2013, according to media.renaultgroup.com. Within that declining market, Renault increased its passenger-car market share by two percentage points to reach 21.3 percent during the same period, also per media.renaultgroup.com, providing the commercial context for the campaign.
Publishing Good Resolutions in June repositions the resolution impulse as a year-round human behaviour rather than a seasonal January habit. In France, June represents a competitive automotive retail window, and arriving with an emotionally distinctive idea at that moment avoids the congestion of new-year advertising while retaining the campaign's cultural resonance.
Publicis had worked with Renault in France since 1963, making the relationship approximately fifty years old at the time Good Resolutions was produced, as documented via horizont.net. That partnership depth gave Publicis the institutional confidence to pursue an emotionally driven creative strategy rather than a product-specification approach.
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