Andalusia Tourism ends its Andalusian Crush Trilogy with The Surrender, Featuring Music by Hans Zimmer

Oct. 05, 2026

Mitsuki, a young Japanese woman, takes shelter from the rain inside a Tokyo arcade. There, she discovers an arcade game that pulls her into an unknown universe, where she must overcome challenges inspired by Andalusia’s eight provinces. The only way to win? Surrender to Andalusia. That is the premise of The Surrender, the new animated short film created by Ogilvy Spain for Andalusia Tourism. Featuring an original score by Hans Zimmer, the short premiered at Comic-Con Málaga 2026.

Far from conventional advertising, The Surrender is a branded content piece of more than five minutes that expands and closes the Andalusian Crush universe, a campaign honored with the Gran Premio Nacional de Creatividad, the El Sol Grand Prix, and awards at international festivals including Cannes Lions, the Clio Awards, and Spain’s Eficacia Awards. It serves as the campaign’s finale.

After three years of showing the world what it means to discover the region, this latest chapter reinterprets Andalusian heritage as a tribute to video game culture, cinema, science Fiction, and pop culture.

Over more than six months of work, the project combined 3D animation, live-action filming, and motion capture with advanced artificial intelligence techniques, woven into different stages of production to explore new visual and narrative possibilities. The story draws on isekai, a genre of Japanese anime in which the protagonist is transported to a parallel world.

Miguel Provencio and Víctor Vázquez, creative directors at Ogilvy said:

"The amount of talent that came together for this was incredible. It’s as if Messi and Zidane, each at the peak of their game, were playing on the same team. In fact, the hardest thing to manage was the sheer number of ideas and proposals brought to the table."

 

Juan P. Moreno and Javier Senovilla, executive creative directors at Ogilvy said:

"This project leaves us with mixed feelings, for a couple of reasons. On the one hand, it’s a kind of farewell to Andalusian Crush, a brand platform we saw being born and would have loved to keep building on. On the other hand, we’ve worked throughout with a creative freedom and ambition that seem to be an endangered species in advertising today."

 

Hans Zimmer’s surrender and a tribute to gaming culture

Music is the backbone of the piece. Hans Zimmer, a two-time Oscar winner and the composer behind scores such as The Lion King, Gladiator, Interstellar and Dune, expands on the theme he created for the previous Andalusian Crush installment. He delivers a full symphonic development that accompanies Mitsuki through what he describes as a monumental love letter to the cultural force of Andalusia and a surrender to it.

Audiovisually, the film pays constant homage to gaming culture and its ability to influence other forms of expression. Each level is built around a distinct genre, mechanic, or recognizable visual style, and gathers references to titles that have crossed over from the screen to become cultural icons.

Mitsuki’s journey through eight provinces turned into video games

Throughout her journey, Mitsuki is guided by the Carriazo Bronze pendant, an iconic Tartessian piece representing the Phoenician goddess Astarte.

In the first level, with an aesthetic inspired by García Lorca, the protagonist makes her way through a traditional white village under the gaze of Bernarda Alba and faces the Morcho, a mythical creature from Andalusian folklore said to portend death.

The second level becomes a platformer devoted to Sevillian Baroque art, where Mitsuki dodges hazards among masterpieces by Zurbarán, Murillo, Ribera, and Valdés Leal. After surviving the living skeleton of In ictu oculi and seeking help from Saints Justa and Rufina, she makes a daring leap into the void from La Colosal, Murillo’s famed Immaculate Conception.

Water takes over in the third stage, which plunges Mitsuki into the depths of Atlantis alongside the goddess Malac. This level gathers references to the maritime heritage of Cádiz and Málaga, including the Priests of Cádiz, the Virgin of Carmen with her biznaga, and the Castle of Sancti Petri.

In Granada, the fourth level unfolds as a parkour sequence that starts in the Alhambra’s Court of the Lions and sends Mitsuki zip-lining over the rooftops of the Albaicín toward an interdimensional portal that leads her to the next challenge.

The fifth stage, “Tablao” Battle, pays tribute to head-to-head fighting games. Under the watch of La Matriarca, Mitsuki squares off against The Monk, a flamenco legend who hits her with the full force of a quejío set to seguiriyas, the genre’s rawest cry.

From there, the adventure speeds up as she travels through the Pulpí Geode in Almería; the Censers of Loja in Granada; the giant olive groves of Jaén; Doñana Park in Huelva, where an Iberian lynx devours one of Columbus’s caravels; and the maze of arches in the Mosque-Cathedral of Córdoba.

The climax unfolds in the Tabernas Desert in Almería, the iconic backdrop of Sergio Leone’s spaghetti westerns. There, a mysterious rider reveals the key to completing the game: surrender to Andalusia.