For years, the corners of beds, tables and wardrobes have escaped consequences for stubbed toes, bruises and moments when a person loses a fight with a piece of furniture. The new campaign from BMW M has decided to put them on trial.
Get Even With Corners begins as a stylised black-and-white courtroom drama in which corners are presented as a public menace. An everyday and almost insignificant frustration takes on the scale of a serious legal case, as people who have spent their entire lives losing to sharp edges finally seek justice.
However, the campaign is not trying to prove that all corners are enemies. After the courtroom, the story moves to the racetrack and reveals a place where the driver can shift the balance of power. In a BMW M, a corner is no longer something to fear, but the place where the car shows what it was built to do.
The campaign was developed by Serviceplan Middle East for BMW M and AGMC, the authorised importer of BMW Group vehicles for Dubai, Sharjah and the Northern Emirates. It is scheduled to launch between October and December 2026, alongside the start of the BMW M track days programme in the UAE.
According to Ziad Boghdady, Director of Marketing and Customer Life Cycle Management at AGMC, a corner is precisely the moment when the relationship between the driver, the car and the road becomes most evident. Handling, response and control can be described in technical terms, but driving pleasure is understood most quickly when an M car is actually taken through a corner.
The campaign is therefore designed as a playful invitation to people who recognise the M badge but have not yet experienced what it represents. Instead of watching the car from a distance or learning about it only through specifications, the audience is given a reason to discover it on the track.
“We’ve spent a lifetime slowing down for corners. The track simply lets you explore what happens when you stop doing that,” said Akhilesh Bagri, Chief Creative Officer at Serviceplan Middle East. For him, that is where the conversation between driver and machine begins, and where BMW’s reputation as the Ultimate Driving Machine stops being merely a marketing promise.
The central film was directed by Nalle Sjöblad through DejaVu Productions. Black-and-white cinematography, heavy shadows, wide-angle framing and details reminiscent of earlier cinematic eras give the everyday threat of corners an almost criminal weight.
Sjöblad explains that the absurd premise had to be presented with complete seriousness. The courtroom was shaped as the centre of a world in which corners had caused genuine harm for years, while the noir aesthetic gives the film a sense of tension, obsession and unresolved injustice.
That visual language changes only when the film reaches the BMW M. The rigidity of the courtroom then gives way to movement, control and driving precision, turning what had previously been presented as the villain into the very reason to drive.
The campaign therefore avoids the usual automotive depictions of speed, power and technological features. Instead, it starts from the simple idea that straight-line driving is not where the character of a sports car is felt most clearly. The real moment arrives in a corner, when skill, response and a connection with the vehicle are required.
For BMW and AGMC, Get Even With Corners continues years of investment in track experiences where drivers encounter BMW M directly, rather than through screens, sensors and lists of features. The campaign therefore presents the car not only as something to admire, but as an experience that needs to be felt.
