Description
In the summer of 2002, Brazil’s Ronaldo Nazário took the pitch with a haircut that would become as legendary as his goals. For 24 years, the "half-moon" style was considered a tactical distraction to shift the media’s focus away from his injuries. Today, DORITOS™ is rewriting that history with a bold proposition: It wasn't a half-moon. It was a triangle.
In a masterful display of Cultural Hacking, DORITOS™ (PepsiCo) has launched "The Triangle Theory," a campaign that reframes one of football’s greatest visual mysteries as a "lost" marketing stunt from the early 2000s. By blending nostalgia with investigative satire, the brand suggests that its iconic shape has been influencing global culture longer than anyone realized.
The Anatomy of a Conspiracy
The campaign bypassed traditional advertising in favor of an Earned Media strategy. It began with "leaked" archival footage on social media, sparking a wildfire of conspiracy theories among fans from all the generations and football purists. The narrative gained mainstream legitimacy when TNT Sports dedicated segments to the "new evidence," featuring experts and commentators debating whether the "Fenômeno" had been a secret brand ambassador all along.
The heart of the campaign is a 12-minute investigative mockumentary. Part thriller, part dry comedy, the film features interviews with sports historians, stylists, and Ronaldo himself. His performance sits perfectly on the edge of truth and fiction, leaving the audience with the ultimate question: “Could this actually be true?”
To seal the "theory," DORITOS™ released the "Lost Ad of 2002"—a commercial meticulously crafted with the lo-fi aesthetic, grainy textures and vintage editing of the era. It’s a piece of brand entertainment that bridges two decades of identity through a single geometric shape.
“With ‘The Triangle Theory’, we are betting on a creative narrative, leveraging the trending topic and exploring one of our brand’s core elements: the triangle”, says Cecília Dias, Marketing VP at PepsiCo Brazil. “DORITOS™ has always had this bold essence, and by bringing Ronaldo into this campaign, we reinforce this brand value in an irreverent way”.
By blurring the lines between sports documentary and satire, DORITOS™ has successfully dominated the cultural conversation, proving that Brand Bravery is the most effective way to capture the modern consumer's attention.
This professional campaign titled 'The Triangle Theory' was published in Brazil in March, 2026. It was created for the brands: Doritos and Pepsico, by ad agency: AlmapBBDO. This Film medium campaign is related to the Confectionery, Snacks and Sports industries and contains 2 media assets. It was submitted 18 minutes ago.
Credits
CREDITS – 2026 RONALDO CAMPAIGN
Campaign title: Triangle Theory
Agency: AlmapBBDO Advertiser: PepsiCo
Title: Triangle Theory Product: Doritos
President and CEO: Filipe Bartholomeu
CCO: Pernil
VPs for Creative: Fernando Duarte and Henrique Del Lama
Creative Director: Thiago Bocatto
Creatives: Caique Guadanucci, Gus Souza, Hiroito Takahashi, and Isabella Remelli
Client Services: Carolina Escorel, Marcelo Porto, Cindy Fujii, Lais Barbara, Beatriz Bassetto, Débora de Andrade, Fernanda Tedde, and Marcus Avena.
Strategy: João Gabriel Fernandes, Maju Strasburg, Lucas Zem, Julia Albero, Gustavo Oliveira, and Isabella Asheri
Content Strategy: Raphael Caffarena and Ingrid dos Santos
Print Producer: José Roberto
Print Production Coordinator: Rose Ribeiro Revision: Eliana Pavan
Legal: Augusto Fortuna
AV Production: Diego Villas Bôas, Aline Silva, Charles Nobili, Marcia Granja, and Giuliano Springhetti
Art Buyers: Tereza Setti, Flávia Padrão, and Stephanie Biekarck
Photography: Mariana Valverde
Production of Ronaldo photos: 21 Sun Productions
Image treatment: Fábio Neres
AI-generated images of 2002 Ronaldo: Bóson Post
AI Directors: Lucas Serafim, Luiz Henrique Nunes
Technical Supervisors: Eduardo Brandão, Guilherme Specht
Executive Producer: Ezany Brandão
Assistant Executive Producer: Jessica Specht Post-Production Manager: Carlos Fernandes
Post-Production Coordinator: Juliana Silva MatchPainter: Murilo Cruz Pillibossian
AI Artists: Fernando Dias, Ícaro Reis, Luiz Nunes
KV Artists: Black Madre
Creative Director: André Maciel
Executive Director: Tina Castro
Planning: Le Alves, Beatriz Perrote, and Tommy Martins
Client Services: Roberta NOC and Giovana Destro Production: Laryssa Andrade and Felipe Ribs Illustrator: Bob Souzza
Craft Artists: Gabriel Moran and Pedro “Pepe” Kamei Kedor
Image Retouching: Ricardo Montanha
PepsiCo: Cecília Dias, Samia Chehab, Isabella Castilho, Tayna Novoa, Paulo Victor Almeida, Nubia Dias, Maria Eduarda Santos, Giovanna Miranda, Renata Petrecca, Thiago Tufano, Lizbeth Pagola, and Gabriela Barbosa.
Agency: Bakery - Powered by Ampfy
VP for Media and Growth: Sergio Brotto
Media Managers: Camila Costa and Marina Ramalho
Media Strategy, Planning, and Operation: Patrícia Costa, Matheus Almeida, Tainah Toledo, and Illana Reis.
PR Agency | InPress Porter Novelli
Director of Client Services and Integration: Renata Almeida
Client Services Manager: Vivian Fróes
Client Services: Letícia Andrade
Content Agency | BR Media
Accounts Director - Bianca Chagas Accounts Manager - Raíssa Souza
Senior Account Executive - Paola Segura Account Executive - Rodrigo Ribeiro Executive Director - Thais Semer
Sales Executive - Mariana Midea
Director of Operations: Rafaela Sgariboldi
B.I. Director - Andrea Cabral
B.I. Manager - Mariana Ferrara
Data Insights Supervisor - João Leite
B.I. Analyst - Manuela Sallum
Image Production: THE YOUTH
Executive Directors: Carol Cherobim, Eduardo Lubiazi, João Machado, and Yuri Maranhão
Executive Producers: Carol Cherobim and Chico Pedreira
Client Services: Carol Cherobim, Camila Pires, and Lu Krasa
Production Managers: Carol Cherobim and Stefanie Korb
Finance Department: Iza Lubiazi and Thiago Duarte
Directors: YOUTH and Bueno
1st Assistant Director: Milton Oliveira
2nd Assistant Director: Artur Miller Director of Photography: Yuri Maranhão
Photography Assistant: Johann Stollmeier
Art Director: Rodrigo Saraiva
Assistant Art Director: André Gosmma
CURITIBA/PR PRODUCTION UNIT
Production Director: Nani Matias
1st Production Assistants: Kayane Cabral Bonin and Adriana de Assis Lira
Production/Finance Assistant: Kayelle Cabral Bonin
Production Assistants: Carlos Roberto Bonin Cabral and Mateus Souza Martins
Production Driver: Roni Alves Matias
Set Stylist: Felipe Dias
Assistant Set Stylist: Julia Rocha
Prop Stylist: Gislaine Leal
Assistant Prop Stylist: Larissa Roche
Prop Assistants: Douglas Chamber, Elton Mendes da Silva, Joel Paes Filho and Rubens Francisco dos Passos
Set Dresser: Rodrigo Bernardi
Effects: Rodrigues
Mockup: Bruno Steger and Christian Pessanha Painting: Isaac Boddy Cruz and Tiago boddy Cruz Art Assistant: Diego Zamprogna Ferreira Wardrobe Stylist: Ana Paula Cardoso
Assistant Wardrobe Stylist: Taciane Biehl Duarte
Dresser: Natalícia Lopes de Jesus
Fitting Stills: Diego Cagnato
Wardrobe Driver: Diego Taffarel
Hair & Makeup Team: Camarim Brasil - Westerley Dornellas
Hair & Makeup Assistants: Camarim Brasil - Alan Carneiro da Silva, Emi Sato and Nayara Pontes
Hair & Makeup Assistants (Curitiba): Caroline Suss Makeup / Beauty: Eliane Aptz and Amanda Barbosa Barber: Guilherme Marques Piekarski
Casting Producer: Renata Scheidt
Assistant Casting Producer: Amanda Michelini
Casting Assistants: Flávia Souza
Body Double: Ruan Teles Monteiro
Set Manager: Enzo Marlos Balbinot
Location Producer: Daniane Almeida
Location Assistants: Bruna Rodrigues and Enzo Simões
Parking Coordinators: Alexandre de Souza Correia and Alexandre Oliveira
Clearances: Tereza Cortes
1st Assistant Camera: Briza - Rodrigo Gonçalo Fernandes de Jesus
2nd Assistant Camera: Adriano Santos Araujo
Video Assist: Carlos Eduardo Puchivailo
Logger: Germano Faria
Camera Car: Thiago Fernandes de Jesus
Location Sound: Trovão - Elenton Zanoni Eugenio da Silva
Key Grip: Flavio Romão dos Santos
Best Boy Grips: Kaue Kruger dos Santos and Harrison Oliveira Fernandes
Grips: Cleverson Gomes de Castro and Luiz Rodrigo Machado Cardoso
Gaffer: Ricardo Pirolla
Best Boy Electric: Carlos Henrique dos Santos, Leonardo Vinicius Vendra Cichon, Matheus Henrique de Oliveira
Set Electrician: Matheus dos Santos
Filmmaker - Making Of: Murilo Ruocco
Assistant - Making Of: Gabriel Kopplin
Maintenance and Catering: Laiz Roch and Kellyn Lino
Meals: Anah Eventos
Catering Assistants: Diego Lino, Jhenyffer Pedroso, and Josilene dos Santos
Cleaning: Camila Jaine Ferreira - Esplendor Serviços de Limpeza e Segurança
Transportation: Equipe Oliveira Car Marcelo Pata - Ismael Neier, Joel de Jesus Ferreira, José Brandão da Silva Filho, Junior Matsumoto, Magno Y., and Roosevelt David Haidinger
Cameras and Equipment: Back Bros Infra
Production: ProSet
Expendables: Moving Track
Travel Agent: Via Corporate - Igor Giacomazzi
Accommodations: Hotel Slaviero Centro
SÃO PAULO/SP PRODUCTION UNIT
Production Manager: Reinaldo Faria
1st Production Assistant: Ronder Batista
2nd Production Assistant: Victor Pegolo Papel
Production Runners: Carlos Rogerio da Cunha (Lelo), Steffanie Karen da Silva Bezerra, and Wellington Santos Faria (Pajé)
Art Director: Rodrigo Abreu Saraiva
Prop Stylist: Jessica Higa Nakaoji
Assistant Prop Stylist: Ariz Mangassarian Prop Runner: Abraão Dos Santos
Set Dresser: Victor Hugo Maciel
Dresser: Rosely de Fátima Berça Makeup/Beauty: Westerley Dornellas
“Ronaldo Fenômeno” Staff
Agents: Otávio Silva de Toledo Mendes Pereira and Victor Barreira Campos Rios
Stylists: Gaju Styling - Julia Alves De Moraes and Gabriel Fernandes
Casting Producers: Renata Scheidt
Sustainable Set: Gilmara Célia dos Santos Location: Estúdio Maxion
1st Assistant Camera: Felipe Rodrigues da Silva
2nd Assistant Camera: Dario Dellapaulera
Video Assist Operator: Giovana Ferrarese
Logger: Felipe Maciel Delgado
Location Sound: Debora Murakawa
Key Grip: Rodrigo Augusto de Melo (Digão)
Best Boy Grips: Weverton Rodinei da Silva Paes de Souza (Bolt)
Grips: Arnaldo Cardozo Neto (Dudy), Fabinho Silva Oliveira, Guilherme Oliveira, Rodrigo dos Santos Cabral (Ratão), and Ricardo Galinho
Gaffer: Rodolfo Alonso de Melo
Best Boy Electric: Vinícius Prado Fasciolo
Set Electricians: Bruno Martin, Denis Fabri, Giovanni Gomes Araújo, Moacir Monteiro Filho, and Wender Oliveira da Silva
Maintenance and Catering: Adriana Ferreira da Silva Marcelino, Darmony Paula Miranda dos Santos, and Francisca Celiane de Morais Silva (Preta)
Meals: Angela Maria Vieira Casimiro and Flavia Gonçalves Peçanha
Cleaning: Debora da Silva and Rosane Batista Fernandes
Safety Officer: Alexandra Silva Batista
Transportation: Andre Luiz Silva Barbosa (Banha), Albert de Oliveira Ferreira (Pezão), Edmilson Ricardo de Siqueira, Enzo Morais Silva, Fernando Fabrício Barbosa da Silva (Nandão), Jean Carlo Trevisan, and José Roberto Oliveira
Cameras and Equipment: Barcelona
Lighting & Grip Equipment: Locadora Locall
Generator: Nova Era
Teleprompter: Digital TP
Production Supplies and Consumables: Águia Locações
Dressing Room: Grip Tech
Post-Production: COLOSSAL
Executive Post-Production: Daniel Maia and Mauricio Kazu Yamashita
Producer: Mauricio Kazu Yamashita
Post-Production Supervisor: Rodrigo Stradiotto Post-Production Coordinator: Donmar
Finishing: Donmar
Editors: Maria Luiza Machado and Victor Matos
Motion: Tiago Bahia
Color Grading: Johann Stollmeier
Retouching: Rodrigo Bernardelli
VFX: DOPO
VFX Supervisor: Juliano Storchi VFX Producer: Jacquelini Lima Composer: Juliano Storchi
3D Modeler: Gabriela Linhares
FX T.D.: Wesley Sousa
Audio Production: Satélite Audio
Musical Direction: Roberto Coelho and Hurso Ambrifi
Client Services: Fernanda Costa, Renata Schincariol, Daniel Chasin, and Karen Nakamura
Musical Production: Roberto Coelho, Hurso Ambrifi , Daniel Iasbeck, Bruno Zibordi, Koitty, Alexandre Avicena, Pedro Pelotas, and Luna França
Finishing: Carla Cornea, Vithor Moraes, Arthur Dossa, Andre Giannini, and Esteban Romero
Production Coordinators: Camila Guedes, Letícia Oliveira, Bea Vieira, and Mariana Tardell
