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LIONS DAILY NEWS

Claude and Mother take top honours for Film

THE WINNER of this year’s Cannes Lions Film Grand Prix is a breakthrough campaign for Anthropic’s AI assistant Claude, entered by Mother, London. The campaign, which debuted at the NFL Super Bowl 2026, featured a series of comedic short films built around real prompts people ask AI. The Film Jury, led by Pelle Sjoenell, worldwide chief creative officer of NLS Corp, selected both ‘Can I Get a Six Pack Quickly?’ and ‘How Can I Communicate Better With My Mom?’. Another Claude execution, ‘A Time And a Place’, secured a Gold Film Lion. The entire campaign was produced by Biscuit Filmworks. Rather than traditional product advertis-

ing, the Claude campaign depicts everyday scenarios in which users turn to AI for advice, from fitness to personal relationships. In each case, the narrative is interrupted by an ad appearing inside AI-generated responses, giving a dystopic view of what an ad-supported AI future might look like.

The campaign was designed to position Claude as an AI assistant focused on utility and trust — with a commitment not to use advertising within its AI-responses. It dovetailed neatly with the growing debate around monetisation models for AI tools.

As Mother’s CCO Felix Richter explained: “All the time, we see proof that advertising works brilliantly in the right context.

We’re using advertising’s biggest stage to ask a simple question: does it belong everywhere? So we made funny ads about how unfunny it would be. People asking AI about their health, their relationships, their business. Then a sponsored answer. We don’t need to explain why that’s wrong. We just need to show it.”

There were also Gold Lions for IKEA(Norway), Hornbach (Germany), Life360 (US), Apple (US), Coinbase (US), Missing People (UK) and LA Union Newspaper/Article 19 (Mexico).

Leo Australia wins Titanium prize

THE PRESTIGIOUS Dan Wieden Titanium Grand Prix for 2026 has been won by ‘Haven’, entered by Leo Australia on behalf of Suncorp Insurance.

‘Haven’ is a digital resilience tool that uses property, location, weather and natural-peril risk data to show Australian homeowners their exposure to

extreme weather risks. The platform analyses an address and generates a tailored ‘resilience report’ outlining a home’s estimated risk levels for hazards including floods, bushfires, cyclones and severe storms. It then translates that data into simple insights — framed as a ‘voice’ for the home — explaining what risks are the most relevant and how they could be reduced.

The tool draws on historical claims data, climate modelling and third-party property datasets to assess risk, and is designed to encourage preventative action rather than simply underwrite insurance outcomes. Users are also provided with practical guidance on how to protect their property, from minor maintenance measures through to more substantial resilience upgrades. Launching ‘Haven’, Suncorp’s CEO of consumer insurance, Lisa Harri -

son, said: “With more than 2.7 million Australian homes identified as being at high-risk of at least one extreme weather peril, ‘Haven’ enables all homeowners to understand their risk and the proactive steps they can take to safeguard their homes from future danger. Ultimately this is about improving household resilience and looking to reduce property damage.”

The Titanium Jury was headed by President Chaka Sobhani, global CCO of TBWA\Worldwide. All told, five entries won Titanium Lions, which are awarded to “provocative, boundary-busting, envy-inspiring work that marks a new direction for the industry”. Among these was ‘600K Network’ (Comando Con Venezuela/Rainbow Lobster, Mexico), which also won Gold in Creative Data and the Grand Prix for Good.

COWS COME HOME FIRST FOR KENYA

THE SUSTAINABLE Development Goals Grand Prix goes to ‘Paid Sick Leave for Cows’, created by Nairobi’s The Partnership Agency for dairy brand Too Good. The winning campaign tackled a widespread issue within Kenya’s dairy industry: the economic pressure placed on smallscale farmers (80% of the entire Kenyan industry) when required to administer antibiotics to their herd. Farmers are supposed to withdraw their animals from milk production for several days after using antibiotics. Often they return animals to production early and antibiotics appear in the milk-consumption chain. To combat this Too Good supported a ‘paid sick leave for cows’ initiative, which provided farmers with financial support for the period in question. Farmers are now happy to wait until their animals are safe to go back to production. By framing animal welfare through the language of labour rights and employee benefits, the campaign showed how improving conditions for livestock can also improve economic security. Dr Erick Rutto, president of Kenya National Chamber of Commerce and Industry, said the initiative creates a situation where “income doesn’t depend on risk and safety doesn’t depend on sacrifice”.

STENGEL

The inaugural Lions Laureate for Marketing takes to the Cannes stage

ALSO INSIDE.. Highdive celebrates 10 years of creativity, exclusive interviews and conference reports FOCUS ON COLOMBIA

Rainbow Lobster celebrates Grand Prix for Good victory

A GRASSROOTS electoral monitoring initiative that mobilised hundreds of thousands of Venezuelan citizens to document the country’s disputed 2024 presidential election has won the 2026 Grand Prix for Good.

The winning work, ‘600K Network’, was entered by Rainbow Lobster, Mexico City, on behalf of Venezuelan opposition coalition Comando Con Venezuela. The project had previously won Gold Lions in two categories before being elevated to the festival’s highest honour for nonprofit and social impact work. Developed during Venezuela’s presidential election campaign, the initiative emerged amid severe political restrictions. Opposition leaders faced bans from running for office, international observers encountered significant limitations, and independent oversight of the electoral process had been reduced. The campaign identified a critical vulnerability within the voting system: QR codes printed

on official voting records.

Using those QR codes, organisers created a decentralised citizen verification network capable of collecting and transmitting electoral records in real time. More than 600,000 volunteers participated in the operation, covering over 15,000 voting centres and

30,000 electoral tables using mobile phones, encrypted communications and improvised digital infrastructure. The resulting database enabled opposition groups to compile and verify thousands of voting records independently of official channels. When electoral authorities declared

Nicolás Maduro the winner without publishing detailed vote tallies, organisers said the network had already assembled extensive documentation that contradicted the official results. The Grand Prix for Good is awarded to work created for non-profit organisations or social causes that have already won a Gold Lion or equivalent award elsewhere in the festival. Previous winners have included campaigns for The ALS Association, Amnesty International, UNICEF and Reporters Without Borders.

Artplan’s Nigrum Corpus wins Glass

ARTPLAN São Paulo has won the Glass: The Lion for Change Grand Prix for 2026 with ‘Nigrum Corpus’, its beautiful book for Idomed that exposed racism in the Brazilian healthcare system.

It was inspired by the visuals of traditional anatomical manuals, presenting 20 fictional diseases that were each inspired by experiences of micro-aggressions and discrimination that Black patients had experienced The project blended copywriting, illustration, typography and book design, as well as storytelling that aimed to highlight the problems — but also to inspire change.

Nigrum Corpus was created to have a real-world impact, encouraging the hiring of more Black professors, as well as more use of racially-diverse clinical simulators.

It has been distributed to medical students across Brazil, helping to shape the attitudes of the next generation of

medical professionals in the country. Glass: The Lion for Change recognises creative work that addresses inequality and prejudice by consciously representing and empowering marginalised communities. There were 122 entries this year, with a Gold award going to Auckland agency Motion Sickness for ‘The Mãori Roll Call’.

Creatives ‘must take back control’ from the retailers

Microdramas: small sagas, big money

CAN A $14bn creative industry ever be described as under the radar? Microdramas, perhaps, but surely not for long.

The $14bn figure is research firm Omdia’s prediction for global microdrama revenues in 2026, although only $3bn of that is forecast to be generated outside of China. These super-short-form, vertical-orientation TV dramas are made to be watched as 70-second episodes on smartphones.

One example is Playback, a show from digital studio Second Rodeo, whose CEO Scott Brown hosted the session The Microdrama Boom: Inside The Next Entertainment Economy at the LIONS Creators Beach on Wednesday.

“These are movies at the speed of TikTok,” Brown said. “They are

filled with twisty stories with big characters and huge emotions.

People often can’t stop watching them… And in the US alone last year $1.5bn in revenue was generated from microdramas.”

Hannah Stocking, actor and creator — she has 29 million followers on TikTok — is one of the stars of Playback and is excited about the potential.

“The vertical space has TikTok pacing, it has YouTube retention-thinking. It really grabs the audience in a way that sometimes traditional shows don’t do,” she said.

“It’s a really exciting opportunity to create different stories and offer a different layer of storytelling. I feel like we’re in Creator Hollywood right now!”

Holywater is one of the companies that has helped to build

GLOBAL advertising spend on retail media — ads within the digital properties of retailers — is forecast to be a $170bn market in 2026, yet it is “a channel that is often not controlled by the people who are doing the creative”.

This was the warning from Pedr Howard, president, creative excellence at Ipsos, in Wednesday’s Creativity Over Clicks: Reclaiming Retail Media For Brand Building session. The session was a challenge to the creative industry to “reclaim the retail feed”, particularly as the retailers introduce more opportunities for richer ads, including video.

“We need to take advantage of any option to bring creativity to retail media,” Howard said. “What we need to do is to unleash some of the creative talent here [in Cannes] on to these retail media environments.

“We have to follow where the

money is, and the money is going to these shoppable environments,” he added, before encouraging brands and agencies to “push back somewhat on some of the over-strict guidance” being provided by the retailers.

“Retailers will tell you: ‘Just send us a pack shot and a logo, and we’ll build the ad for you, and we’ll serve it all over the internet and everyone will see it.’ That’s not going to get the right results. You have to be in control of that creative.”

Howard was accompanied in the session by Gülen Bengi, lead CMO and chief growth officer at Mars, who talked about retail media from the perspective of a brand.

She highlighted the need to reach consumers “at every relevant touchpoint” and noted that “retail media is one of the most relevant, not only for the end of the consumer journey, but for various points”.

“It is a way to build brands as well as growing our sales,” Bengi added. “Retail media is not only a conversion tool: it’s also a brand-building tool.”

the microdramas market so far with its My Drama app. Its head of studio, Sasha Tkachenko, was also on the panel.

“You can do everything that you try to do in TV, but way faster. You can get your stories published faster, you can get data faster, and you can reiterate the stories,” she said.

“You can reiterate any type of sponsorship, any type of brands, and you can keep on reiterating until the title pops. It’s a good place for creatives, and a good place for creativity.”

Treseder: women must step up to tackle AI’s male bias

“AI IS raising the floor for everyone, but it’s actually human ingenuity that is vaulting the ceiling — and we need to prepare women to do the vaulting!” Autodesk CMO Dara Treseder was on inspirational form in the Microsoft Gardens on Thursday morning, speaking on the More Voices. Smarter AI: From AI Built For Women To AI Built With Women panel.

Treseder and her fellow panelists outlined some of the challenges facing women in the AI era, but also spelled out the opportunities that they see — if women can move to the front and centre not just as users of AI, but as builders of the AI systems.

“While AI usage is growing, and while it is being embraced more and more, we also see a big gap between those who are using it and those who are creating it,” said Mascha Driessen, regional

vice-president, global media sales, continental Europe, at Microsoft.

“Women are lacking. The usage is around 50/50, but the creation is definitely not. That matters… It is important that women are also there where the creation happens.”

The panel raised one key challenge: that many women with AI expertise do not promote that in their online profiles, and so may be missing out on professional opportunities.

“Women are less likely than men to share their AI skills [on LinkedIn]. They are not self-promoting,” said Lekha Doshi, vice-president of GTM operations at LinkedIn, adding that she is keen to redefine what it means to be an ‘AI expert’ in the modern workplace — to not just include engineers.

“We need to get out of this mindset of ‘I don’t want to promote myself’. You need to promote yourself,” Treseder said: “LLMs are scrubbing the data, so if the data

Telling stories that empower women

CAMPAIGNS with powerful stories to tell are the ones that will do most to close the gender gap, delegates were told at the panel The Terms And Conditions of Being Born A Girl.

But panelist Helen James, CEO of The Gate, London warned that true equality for women remained a long way off.

“Sadly, for every female in this room and for my 10- and 12-yearold daughters, we won’t see gender equality in our lifetime, and that is utterly devastating,” she told the audience at Wednesday’s panel in the Empower Café. The event was organised by Plan International, the global charity campaigning for the rights of girls and women.

Panelist MarySue Masson di -

about what you do or what you have done is not out there in the world, then nobody knows. Tell yourself: self-promotion is good.”

Roy Armale, chief product officer at DEPT, addressed women’s power as users of AI to force change, encouraging the audience to shift to systems that properly serve their needs.

Treseder agreed. “We can vote with our actions. Buy AI products built by women. Use AI products built by women. Share AI products built by women. And work for companies with AI products built by women,” she said. “If we are all taking those actions, we are all of a sudden going to make smarter AI!”

rected the powerful film ‘The Fine Print’ for the campaign. It shows a newborn girl in hospital. Her wrist tag extends to become an increasingly depressing list of the inequalities she will have to endure in life — the ‘terms and conditions’ of womanhood.

Masson spoke of her passion for the project: “I instantly got it. It’s a brilliant line. A strong, clear concept. I got the chills straight away. One of the biggest privileges of the job that we do is being able to amplify messages like this.”

The panel agreed that campaigns reflecting inequalities and providing cultural change needed a combination of “authenticity, commitment and continuity” through the lens of powerful storytelling. James said the campaign had

achieved its aims in raising awareness of gender inequality. It had produced a 20% uplift in awareness of the charity and 20 million traditional media impressions.

The Panel concluded that, despite the positive impact, further change was needed: “Our industry must amplify these human struggles,” James said.

Esports moves beyond brand awareness into real revenue

ESPORTS is now far more than just a top-of-the-funnel opportunity for brands, according to Danny Tang, CEO of Hero Esports, Asia’s biggest esports company.

“When brands show up authentically in esports, they do not just see the top of the funnel where the awareness is. They can see all the way down to conversion and to sales and to growth,” Tang told Lions Daily News.

Last December, 62,196 fans attended Hero Esports’ KPL Grand Finals event in Beijing’s Bird’s Nest stadium — selling out in 12 seconds. Brands’ involvement with the company’s events has been deepening over time, as it has grown to reach an audience of more than 800 million fans online. “They’re not just showing up as a logo,” Tang said. “They’re very much engaged with the community, they have activations outside the arena, they go to speak

to the players. And you see that chemistry flourish.”

The players at the heart of these events are crucial to esports’ appeal both to brands and fans, even if they are still sometimes underestimated.

“Professional esports athletes are not just people who are good at games. They are putting in 10 to 12 hours of training every single day, and that includes physical training and psychol -

ogy training,” Tang said.

“They also realise the responsibility that they have to their fans, which is why you see a huge female following. The fans respond to that.”

The diversity of the audience is reflected in Hero Esports itself.

“Almost 50% of our employees are female, and over 50% of our directors are female,” Tang said.

“Honestly, I have not seen that a lot.”

Danny Tang

ADRIANNE C Smith, global chief inclusion and impact officer at FleishmanHillard and founder of Cannes Can: Diversity Collective (CC:DC) with a new cohort of CC:DC ambassadors.

“This opportunity has really expanded how I get to see the industry for females in advertising from Latin America and that makes me be really hopeful for my future,” said Mayra Rodriguez, one of this year’s ambassadors. Charity Pourhabib added: “My experience has been incredible. It’s just opened my eyes to what is possible, going into all these spaces and hearing the panels and the beach activations”. Jordan Culpepper, who is also part of the Creative Academy said: “We’re making lasting friendships. And we’ll see each other as we progress in our careers, now as students, but in the future — CMOs and CEOs — and the catalyst for that is the programme that we’re in.” Kayden Tuffour added: “To not just be around Cannes Lions but to be able to make impact, that’s honestly once in a lifetime, and I hope to continue to be a vessel for the peers around me.”

Heggie: brands are learning to put their trust in storytellers

Nadine Heggie

Brands learning to engage fan power

LUCY Basden-Smith, managing director of Fuse, the global sports and entertainment marketing agency, joined the Sports Jury this year, telling the Lions Daily News it was a rare opportunity to explore and discuss such a wide range of work from all over the world.

“I just thought it was the most wonderful way of celebrating sport and creativity, and I loved seeing how sports stood up against all of the other categories, particularly in entertainment. I love what we chose. I loved what came out at the end.” In terms of trends, she said that despite all of the talk about AI and its use in sport, she was relieved to see how little sign there was of it.

“We all know that AI is going to be fundamental to the future. I think that’s a fact, but I think the other fact is that it’s not quite there yet.”

She also noted a greater recognition of fan power, and community power — not just in terms of brands selling to fans, but brands and rights holders galvanising fans around adversity, or using that community and a love for the sport, to get them engaged on another level that might be fundamental to a club or an athlete’s success.

Fuse is part of the Omnicom group, which recently acquired IPG. Basden-Smith said the acquisition opens up the opportunity to build the group’s strength in sport using the amazing tools from Acxiom, that have come along with the purchase of IPG. Data from Acxiom, she said, can be translated into real fan insight that is not just from one channel, giving “a more holistic view and well rounded insight when we’re looking at strategic partnership planning or activation planning.”

AS BRANDS navigate a fragmenting media landscape, the most successful partnerships are moving beyond traditional sponsorship deals and becoming embedded in storytelling itself, according to Nadine Heggie, vice-president of brand partnerships at National Geographic. Speaking to the Lions Daily News, Heggie said one of the most striking themes to emerge from this year’s Festival is the growing focus of brands and content creators on telling stories that resonate more deeply with audiences. “If you were to create a word cloud for this year’s Lions, ‘AI’ and ‘creativity’ would be the two big words,” she said. “But what’s really struck me is how brands and storytellers are working together to connect with audiences from a deeper cultural point of view.”

Heggie, who has spent two decades at Disney-owned National Geographic and now oversees partnerships across EMEA, believes brands are becoming more willing to give creators greater control over the storytelling. “They

realised that it yields better content and better commercial outcomes.” That approach is reflected in National Geographic’s partnership strategy, in which brands are increasingly integrated into content and then extend the reach of those stories through their own marketing channels.

One standout example is hit drama Rivals, based on Jilly Cooper’s novels, which streams on Disney+. The show partnered with Waitrose in a campaign that placed the upmarket supermarket within the programme itself while also inspiring a retro product range. The limited-edition ‘Noshtalgia’ line-up consisted of 1980s-themed food including Scotch-egg sandwiches, Peach Melba ice cream and prawn cocktail crisps. The campaign extended Rival’s cultural footprint while delivering strong results for Waitrose.

On the National Geographic front, Heggie highlighted Limitless With Chris Hemsworth. In the show, the actor sets out to discover how to live better for longer. Partnering with health insurer Bupa, Limitless combined on-screen storytelling with experiential activations, employee engagement programmes and consumer marketing initiatives that helped amplify the series beyond traditional audiences.

‘The Lions changed P&G forever’

ON JIM Stengel’s website, there’s a poem from his high-school football coach, hidden in a section called Words I Live By: “Think big and your deeds will grow.”

Most people don’t take poems quite so literally, but the inaugural Lions Laureate for Marketing is clearly not most people. As Proctor & Gamble’s global CMO, he has redefined, singlehandedly, what it means to lead marketing at the highest level.

In his talk before the Laureate presentation, Stengel delivered a deeply personal reflection on leadership, legacy and the impact marketers can have beyond brands.

A person’s true legacy, he said, is not measured by awards and career milestones, but by how they make others feel. “Our legacy will be how effectively we have inspired people, raised their ambition, made them feel seen and heard, helped build their confidence and helped develop their special human potential,” he added.

The former P&G marketing chief, who was recently inducted into the Advertising Hall of Fame, also

reflected on his final year leading the Cannes Lions CMO Accelerator, a programme he pioneered 14 years ago. Over that period, he has worked with around 600 marketing executives from 60 countries, bringing together Grand Prix-winning teams, jury presidents and leading marketers.

Stengel identified five “timeless lessons” from the CMO Accelerator — relevant, ambitious, brand purpose inspires brand-changing, business-moving, culture-moving creativity; reframing and uplifting a company’s mission unleashes creativity; courageous creative leadership is contagious and effective; work to be distinctive beyond your brand’s products and services; and challengers and outsiders help to expand thinking. Being named the first Marketing Laureate has particularly significance, Stengel said. His first visit to Cannes in 2003 transformed P&G’s approach to creativity, accelerating its brand and business growth and, ultimately, leading to

award-winning collaborations with agencies including W+K. “The Lions changed P&G forever,” he said. “And it changed me forever.”

So what’s next for the industry’s legendary CMO whisperer? Stengel said he has no intention of slowing down: “My plan is to keep striving to make people feel seen, heard, inspired, fulfilled and happy. My question is, why don’t we all do that? I guarantee you we’ll have strong brands, stronger organisations and a better world.”

Creative Masterpiece Colombia: the space in pursuit of a country’s creative excellence

Built on the premise that it’s good to arrive, but it’s better to arrive together, at COPU we turn everyday competition into a collaboration ecosystem. By José Sopó and Rodolfo Velásquez, co-founders and directors of COPU, an advertising and marketing media outlet in Colombia

WHILE the lights of the French Riviera shine their brightest during the most important week in global creativity, thousands of miles from the Côte d’Azur one of the most powerful dynamics in Colombian advertising is taking firm shape. It’s a strategic engine that has nothing to do with big budgets, cutting-edge algorithms or magic formulas, but with a single word that, in our market, we’ve made it our mission to hold sacred — competitiveness. On June 10, just days before boarding the plane that would bring us to the Mediterranean coast, we gathered with our country’s advertising industry in Colombia’s most exclusive movie theatre, Lumina at Cine Colombia. There were no brands on the line competing for a pitch, no agencies trying to poach a client from one another. Over four intense hours, we were once again witnesses to — and facilitators of — an unprecedented session: a group of

15 agencies screened more than 35 of their most competitive casestudy films before an audience of presidents, creative VPs, general managers and the Colombian jurors selected by the festival for this year’s shortlist and awards phases at Cannes Lions. The goal we set for ourselves in this closeddoor session is to celebrate a new edition of Creative Masterpiece Colombia, the space we lead at COPU to pursue, above and beyond individual interests, the creative excellence of an entire country at Cannes Lions.

Living room to big screen To understand the impact of what we experienced this year, we need to rewind the tape seven years. Creative Masterpiece Colombia wasn’t born under the formal structure of a traditional corporate trade association, but out of a genuine idea: to build the country and build the industry from a place

of the purest honesty. In 2019, our friend Camilo Plazas — now CEO of Leo Constellations México — came up with an initiative as authentic as it was necessary. He wanted us to share our work before sending it off to the festival, not to spy on one another, but to get feedback, to hear different points of view, to appreciate the competititor’s work. With laptops balanced on our knees and a makeshift projector, we kicked off a passionate session. At COPU, we were there from day one, witnessing an energy our market had never seen before. Competing agencies weighed in on the work of their direct rivals with a transparency and a warmth that were genuinely moving: “This idea is really on point”; “the case is really well executed, but the ending could hit harder”; “you should keep this cultural code in mind for the international jury”. Plazas invited us to join as official organisers for the next at-home editions: when his career took him to settle in Mexico, we carried the project forward with the enormous responsibility of preserving that original mystique.

Toward new formats

The growth of Creative Masterpiece Colombia has been a faithful reflection of how we’ve watched Colombian advertising evolve over the past decade. After the global shutdown of 2020, we took the reins again in person in 2021, transforming the event into a high-end private dinner. In that new setting, we raised the level of rigour, requiring more structured data; which specific categories each piece would be entered in; and the strategic complexities behind every idea. We repeated that same format in 2022; for 2023 and 2024, we moved our gathering to the facilities of the country’s leading production companies, bringing the audiovisual ecosystem into the conversation. Finally, in 2025 — and cementing it in June 2026 — we made the definitive leap to a cinematic format in the Lumina theatre at Cine Colombia.

The ego-free zone

In a fiercely competitive business, calling a truce in business competition seems like a pipe dream. And yet, with Creative Masterpiece Colombia, we’ve managed to establish a true ‘ego-free zone’. The dynamic we moderate is constructive; its fundamental value lies in long-term collective learning. We sit down to analyse the codes of Cannes Lions in detail, to assess the global relevance of our local insights, and to offer valuable feedback that raises the bar for what our advertising industry will produce in the years to come. It is, in essence, a masterclass in senior creative leadership, where leaders bring along their junior creatives and up-and-coming copywriters to absorb the judgment of the country’s most seasoned professionals.

Ideas that make history

The true impact of Creative Masterpiece Colombia is measured in the ideas that went on to conquer the world.This year we were reminded us of the remarkable trail of great work we debated in earlier editions . We remember with emotion the journey of historic pieces like ‘My Line’ by MullenLowe SSP3 and ‘Kingo’ by Ogilvy Colombia in 2018. We also recall the discussions, in more challenging times, that gave feedback to ideas like ‘Tiendacerca.co’ by Draft -

Line, ‘Lost Roads’ by McCann, and ‘Mother Blanket’ by Ogilvy between 2020 and 2021. The standard kept climbing, and in 2023 we watched a parade of brilliance like ‘Life Extending Stickers’ by Grey/ VML, ‘Influencers’ Friends’ by TBWA and ‘Corona Extra Lime’ by David Bogotá, followed in 2024 by ‘Filter Caps’ by Ogilvy. The recent debates of the latest editions introduced us to ‘Imagine With Petacos’ (TBWA/Buentipo), alongside the cases that now represent us with force on the Riviera, like ‘Fictional Insurance’ and ‘Humanimal Tourism’, both by TBWA. Creative Masterpiece Colombia has been the witness to the refinement of each of these award-winning campaigns.

Together in one photo The photograph accompanying this article, captured by Ed Chiquiza (founder of Studio 47), immortalises 32 of the leaders of Colombia’s most influential advertising agencies. They are rivals in the local market, but absolute allies when it comes to defending our flag before the world. In that gathering, under the glow of the screen, the maturity and collaboration of the entire industry were on full display. The diversity of the ecosystem was captured by bringing together independent agencies and multinational networks: Buentipo, David Bogotá, TBWA, McCann, GUT, Ogilvy, Proximity, Sancho BBDO, VML, Name, The Juju, Leo, LePub, Havas and draftLine. Our industry has understood that a win by any of these 15 advertising companies in Cannes opens doors and raises the value of our talent. At COPU, our role has not been to claim authorship of this stroke of genius — whose historical credit belongs to Camilo Plazas — but to be the organisers capable of giving this great idea the structure, scale and reach it needed. We are convinced that our role is to create the spaces that drive the excellence of our professional community.

The next generation

This annual exercise in analysing ideas and trading feedback has been the catalyst for a transformation that reaches well beyond our borders. Today, Colombian advertising is no longer measured

solely by its domestic performance, but by its specific weight in the global creative economy — a sector that, at home, accounts for nearly 3% of the country’s GDP and establishes us as one of the most important creative export hubs in the region. The maturing of our industry found its most powerful expression in the 2025 edition, the year Colombia reached the global top 10 at Cannes Lions for the first time, proving that the country now has what it takes to play — and win — in the big leagues. With a cumulative 215 Lions over three decades, our overall pace of effectiveness has accelerated impressively, doubling our historical average to reach a recent rate of 14 Lions per year. Still, the true scale of the Colombian phenomenon comes into focus when we look at the global map more broadly. Thanks to a new generation of local marketers and advertisers willing to bet on innovation and effectiveness, our country’s talent has broken through borders in a big way. With dozens of Colombian professionals leading the most important agencies on the planet, Colombian creativity plays an active part in nearly 15% of all the Lions awarded at the festival worldwide. In practical terms, roughly one in every seven Lions handed out on the French Riviera has a Colombian mind behind it. This culture of excellence is sustained from the ground up thanks to the consistency of our Young Lions Colombia delegation, coordinated by Paula Feged, Eliana Rivadeneira, and their team. Year after year, Colombia has established itself as one of the most respected youth powerhouses at the festival, sending delegations of young professionals who not only represent the country with pride but consistently win and bring home medals — like the global Gold earned at the most recent 2025 edition — ensuring the next generation of talent that brands demand. This solid value chain, combined with the steady presence of national jurors at the festival, has turned Colombia into an indispensable axis of the global industry. We write the future as a community today, at the Cannes Lions — we can confirm that our story is no longer written in isolation. At COPU — as the media outlet, organiser, bridge and platform for the largest ecosystem of agencies and brands in the Colombian advertising industry — Creative Masterpiece Colombia is our proof that creativity feeds on the strength of its ecosystem. As the Lions roar, our delegation walks the Croisette with one unshakable certainty: it’s good to reach the summit, but it’s infinitely better to arrive together.

Highdive on attempting a perfect ten, ten years in

As Highdive marks its 10th anniversary, founders Mark Gross and Chad Broude reflect on the leap that launched an independent agency built on being brave, pushing boundaries and really meaning it. The work that matters most comes from attempting the difficult dive, not perfecting the safe one. In an industry that often chooses to minimise risk, they make the case for making a splash.

By Mark Gross and Chad Broude, founders & co-CCOs of Highdive

Picture this.

You’re standing at the top of a high dive. You can see everything from up there. The distance, the water and exactly how much can go wrong. The brain, very helpfully, begins to list the reasons this was a bad idea. The height, the crowd and the very real possibility that you have significantly overestimated your abilities. Most people, at this moment, climb back down. Others jump.

Here is something we should probably disclose now: neither of us has ever actually done a high dive. We are two creatives from Chicago and between us, we have the athletic profile you would expect from two creatives from Chicago. So this name was not autobiographical, it was aspirational. Which, when you think about it, is a very advertising thing to do.

So rather, let’s actually picture this: The year is 2016. An ECD and a creative director walk away from a big holding company. They look around Chicago and don’t see many true independents doing the kind of work they believe is possible. They see major brands gravitating to major networks, the same names on every credentials deck and the same structures producing the same outcomes. They decide to do something about it and name it Highdive.

Here is an honest thing about the advertising industry: courage is the most frequently requested and least frequently funded line item in any given brief. We want brave work. We want to push boundaries. We want to be different. This appears in every deck and it is said in every kickoff meeting, and it’s actually meant sincerely every single time.

And then the rounds of feedback begin. Brave becomes bold. Bold becomes interesting. Interesting becomes fine. And fine ships.

To be clear: we are not romanticising recklessness. A bad idea executed without discipline is still a bad idea. But there is a meaningful difference between imperfection born of carelessness and imperfection born of ambition.

You see, in competitive diving, the degree of difficulty matters. A harder dive, imperfectly executed, can outscore an easy dive done flawlessly. The judges aren’t just watching the entry, they’re accounting for what you attempted.

That’s not how most of the industry scores its own work.

We spend enormous energy trying to ensure our dives are clean. Minimise the splash. Smooth entry. No deviation. We assemble rooms full of talented people — strategists and writers and art directors and creative directors — and we put them

to work making sure nothing goes wrong. The result, too often, is a controlled entry into shallow water. The work that earns a gasp is almost never that work.

The work that lives in culture, that gets talked about, that makes someone pull out their phone to show a friend at dinner, is the work that almost always carries the visible mark of ambition. A roughness. Evidence that someone tried something that didn’t come with a guarantee. You can feel the degree of difficulty in it. That’s not a flaw, that’s the point.

This year, Cannes introduced the Creative Brand Lion, a new award recognising the systems, cultures and capabilities that “deliver sustained creative excellence and long-term business growth”. It’s a meaningful addition. The industry needed a way to honour the architecture behind the work, not just the work itself.

We think about those systems constantly because we’ve been building it for 10 years.

Highdive has had double-digit

growth for nine consecutive years. We say that not to brag (though we are, in fact, a little bit bragging) but because context matters. In 2025, revenue at private independents grew around 2%. Public agencies grew about half that. Something is working and we’ve spent a lot of time trying to figure out what. The answer, as best we can tell, is that we jumped when other people climbed back down. And then we kept jumping.

Our ‘divers’ are not interested in competent work. We are interested in work that moves masses. Work that makes people feel something. Work that drives business outcomes. Work that, seven times now, millions of people have voted their favourite ad on the biggest advertising night of the year. We are not going to pretend we didn’t just mention that. We are very proud of that.

And sometimes that standard is only achievable from a position of independence. Where nobody nudges you off the springboard before you’re ready to jump.

That was the bet 10 years ago. Ten years in, we still believe it more than ever. Yes, the industry is shifting fast. AI is reshaping how work gets made and technology is changing what audiences expect and how brands find their way into people’s lives. The rules are being rewritten in real time, the platforms don’t sit still, and the attention economy keeps raising its stakes.

Some people find all of this terrifying but we find it exhilarating.

Because the brief has never been more open, the pool has never been deeper and the number of ways to make something truly extraordinary has never been greater. And the people who are willing to climb to the top and jump… really jump, not just pose on the board for a photo… have never had a better moment to make a mark.

So here is our ask, going into the next 10 years, and our message to everyone reading this who has ever stood at the top and felt the vertigo:

Find your springboard. Build it if you have to. Set your feet. And jump. Make a splash.

Grand Prix FILM

CAN I GET A SIX PACK QUICKLY?

CLAUDE

MOTHER, LONDON

UNITED KINGDOM

HOW CAN I COMMUNICATE BETTER WITH MY MOM?

CLAUDE

MOTHER, LONDON

UNITED KINGDOM

GRAND PRIX

A06/059

• UNITED KINGDOM CAMPAIGN

CONSUMER SERVICES/B2B

TITLE • CAN I GET A SIX PACK QUICKLY?

BRAND • CLAUDE

PRODUCT • CLAUDE

ENTERED BY • MOTHER, LONDON

IDEA CREATION • MOTHER, LONDON

PRODUCTION • BISCUIT FILMWORKS UK, LONDON

PR

• EDELMAN, NEW YORK

GRAND PRIX

A06/060 • UNITED KINGDOM • CAMPAIGN

CONSUMER SERVICES/B2B

TITLE • HOW CAN I COMMUNICATE BETTER WITH MY MOM?

BRAND • CLAUDE

PRODUCT • CLAUDE

ENTERED BY • MOTHER, LONDON

IDEA CREATION • MOTHER, LONDON

PRODUCTION • BISCUIT FILMWORKS UK, LONDON

PR

• EDELMAN, NEW YORK

GOLD LION

A01/001 • NORWAY • CAMPAIGN

CONSUMER GOODS

TITLE • HOPE

BRAND • IKEA

PRODUCT • IKEA HOME FURNISHINGS

ENTERED BY • TRY, OSLO

IDEA CREATION • TRY, OSLO

PRODUCTION • BACON, OSLO

MEDIA

• ESSENCEMEDIACOM, OSLO

POST PRODUCTION • BACON, OSLO

A01/002 • NORWAY • CAMPAIGN

CONSUMER GOODS

TITLE • MORNINGS

BRAND

• IKEA

PRODUCT • IKEA HOME FURNISHINGS

ENTERED BY • TRY, OSLO

IDEA CREATION • TRY, OSLO

PRODUCTION • BACON, OSLO

MEDIA

• ESSENCEMEDIACOM, OSLO

POST PRODUCTION • BACON, OSLO

A01/003 • NORWAY • CAMPAIGN

CONSUMER GOODS

TITLE • PICKY

BRAND • IKEA

PRODUCT • IKEA HOME FURNISHINGS

ENTERED BY • TRY, OSLO

IDEA CREATION • TRY, OSLO

PRODUCTION

• BACON, OSLO

MEDIA • ESSENCEMEDIACOM, OSLO

POST PRODUCTION • BACON, OSLO

A01/004 • NORWAY • CAMPAIGN

CONSUMER GOODS

TITLE • AWAKE

BRAND • IKEA

PRODUCT • IKEA HOME FURNISHINGS

ENTERED BY • TRY, OSLO

IDEA CREATION • TRY, OSLO

PRODUCTION • BACON, OSLO

MEDIA • ESSENCEMEDIACOM, OSLO

POST PRODUCTION • BACON, OSLO

A04/003 • GERMANY •

TRAVEL/LEISURE/RETAIL/RESTAURANTS

TITLE • NO PROJECT WITHOUT DRAMA

BRAND • HORNBACH

PRODUCT • HOME IMPROVEMENT SUPERSTORE

ENTERED BY • HEIMAT\TBWA, BERLIN

IDEA CREATION

• HEIMAT\TBWA, BERLIN

PRODUCTION • TEMPOMEDIA, BERLIN

/ SUPREME MUSIC, BERLIN / CANADA, BARCELONA

MEDIA • MEDIAPLUS GERMANY, MUNICH

POST PRODUCTION • KATALYST BERLIN

CREATIVE SERVICES, BERLIN

B01/025 • UNITED STATES •

CONSUMER GOODS

TITLE • I THINK OF YOU DYING

BRAND • LIFE360

PRODUCT • LIFE360

ENTERED BY • ALTO, NEW YORK

IDEA CREATION

• ALTO, NEW YORK

PRODUCTION

• MJZ, LOS ANGELES

POST PRODUCTION • KEVIN, LOS ANGELES / PASSION PICTURES, LONDON / TRIM EDITING, LONDON / WALKER, SANTA MONICA

C01/016 • UNITED STATES •

VIRAL FILM

TITLE • APPLE MUSIC X BAD BUNNY HALFTIME

SHOW - SHOT ON IPHONE

BRAND • APPLE

PRODUCT • BAD BUNNY SUPER BOWL

ENTERED BY • HPLA, LOS ANGELES

IDEA CREATION • APPLE, CUPERTINO

PRODUCTION • HPLA, LOS ANGELES

MEDIA • APPLE, CUPERTINO

PR • APPLE, CUPERTINO

POST PRODUCTION • HPLA, LOS ANGELES / APPLE, CUPERTINO

F02/023 • UNITED KINGDOM • CHALLENGER BRAND

TITLE • A TIME AND A PLACE

BRAND • CLAUDE

PRODUCT • CLAUDE

ENTERED BY • MOTHER, LONDON

IDEA CREATION • MOTHER, LONDON

PRODUCTION • BISCUIT FILMWORKS UK, LONDON

PR • EDELMAN, NEW YORK

F05/139 • UNITED KINGDOM •

USE OF HUMOUR

TITLE • BASED ON A TRUE STORY

BRAND • MISSING PEOPLE

PRODUCT • MISSING PEOPLE

ENTERED BY • BBH, LONDON

IDEA CREATION • BBH, LONDON

PRODUCTION • MERMAN, LONDON

PR • HOPE AND GLORY, LONDON

POST PRODUCTION • BLACK KITE STUDIOS, LONDON / WORK EDITORIAL, LONDON

F07/033 • MEXICO • CSR

TITLE • BULLET MACHINE

BRAND • LA UNION NEWSPAPER AND ARTICLE 19

PRODUCT • LA UNION NEWSPAPER AND ARTICLE 19

ENTERED BY • GREY, MEXICO CITY

IDEA CREATION • GREY, MEXICO CITY

PRODUCTION • HABITANT PRODUCTIONS, MEXICO CITY

POST PRODUCTION • HABITANT PRODUCTIONS, MEXICO CITY

F08/004 • UNITED STATES • MARKET DISRUPTION

TITLE • YOUR WAY OUT

BRAND • COINBASE

PRODUCT • COINBASE

ENTERED BY • ISLE OF ANY, NEW YORK

IDEA CREATION • ISLE OF ANY, NEW YORK

PRODUCTION • / MJZ, LOS ANGELES

PR • COINBASE, OAKLAND

POST PRODUCTION • ISLE OF ANY, NEW YORK / CARTEL, NEW YORK / WAVE STUDIOS, NEW YORK / SELECTED WORKS, LONDON / ETHOS STUDIO, LOS ANGELES

SILVER LION

A01/079 • UNITED STATES • CONSUMER GOODS

TITLE • A CRITTER CAROL

BRAND • APPLE

PRODUCT • IPHONE

ENTERED BY • TBWA\MEDIA ARTS LAB, LOS ANGELES

IDEA CREATION • TBWA\MEDIA ARTS LAB, LOS ANGELES

PRODUCTION • SMUGGLER, LOS ANGELES / BARKING OWL, LOS ANGELES

MEDIA • OMD USA, LOS ANGELES

POST PRODUCTION • WORK EDITORIAL, LOS ANGELES / UNTOLD STUDIOS, LOS ANGELES / TRAFIK, LOS ANGELES / WALKER, SANTA MONICA / RACKET CLUB, LOS ANGELES

B01/019 • UNITED STATES • CONSUMER GOODS

TITLE • L’ULTIMO UOMO REALE (“THE LAST REAL MAN”)

BRAND • THE REALREAL

PRODUCT • LUXURY RESALE AUTHENTICATION

ENTERED BY • TEAM ONE, LOS ANGELES

IDEA CREATION • TEAM ONE, LOS ANGELES PRODUCTION • LIPSTICK, BERLIN

PR

• TEAM ONE, LOS ANGELES

POST PRODUCTION • LIPSTICK, BERLIN

B05/007 • UNITED STATES •

MEDIA/ENTERTAINMENT

TITLE • DROP IN BRAND • ELECTRONIC ARTS SKATE

PRODUCT • EA SKATE

ENTERED BY • UNCOMMON CREATIVE STUDIO, NEW YORK

IDEA CREATION • UNCOMMON CREATIVE STUDIO, NEW YORK

PRODUCTION • RIFF RAFF FILMS, LONDON

POST PRODUCTION • FINAL CUT, LONDON

B06/015 • UNITED STATES • CONSUMER SERVICES/B2B

TITLE • YOUR WAY OUT BRAND • COINBASE

PRODUCT • COINBASE

ENTERED BY • ISLE OF ANY, NEW YORK

IDEA CREATION • ISLE OF ANY, NEW YORK

PRODUCTION • / MJZ, LOS ANGELES

PR • COINBASE, OAKLAND

POST PRODUCTION • ISLE OF ANY, NEW YORK / CARTEL, NEW YORK / WAVE STUDIOS, NEW YORK / SELECTED WORKS, LONDON / ETHOS STUDIO, LOS ANGELES

B06/034 • THAILAND •

CONSUMER SERVICES/B2B

TITLE • UNFADING LOVE

BRAND • THAI LIFE INSURANCE

PRODUCT • THAI LIFE INSURANCE

ENTERED BY • OGILVY, BANGKOK

IDEA CREATION • OGILVY, BANGKOK

PRODUCTION • HELLO FILMMAKER, BANGKOK

PR • OGILVY, BANGKOK

POST PRODUCTION • ULTRAVIOLET POST PRODUCTION, BANGKOK / MELLOW TUNES, BANGKOK

F03/001 • UNITED KINGDOM •

SINGLE-MARKET CAMPAIGN

TITLE • TABLEAU

BRAND • JOHN LEWIS & PARTNERS

PRODUCT • JOHN LEWIS

ENTERED BY • SAATCHI & SAATCHI, LONDON

IDEA CREATION • SAATCHI & SAATCHI, LONDON

PRODUCTION

• SOMESUCH, LOS ANGELES

MEDIA • MANNING GOTTLIEB OMD, LONDON

POST PRODUCTION • SELECTED WORKS, LONDON / TRIM EDITING, LONDON / TRAFIK, LONDON / 750MPH, LONDON / WAKE THE TOWN, LONDON

F04/56001 • UNITED KINGDOM •

SOCIAL BEHAVIOUR

TITLE • FIRST SCHOOL POO

BRAND • ANDREX

PRODUCT • ANDREX

ENTERED BY • KIMBERLY-CLARK, SURREY IDEA CREATION • KIMBERLY-CLARK, SURREY PRODUCTION • BISCUIT FILMWORKS UK, LONDON

MEDIA • PHD MEDIA, LONDON

POST PRODUCTION • SELECTED WORKS, LONDON / NO.8 LONDON / THE QUARRY, LONDON

F05/019 • THAILAND •

USE OF HUMOUR

TITLE

• AFTER SHIT HAPPENED SERVICE

BRAND • SHIELD INSURANCE

PRODUCT • SHIELD INSURANCE

ENTERED BY • VML, BANGKOK

IDEA CREATION • VML, BANGKOK

PRODUCTION • SUNETA HOUSE, BANGKOK

F05/028

• UNITED STATES • USE OF HUMOUR

TITLE • I THINK OF YOU DYING

BRAND • LIFE360

PRODUCT • LIFE360

ENTERED BY • ALTO, NEW YORK

IDEA CREATION • ALTO, NEW YORK

PRODUCTION • MJZ, LOS ANGELES

POST PRODUCTION • KEVIN, LOS ANGELES / PASSION PICTURES, LONDON / TRIM EDITING, LONDON / WALKER, SANTA MONICA

F05/079 • UNITED STATES • USE OF HUMOUR

TITLE • BEAT CANCER OFF

BRAND • FUCK CANCER

PRODUCT • BEAT CANCER OFF

ENTERED BY • VML, NEW YORK

IDEA CREATION • VML, NEW YORK

PRODUCTION • JAMUTE, SAO PAULO / DIRTY WORK, SAO PAULO

PR • VML, NEW YORK

F05/142 • UNITED STATES • USE OF HUMOUR

TITLE • FOR PAPA! BRAND • INSTACART

PRODUCT • INSTACART ONLINE GROCERY

DELIVERY

ENTERED BY • MCCANN NEW YORK

IDEA CREATION • MCCANN NEW YORK / BBDO, CHICAGO / LOCAL PRODUCE, SAN FRANCISCO

PRODUCTION • MJZ, LOS ANGELES

POST PRODUCTION • SQUEAK E. CLEAN, NEW YORK / COMPANY 3, NEW YORK

F07/012 • UNITED STATES • CSR

TITLE • I’M NOT REMARKABLE BRAND • APPLE

PRODUCT • ACCESSIBILITY

ENTERED BY • APPLE, CUPERTINO

IDEA CREATION • APPLE, CUPERTINO

PRODUCTION • SOMESUCH, LONDON

POST PRODUCTION • WAVE STUDIOS, NEW YORK / FINAL CUT, LONDON

F08/013 • UNITED KINGDOM •

MARKET DISRUPTION

TITLE • A TIME AND A PLACE

BRAND • CLAUDE

PRODUCT • CLAUDE

ENTERED BY • MOTHER, LONDON

IDEA CREATION • MOTHER, LONDON

PRODUCTION • BISCUIT FILMWORKS UK, LONDON

PR • EDELMAN, NEW YORK

F09/027 • FRANCE • CULTURAL ENGAGEMENT

TITLE • AXA – NOTHING STOPS WOMEN’S RUGBY

BRAND • AXA FRANCE

PRODUCT • PARTNERSHIP AXA X WOMEN’S RUGBY

ENTERED BY • PUBLICIS CONSEIL, PARIS

IDEA CREATION • PUBLICIS CONSEIL, PARIS

PRODUCTION • HAMLET, PARIS

PR

• PUBLICIS CONSULTANTS, PARIS

POST PRODUCTION • PRODIGIOUS, PARIS

BRONZE LIONS

A01/005 • UNITED STATES •

CONSUMER GOODS

TITLE • SLIDE

BRAND • APPLE

PRODUCT • IPHONE 17

ENTERED BY • APPLE, CUPERTINO

IDEA CREATION • APPLE, CUPERTINO

PRODUCTION • O POSITIVE, SANTA MONICA

A02/008 • UNITED STATES • HEALTHCARE

TITLE • NEVER OVER

BRAND • ELI LILLY

PRODUCT • ELI LILLY

ENTERED BY • WIEDEN+KENNEDY, PORTLAND

IDEA CREATION • WIEDEN+KENNEDY, PORTLAND

PRODUCTION • FURLINED, SANTA MONICA •

A02/019 • UNITED STATES • HEALTHCARE

TITLE • GOOD DAYS

BRAND • LILLY

PRODUCT • PHARMA

ENTERED BY • WIEDEN+KENNEDY, PORTLAND

IDEA CREATION • WIEDEN+KENNEDY, PORTLAND

PRODUCTION • SKUNK, LOS ANGELES

A04/004 • UNITED KINGDOM • TRAVEL/LEISURE/RETAIL/RESTAURANTS

TITLE • TABLEAU

BRAND • JOHN LEWIS & PARTNERS

PRODUCT • JOHN LEWIS

ENTERED BY • SAATCHI & SAATCHI, LONDON

IDEA CREATION • SAATCHI & SAATCHI, LONDON

PRODUCTION • SOMESUCH, LOS ANGELES

MEDIA • MANNING GOTTLIEB OMD, LONDON

POST PRODUCTION • SELECTED WORKS, LONDON / TRIM EDITING, LONDON / TRAFIK, LONDON / 750MPH, LONDON / WAKE THE TOWN, LONDON

A04/007 • FRANCE •

TRAVEL/LEISURE/RETAIL/RESTAURANTS

TITLE • UNLOVED

BRAND • INTERMARCHÉ

PRODUCT • RETAIL

ENTERED BY • ROMANCE, PARIS

IDEA CREATION • ROMANCE, PARIS

PRODUCTION • WIZZ, PARIS / DIVINE, PARIS / SCHMOOZE, PARIS

MEDIA • ZENITH FRANCE, PARIS

A05/006 • UNITED KINGDOM •

MEDIA/ENTERTAINMENT

TITLE • BRING A BOOK TO LIFE

BRAND • AMAZON

PRODUCT • AMAZON BOOKS

ENTERED BY • DROGA5, PART OF ACCENTURE SONG, LONDON

IDEA CREATION • DROGA5, PART OF ACCENTURE SONG, LONDON

PRODUCTION • MAKING PICTURES, LONDON / STUDIO PRIVATE LTD, LONDON / MICRODOT VISION, LONDON / OFFLINE AUDIO, LONDON

POST PRODUCTION • MAKING PICTURES, LONDON / STUDIO PRIVATE LTD, LONDON / MICRODOT VISION, LONDON / OFFLINE AUDIO, LONDON

A05/015 • MEXICO •

MEDIA/ENTERTAINMENT

TITLE • BULLET MACHINE

BRAND • LA UNION NEWSPAPER AND ARTICLE 19

PRODUCT • LA UNION NEWSPAPER AND ARTICLE 19

ENTERED BY • GREY, MEXICO CITY

IDEA CREATION • GREY, MEXICO CITY

PRODUCTION • HABITANT PRODUCTIONS, MEXICO CITY

POST PRODUCTION • HABITANT PRODUCTIONS, MEXICO CITY

A06/018 • UNITED STATES • CAMPAIGN CONSUMER SERVICES/B2B

TITLE • DISH

BRAND • OPEN AI

PRODUCT • CHATGPT

ENTERED BY • ISLE OF ANY, NEW YORK

IDEA CREATION • ISLE OF ANY, NEW YORK PRODUCTION

• SMUGGLER, NEW YORK

POST PRODUCTION • ISLE OF ANY, NEW YORK / CARTEL, NEW YORK / WAVE STUDIOS, NEW YORK / BLACKSMITH, NEW YORK / ETHOS STUDIO, LOS ANGELES

A06/019 • UNITED STATES • CAMPAIGN

CONSUMER SERVICES/B2B

TITLE • PULL UP

BRAND • OPEN AI

PRODUCT • CHATGPT

ENTERED BY • ISLE OF ANY, NEW YORK

IDEA CREATION • ISLE OF ANY, NEW YORK

PRODUCTION • SMUGGLER, NEW YORK

POST PRODUCTION • ISLE OF ANY, NEW YORK / CARTEL, NEW YORK / WAVE STUDIOS, NEW YORK / BLACKSMITH, NEW YORK / ETHOS STUDIO, LOS ANGELES

A06/020 • UNITED STATES • CAMPAIGN

CONSUMER SERVICES/B2B

TITLE • TRIP

BRAND • OPEN AI

PRODUCT • CHATGPT

ENTERED BY • ISLE OF ANY, NEW YORK

IDEA CREATION • ISLE OF ANY, NEW YORK PRODUCTION • SMUGGLER, NEW YORK

POST PRODUCTION • ISLE OF ANY, NEW YORK / CARTEL, NEW YORK / WAVE STUDIOS, NEW YORK / BLACKSMITH, NEW YORK / ETHOS STUDIO, LOS ANGELES

A06/026 • UNITED STATES • CONSUMER SERVICES/B2B

TITLE • IN GOOD TIME

BRAND • UBER

PRODUCT • SERVICE / AUTOMOTIVE

ENTERED BY • MOTHER NEW YORK

IDEA CREATION • MOTHER, LONDON / MOTHER NEW YORK

PRODUCTION • MJZ, LOS ANGELES

A06/074 • SPAIN • CONSUMER SERVICES/B2B

TITLE • HELP!

BRAND • SANTALUCÍA

PRODUCT • SANTALUCÍA INSURANCE

ENTERED BY • ORIOL VILLAR, BARCELONA

IDEA CREATION • ORIOL VILLAR, BARCELONA

PRODUCTION • ROMA, MADRID

B01/036 • THAILAND • CONSUMER GOODS

TITLE • MOTHER STRIKE

BRAND • SNACK JACK

PRODUCT • SNACK JACK RING

ENTERED BY • HANAMI FOOD, BANGKOK

IDEA CREATION • CHOOJAI AND FRIENDS, BANGKOK

PRODUCTION • SUNETA HOUSE, BANGKOK

B01/094 • UNITED STATES • CONSUMER GOODS

TITLE • A CRITTER CAROL

BRAND • APPLE

PRODUCT • IPHONE

ENTERED BY • TBWA\ MEDIA ARTS LAB, LOS ANGELES

IDEA CREATION

• TBWA\ MEDIA ARTS LAB, LOS ANGELES

PRODUCTION • SMUGGLER, LOS ANGELES / BARKING OWL, LOS ANGELES

MEDIA • OMD USA, LOS ANGELES

POST PRODUCTION • WORK EDITORIAL, LOS ANGELES / UNTOLD STUDIOS, LOS ANGELES / TRAFIK, LOS ANGELES / WALKER, SANTA MONICA / RACKET CLUB, LOS ANGELES

B02/018 • SINGAPORE • HEALTHCARE

TITLE • LOVE HURTS

BRAND • VASELINE

PRODUCT • VASELINE

ENTERED BY • OGILVY SINGAPORE

IDEA CREATION • OGILVY SINGAPORE / VML SOUTH AFRICA, JOHANNESBURG

PRODUCTION • PARK PICTURES, LONDON

MEDIA • MINDSHARE SINGAPORE

PR

• OGILVY SINGAPORE

POST PRODUCTION • WHITECOAT, SINGAPORE

B04/001 • GERMANY • TRAVEL/LEISURE/RETAIL/RESTAURANTS

TITLE • NO PROJECT WITHOUT DRAMA

BRAND • HORNBACH

PRODUCT • HOME IMPROVEMENT

SUPERSTORE

ENTERED BY • HEIMAT\TBWA, BERLIN

IDEA CREATION • HEIMAT\TBWA, BERLIN

PRODUCTION • TEMPOMEDIA, BERLIN / SUPREME MUSIC, BERLIN / CANADA, BARCELONA

MEDIA • MEDIAPLUS GERMANY, MUNICH

POST PRODUCTION • KATALYST BERLIN CREATIVE SERVICES, BERLIN

B06/030 • MEXICO • CAMPAIGN

CONSUMER SERVICES/B2B

TITLE • MAFIA

BRAND • PURGA STUDIO

PRODUCT • AI PRODUCTION COMPANY

ENTERED BY • GUT, MEXICO CITY

IDEA CREATION • GUT, MEXICO CITY

PRODUCTION • PURGA STUDIO, BUENOS AIRES

B06/031 • MEXICO • CAMPAIGN

CONSUMER SERVICES/B2B

TITLE • SAMURAI

BRAND • PURGA STUDIO

PRODUCT • AI PRODUCTION COMPANY

ENTERED BY • GUT, MEXICO CITY

IDEA CREATION • GUT, MEXICO CITY

PRODUCTION • PURGA STUDIO, BUENOS AIRES

B06/032 • MEXICO • CAMPAIGN

CONSUMER SERVICES/B2B

TITLE • WESTERN

BRAND • PURGA STUDIO

PRODUCT • AI PRODUCTION COMPANY

ENTERED BY • GUT, MEXICO CITY

IDEA CREATION • GUT, MEXICO CITY

PRODUCTION • PURGA STUDIO, BUENOS AIRES

B07/028 • UNITED STATES •

NFP/CHARITY/GOVERNMENT

TITLE • BEAT CANCER OFF

BRAND • FUCK CANCER

PRODUCT • BEAT CANCER OFF ENTERED BY • VML, NEW YORK

IDEA CREATION • VML, NEW YORK

PRODUCTION • JAMUTE, SAO PAULO / DIRTY WORK, SAO PAULO

PR • VML, NEW YORK

D01/007 • UNITED STATES • SCREENS & EVENTS

TITLE • ORIGINAL FOREVER

BRAND • ADIDAS

PRODUCT • ADIDAS ORIGINALS

ENTERED BY • JOHANNES LEONARDO, NEW YORK

IDEA CREATION • JOHANNES LEONARDO, NEW YORK / ADIDAS, LONDON

PRODUCTION • FRAME BY FRAME, ROME

MEDIA • ESSENCEMEDIACOM, NEW YORK

POST PRODUCTION • CABIN EDITING, NEW YORK / BLACKSMITH, NEW YORK / CONCRET FORM, LOS ANGELES

F03/041 • MEXICO •

SINGLE-MARKET CAMPAIGN

TITLE • THE MEXICAN DREAM - THE WORK

BRAND • INDIO

PRODUCT • INDIO BEER

ENTERED BY • OGILVY, MEXICO CITY

IDEA CREATION • OGILVY, MEXICO CITY

PRODUCTION • LANDIA, MEXICO CITY

POST PRODUCTION • WIP POST, MEXICO CITY

F03/064 • MEXICO • SINGLE-MARKET CAMPAIGN

TITLE • WHO’S WAITING FOR YOU?

BRAND • CERVEZA VICTORIA

PRODUCT • CERVEZA VICTORIA

ENTERED BY • WIEDEN+KENNEDY, MEXICO

IDEA CREATION • WIEDEN+KENNEDY, MEXICO

PRODUCTION • THE YOUTH, CURITIBA

POST PRODUCTION • COLOSSAL, CURITIBA

F03/15001 • UNITED KINGDOM •

SINGLE-MARKET CAMPAIGN

TITLE • FIRST SCHOOL POO BRAND • ANDREX

PRODUCT • ANDREX

ENTERED BY • KIMBERLY-CLARK, SURREY

IDEA CREATION • KIMBERLY-CLARK, SURREY

PRODUCTION • BISCUIT FILMWORKS UK, LONDON

MEDIA • PHD MEDIA, LONDON

POST PRODUCTION • SELECTED WORKS, LONDON / NO.8 LONDON / THE QUARRY, LONDON

F04/012 • SINGAPORE •

SOCIAL BEHAVIOUR

TITLE • LOVE HURTS

BRAND • VASELINE

PRODUCT • VASELINE

ENTERED BY • OGILVY SINGAPORE

IDEA CREATION • OGILVY SINGAPORE / VML

SOUTH AFRICA, JOHANNESBURG

PRODUCTION • PARK PICTURES, LONDON

MEDIA • MINDSHARE SINGAPORE

PR • OGILVY SINGAPORE

POST PRODUCTION • WHITECOAT, SINGAPORE

F05/042 • THAILAND •

USE OF HUMOUR

TITLE • THE KAPRAO CRIMINALS

BRAND • KFC THAILAND

PRODUCT • KAPRAO CRISPY CHICKEN RICE

BOWL

ENTERED BY • WOLF BKK, BANGKOK

IDEA CREATION • WOLF BKK, BANGKOK

PRODUCTION • SUNETA HOUSE, BANGKOK

Grand Prix

GLASS: THE LION FOR CHANGE

NIGRUM CORPUS

IDOMED & INSTITUTO YDUQS

ARTPLAN, SAO PAULO BRAZIL

GRAND PRIX

A02/016 • BRAZIL • PRODUCT/SERVICE

TITLE • NIGRUM CORPUS

BRAND • IDOMED & INSTITUTO YDUQS

PRODUCT • NIGRUM CORPUS

ENTERED BY • ARTPLAN, SAO PAULO

IDEA CREATION • ARTPLAN, SAO PAULO

PRODUCTION • UNTITLED PRODUCTIONS, SAO PAULO / ROAD FILMES, RIO DE JANEIRO / RAW AUDIO, SAO PAULO / MAURICIO NAHAS

ESTUDIO FOTOGRAFICO, SAO PAULO / RUDY HUHOLD FOTOGRAFIA, RIO DE JANEIRO

PR

• APPROACH COMUNICACAO, SAO PAULO

POST PRODUCTION • FUJOCKA CREATIVE

IMAGES, SAO PAULO / P+E GALERIA DIGITAL, SAO PAULO

GOLD LION

A03/060 • NEW ZEALAND • INITIATIVES

TITLE • THE MĀORI ROLL CALL

BRAND • WHĀNAU ORA

PRODUCT • WHĀNAU ORA

ENTERED BY • MOTION SICKNESS, AUCKLAND IDEA CREATION • MOTION SICKNESS, AUCKLAND

PRODUCTION • MOTION SICKNESS, AUCKLAND / SUPERNORMAL, AUCKLAND

MEDIA • MOTION SICKNESS, AUCKLAND

POST PRODUCTION • MOTION SICKNESS, AUCKLAND SILVER LION

A03/072 • SOUTH AFRICA • INITIATIVES

TITLE • THE UNBURIED CASKET BRAND • WOMEN FOR CHANGE

PRODUCT • WOMEN FOR CHANGE

ENTERED BY • EDELMAN SA, JOHANNESBURG

IDEA CREATION • EDELMAN SA, JOHANNESBURG

MEDIA • EDELMAN SA, JOHANNESBURG

PR • EDELMAN SA, JOHANNESBURG

BRONZE LION

A03/019 • UNITED ARAB EMIRATES • INITIATIVES

TITLE • RECIPE FOR CHANGE

BRAND • PUCK

PRODUCT • SPREAD CHEESE

ENTERED BY • FP7 MCCANN DUBAI

IDEA CREATION • FP7 MCCANN DUBAI

PRODUCTION • CRAFT DUBAI

MEDIA • CARAT, DUBAI

PR • CURRENT GLOBAL, DUBAI

A03/038 • MEXICO • INITIATIVES

TITLE • WELCOME BACK, PAISANO BRAND • TECATE

PRODUCT • TECATE

ENTERED BY • LEPUB, MEXICO CITY

IDEA CREATION • LEPUB, MEXICO CITY

PRODUCTION • LANDIA, MEXICO CITY

MEDIA • DENTSU X, MEXICO CITY

PR • LEPUB, MEXICO CITY / SERNA, MEXICO CITY

POST PRODUCTION • LANDIA, MEXICO CITY

Grand Prix SUSTAINABLE

DEVELOPMENT GOALS

PAID SICK LEAVE FOR COWS TOO GOOD THE PARTNERSHIP AGENCY, NAIROBI KENYA

GRAND PRIX

C01/020 • KENYA •

DECENT WORK AND ECONOMIC GROWTH

TITLE • PAID SICK LEAVE FOR COWS

BRAND • TOO GOOD

PRODUCT • MILK

ENTERED BY • THE PARTNERSHIP AGENCY, NAIROBI

IDEA CREATION • THE PARTNERSHIP AGENCY, NAIROBI

PRODUCTION • FINGERPRINT FILMS, MUMBAI

POST PRODUCTION • FINGERPRINT FILMS, MUMBAI

GOLD LION

C03/010 • NEW ZEALAND • REDUCED INEQUALITIES

TITLE • THE MĀORI ROLL CALL

BRAND • WHĀNAU ORA

PRODUCT • WHĀNAU ORA

ENTERED BY

• MOTION SICKNESS, AUCKLAND

IDEA CREATION • MOTION SICKNESS, AUCKLAND

PRODUCTION • MOTION SICKNESS, AUCKLAND / SUPERNORMAL, AUCKLAND

MEDIA • MOTION SICKNESS, AUCKLAND

POST PRODUCTION • MOTION SICKNESS, AUCKLAND

C03/013

• GERMANY • REDUCED INEQUALITIES

TITLE • THE PERIOD UNIFORM

BRAND • SOMOS MARTINA

PRODUCT • SOMOS MARTINA

ENTERED BY • SERVICEPLAN GERMANY, MUNICH

IDEA CREATION • SERVICEPLAN GERMANY, MUNICH

PRODUCTION • WE ARE DEMENTE, BOGOTA MEDIA

• MEDIAPLUS GERMANY, MUNICH

PR • TULOM, SAO PAULO

POST PRODUCTION • INMOTION, MUNICH

SILVER LION

A03/009 • UKRAINE •

GOOD HEALTH AND WELL-BEING

TITLE • THE HEALING STAGE

BRAND • ARMED FORCE OF UKRAINE

PRODUCT • MENTHAL HEALTH

ENTERED BY • SAATCHI & SAATCHI UKRAINE, KYIV

IDEA CREATION • TERRITORY DEFENCE FORCE MEDIA, KYIV

PRODUCTION

• SAATCHI & SAATCHI UKRAINE, KYIV

PR • SAATCHI & SAATCHI UKRAINE, KYIV

A05/030 • FRANCE •

GENDER EQUALITY

TITLE • THREE WORDS

BRAND • AXA FRANCE

PRODUCT • HOME INSURANCE POLICIES

ENTERED BY • PUBLICIS CONSEIL, PARIS

IDEA CREATION • PUBLICIS CONSEIL, PARIS

PRODUCTION • PRODIGIOUS, PARIS

MEDIA

• WAVEMAKER, PARIS

PR

• PUBLICIS CONSULTANTS, PARIS

POST PRODUCTION • PRODIGIOUS, PARIS

BRONZE LION

A04/004 • GERMANY •

QUALITY EDUCATION

TITLE • BEDTIME DONATIONS

BRAND • ROYAL SOCIETY FOR BLIND CHILDREN

PRODUCT • BEDTIME DONATIONS APP

ENTERED BY • INNOCEAN BERLIN

IDEA CREATION • INNOCEAN BERLIN

PRODUCTION • INNOCEAN BERLIN / BUZZWOO, BERLIN / DAHOUSE AUDIO, COLOGNE

MEDIA • INNOCEAN WORLDWIDE EUROPE, FRANKFURT

PR • PERSUASION COMMUNICATIONS, LONDON / BROADCAST REVOLUTION, LONDON

POST PRODUCTION • DAHOUSE AUDIO, COLOGNE

B03/002 • PARAGUAY •

SUSTAINABLE CITIES AND COMMUNITIES

TITLE • SANTA MARIA PUEBLO HOTEL

BRAND • SENATUR

PRODUCT • PUEBLO HOTEL

ENTERED BY

• ONIRIA\TBWA, ASUNCION

IDEA CREATION

• ONIRIA\TBWA, ASUNCION

PRODUCTION • BARRACO, ASUNCION

MEDIA • ONIRIA\TBWA, ASUNCION / ADRI

MORRO, ASUNCION

PR

• ADRI MORRO, ASUNCION

POST PRODUCTION • BARRACO, ASUNCION

B04/009 • THAILAND • RESPONSIBLE CONSUMPTION/PRODUCTION

TITLE • FERTILIZER 2.5

BRAND • THAI HEALTH PROMOTION

FOUNDATION

PRODUCT • NON-PROFIT ORGANIZATION

ENTERED BY • GREY THAILAND, BANGKOK

IDEA CREATION • GREY THAILAND, BANGKOK

PRODUCTION

• WINK WINK PRODUCTION, BANGKOK / CHUBCHEEVIT STUDIO, BANGKOK / VISIONARY BANGKOK

D01/001 • BOSNIA & HERZEGOVINA •

PEACE/JUSTICE/STRONG INSTITUTIONS

TITLE • IT’S TIME TO STOP!

BRAND • BINGO GROUP

PRODUCT • BINGO GROUP

ENTERED BY • VIA MEDIA, SARAJEVO

IDEA CREATION • VIA MEDIA, SARAJEVO

PRODUCTION

• VIA MEDIA, SARAJEVO

MEDIA • VIA MEDIA, SARAJEVO

PR • VIA MEDIA, SARAJEVO

POST PRODUCTION • VIA MEDIA, SARAJEVO

Grand Prix

TITANIUM

HAVEN

SUNCORP INSURANCE

LEO AUSTRALIA, SYDNEY

AUSTRALIA

GRAND PRIX

A01/007 • AUSTRALIA • TITANIUM

TITLE • HAVEN

BRAND • SUNCORP INSURANCE

PRODUCT • INSURANCE

ENTERED BY • LEO AUSTRALIA, SYDNEY

IDEA CREATION • LEO AUSTRALIA, SYDNEY

PRODUCTION • PXP, SYDNEY / LE POLISH BUREAU, POLAND / HOGARTH WORLDWIDE, SYDNEY

MEDIA • OMD, SYDNEY

TITANIUM LION

A01/008 • UNITED STATES • TITANIUM

TITLE • THE LEGACY OF VIRGINIA GIUFFRE

BRAND • VIRGINIA GIUFFRE

PRODUCT • VIRGINIA GIUFFRE

ENTERED BY • DINI VON MUEFFLING COMMUNICATIONS, NEW YORK

IDEA CREATION • DINI VON MUEFFLING COMMUNICATIONS, NEW YORK

PR

• DINI VON MUEFFLING COMMUNICATIONS, NEW YORK

A01/075 • UNITED STATES •

TITANIUM

TITLE • OREO COWS

BRAND • OREO

PRODUCT • OREO

ENTERED BY • VML, NEW YORK

IDEA CREATION • VML, NEW YORK / VML, MEXICO CITY •

PRODUCTION • BDS MUSIC, NA / BELIEVE TV, SANTIAGO / LANDIA, MEXICO CITY / VOX HAUS, PETROPOLIS

MEDIA • SPARK FOUNDRY, MEXICO CITY

PR • BURSON, MEXICO CITY

POST PRODUCTION • DORADO.TV, MEXICO CITY

A01/134 • UNITED KINGDOM • TITANIUM

TITLE • EXPEDITION IMPOSSIBLE

BRAND • COLUMBIA SPORTSWEAR

PRODUCT • SPORTSWEAR

ENTERED BY • ADAM&EVE\TBWA, LONDON

IDEA CREATION • ADAM&EVE\TBWA, LONDON

PRODUCTION • SMUGGLER, LONDON

POST PRODUCTION • CUT + RUN, LONDON

A01/146 • MEXICO •

TITANIUM

TITLE • 600K NETWORK

BRAND • COMANDO CON VENEZUELA PRODUCT • COMANDO CON VENEZUELA

ENTERED BY • RAINBOW LOBSTER, MEXICO CITY

IDEA CREATION • COMANDO CON VENEZUELA, CARACAS

PRODUCTION • COMANDO CON VENEZUELA, CARACAS

MEDIA • COMANDO CON VENEZUELA, CARACAS

PR • COMANDO CON VENEZUELA, CARACAS

Grand Prix FOR GOOD

600K NETWORK

COMANDO CON VENEZUELA

RAINBOW LOBSTER, MEXICO CITY MEXICO

Nostalgia / Meatball lollipops /

AI slop / Pokémon /

17th century silk traders / Kidulting /

Doomscrolling

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