Here’s what adland expects to win large at Cannes Lions this 12 months

Purpose-driven campaigns, smarter programs of AI and a welcome go back of wit are all anticipated to dominate the dialog as soon as once more. But past those buzzwords, many are calling for a broader point of view and taking a look to be stunned.

From an actual comeback of health-focused paintings to the tropes of the humor class, the likes of Wolff Olins’s Wayne Deakin, BBH London’s Felipe Serradourada Guimaraes, Havas London’s Amy Fasey and Dude’s Curro Piqueras had so much to mention.

And as Wesley Hawes, leader ingenious officer at 72andSunny ANZ, identified: “Please remember, if you don’t manage to take home a shiny Lion this year, don’t be too disheartened. It doesn’t mean your work isn’t deserving or freaking awesome.

“Stick Monday, June 23, in your diary. It’s the day adland resets and everyone can start again from ground zero.”

Amy Fasey, ingenious director, Havas London: “I can’t wait to see who comes back from Cannes this year with new silverware and a stinking hangover. There’s been a bigger trend bubbling away, with brands beginning to spot that they could and should give their viewers entertainment in exchange for their eyeballs (yay!). It’s a no-brainer, of course, but I’m hoping Cannes (and the work) will represent a change in the industry, from interruption to interest this year.

“My other bet (no horses, just lions) is that, out of general industry fatigue, there will be fewer charity projects scooping up all the shiny stuff this year. It’s been a long time coming; however, I hope it doesn’t mean that great work misses out because of it. Perhaps brand and charity collaborations are where we can all get our ‘purpose’ fixed and see more wins overall.

“As for my predictions on some big winners, three pieces of work spring to mind. Duolingo’s ‘RIP Duo’ (killing off its infamous mascot) was a masterclass on playfulness and entertainment in the Social category. I, for one, was hooked and I hope the infamous green owl gets a Gold Lion for it. In the Packaging category, there’s going to be a sure coup – Cadbury’s ‘Made to Share,’ which reflects the divvying up of chocolate bars between loved ones. Insightful, smile-inducing and, at multiple instances, caught my eye in an aisle when I wanted to send a lovingly passive-aggressive message to my mate, little sister or husband.

“Finally, film craft. No doubt a busy category. But I think my friends at Hungry Man might’ve scooped themselves something nice with Taika Waititi’s ‘Boy and the Octopus’ for Disney.”

Wayne Deakin, world govt ingenious director and major, Wolff Olins: “2025 is a year of creative reckoning. Against a backdrop of cultural polarisation and economic shifts, creativity is no longer neutral; it’s taking sides. The Cannes-worthy work this year won’t try to please everyone. It will plant a flag, speak to its tribe and do so with unapologetic clarity. Mass appeal is giving way to hyper-personal expression. Brands are embracing distinctiveness over neutrality, building emotional resonance through bold, specific storytelling. So, I think this year’s judges will reward brands and campaigns that have ditched polyperspectivity and are very clear about which camp they sit in.

“In design, the era of minimalism and sanitized aesthetics is so yesterday. The drive to be frictionless in digital is fading as digital and UX have now become the norm. Brands must rise above these digital table stakes to create stronger narratives and more human connections. What resonates now is sitting in boldness, rawness, tactility and a celebration of imperfection. The Covid push of ‘blanding’ being replaced with distinctiveness or strong leanings into one camp or another to create that extra distance from your competitors is the driving force.

“As for AI, it’s evolving into a supportive partner rather than the main protagonist, enhancing creativity without overshadowing it. I like to call it a sidekick. It’s there to help in supercharging creativity in new ways as a new tool and, like any good sidekick, it’s adding value at the right moments in the right way and not trying to take the lead. Well, not yet as it’s still machine learning its role.

“Exceptional creativity doesn’t shy away, it steps forward with confidence, unapologetically aligning with a distinct perspective. Much like a new political movement, it’s not about pleasing everyone but about finding your people, your community within a shared vision. This year serves as a precursor to the transformative changes on the horizon – a glimpse into the larger shifts ahead as brands scramble to reconnect and rethink their playbooks.”

Wesley Hawes, leader ingenious officer at 72andSunny ANZ: “The Advertising World Championships (Cannes) is just about right here and pleasure is achieving fever pitch.

“Arguably, Australia’s greatest hope this 12 months is the ‘36 Months’ public coverage marketing campaign created by means of the minds at Finch and boosted by means of the group at TremendousMassive.

“At a time when rival political parties are dividing nations more than ever, this project to increase the age of social media use for kids from 13 to 16 received bipartisan support. It also armed a generation of parents with a defence to keep the phones and social media at bay. Three more years with your child! What an Effie paper that will turn out to be.

“My favorite insight on this project is that the Founder’s teenage daughter wasn’t best pleased by the extra 36 months added. I do hope they have reconciled because, like I keep trying to explain to my own tween daughter, it’s all for their own good.”

Michael Ruby, president and leader ingenious officer, Park & Battery: “B2B is going to have a real moment at Cannes this year. We’re already seeing business-focused creativity outperform in major shows, like FCB’s ‘Spreadbeats’ for Spotify Advertising. It’s a perfect example of how smart storytelling and design can make even the most niche offering feel universally relevant.

“Add in standout work like AT&T’s ‘Sleep With Rain’ and Heineken’s ‘Pubmuseums’ and the message is clear: the best B2B work isn’t just holding its own, it’s leading the way in effectiveness, craft and cultural relevance.”

Maud Robaglia, head of artwork, Publicis Conseil: “Culture is back! Advertising isn’t just a mirror any more, it’s a lever. And it restores the power of brands in our lives. What counts now: resonance, relevance, reinvention. Storytelling is carefully intertwined with anti-glossy realism, authenticity and real characters.

“The post-AI era values human flaws, bold narratives and genuine purpose. The big winners will be those who dared to engage with complexity, in the colorful world of comedy as in more serious territories. All the ways that can move culture forward, emotionally and practically, are permitted.”

“‘The Final Copy of Ilon Spech’ is a powerful short documentary that revisits the life and legacy of the woman behind L’Oréal’s iconic ‘Because I’m Worth It.’ Through her own words, recorded shortly before she died in 2024, the film restores the authorship and feminist force behind one of advertising’s most famous lines. It doesn’t just honor a legacy, it reactivates it.”

Andre Sallowicz, ingenious spouse, AMV BBDO: “As audiences recover at dodging advertisements, manufacturers are getting higher at disappearing into the content material. The smartest ones aren’t stealing the display, they’re generating it. Media as of late isn’t a showroom; it’s a level and types that mix in win.

“I latterly watched a Netflix documentary referred to as ‘The Seat,’ subsidized by means of WhatsApp, that follows 18-year-old Andrea Kimi Antonelli’s adventure to exchange Lewis Hamilton in F1. It used to be a really perfect instance of seamless emblem integration, the place the product supported the tale with out ever disrupting the narrative. It’s the type of branded content material that feels herbal, now not compelled.

“Another great example is Ford’s docu-series ‘Charge Around the Globe,’ available on Amazon, featuring American travel influencer Lexie Alford – also known as Lexie Limitless. It chronicles her attempt to become the first person to circumnavigate the globe in an electric vehicle. It’s advertising that doesn’t feel like advertising: the story leads, the brand enables. That’s the new sweet spot, content people want to spend time with, not something they try to skip.”

Leonardo Ricagni, founder and govt ingenious director, Migrante: “’The Shooting’ by means of Article 19 is an out of this world movie from Grey Mexico that I’m hoping Cannes Lions shines a gentle in this 12 months. It’s highlighting the chance to reporters and the click in Mexico and in the way in which that it ends, juxtaposing a digicam with a gun to turn the 2 other equipment of ‘shooting’ is tremendous tough.

“Even though it’s tough and brutal to watch, I believe work like this film illustrates how we can tell cinematic, truthful stories through advertising – stories that awaken us and open our eyes and hearts.

“I’m currently at the Cannes Film Festival and, in my opinion, these kinds of stories are somewhat missing in the films this year, even though there are some powerful movies.

“But we do need to connect the dots more between cinema and shorter communication. In questioning the meaning of shooting, the film also shines a light on what we are doing as filmmakers when we make advertising. Brand products can benefit from the telling of stories in a more honest, provocative, cinematic way. Most products have an interesting story behind them. And the power in communication and advertising lies in storytelling that connects humanity.”

Felipe Serradourada Guimaraes, govt ingenious director, BBH London: “It feels as if brands have turned to big, simple and iconic moves. We have seen quite a few good bits of OOH.

“They all have incredible craft, amazing ideas, with fame and PR to it. That category feels like the strongest from the things that have come my way. Design also feels to have followed suit, with brands making work that feels bold but simple and reductive. A great example of that is the Price Packs from Penny.”

Nomi Leasure, managing director, Pinch: “In Japan, there is a stark lack of stylists skilled in handling Afro-textured hair, leading to an underserved population of nearly 20,000 ethnically African Japanese people. Shea Moisture found a way to address the challenges foreign hairdressers face in getting work visas by using the Artist Visa, through which they positioned Black hair care as art.

“The initiative successfully established a new set of hairdressers within Japan, culminating in a photography showcase of the artist’s work and live hair styling, elevating the work, community and culture that is indelible to African hair. This type of work shows deep cultural nuance on multiple fronts, authentically bridging multiple continents to meet the needs of two disparate but linked communities. The approach showed ingenuity, tact and taste, elevating the brand while delivering real impact and reinforcing an important message about representation.

“It’s a powerful example of how experiential marketing, when rooted in cultural insight and creative integrity, can bring together two disparate but linked communities. There was a rare combination of ingenuity, tact and taste at play, elevating the brand while delivering real impact and underscoring the importance of representation.”

Curro Piqueras, govt ingenious director, Dude London: “We’ve seen many powerful campaigns about school violence. Some unforgettable, like ‘The Lost Class.’ But ‘The Final Exam’ approaches the issue through a new lens: the video game world. It places players inside a simulated school shooting, challenging them to survive by uncovering five real-world gun reform policies.

“Maybe the most potent weapon against guns. This piece deserves to win because it reframes the conversation, shifting blame away from video games and pointing to the real solution: policy.”

Tim Pashen, ingenious director, Worth Your While: “As far as out-of-home goes, this is as clean as an Apple product in the Jony Ives era. I hope it rawdogs it and goes no case study too.”

“Speaking of which (simplicity, that is, not rawdogging), KitKat’s ‘Phone Break’ out of VML Prague is also Apple-esque in its stunningly simple critique of our iPhone addiction. Reaching advertising Nirvana by communicating with no copy and no logo.”

Anupama Ramaswamy, joint managing director and leader ingenious officer, Havas Creative India: “I’ve stopped trying to predict what will win at Cannes. Every year, it’s the same conversation: What’s trending? Purpose-driven work? Smarter use of AI? A return of humor? Probably yes to all.

“But this year, I’m not hoping for a trend. I’m hoping for a surprise. For variety. For work that’s unpredictable and deeply human – the kind that solves problems in original ways, not just what’s fashionable or algorithm-friendly.

“And honestly, I hope we remember the lost art of selling. Not selling in a transactional way – but with wit, charm and joy. The kind of work that used to make people feel something and actually move them. We need more of that now, especially when everything feels this heavy.

“That’s why Apple’s ‘Flock’ stays with me. It captures modern paranoia around digital intrusion but somehow leaves you feeling safe, all without shouting. And ‘The Final Copy of Ilon Specht’ – it reignited my love for longform. Quiet, thoughtful, beautifully told.

“Even Visit Oslo’s ‘Is It Even a City?’ hit me. No sweeping drone shots or cliché slogans, just self-aware, funny and oddly moving. It doesn’t try hard to sell and that’s what makes it so effective.

“None of these followed a trend. They just told a story really, really well.”

Eric Weisberg, world leader ingenious officer, Havas Health: “2025 looks to be the year health finally takes center stage. I expect to see more health brands than ever before defining the benchmark for creativity in the industry, not just the health sector, but the industry overall.

“In 2019, Tim Cook famously declared that Apple’s biggest contribution to humankind would be in health; its work over the past few years proves it. Apple isn’t only becoming a health brand, but its brand of creativity is defining health creativity for the industry. (There is a reason Apple was named Cannes Lions Creative Marketer of the Year.) Building off ‘The Greatest,’ Apple continues to celebrate the abilities of people with disabilities with ‘The Relay,’ while in ‘Heartstrings,’ it gave us a tender and powerful demo for the new hearing aid function built into the AirPods.”