Agency creatives share their Cannes Lions 2026 predictions
With Cannes around the corner, we asked a handful of agency luminaries to share their Cannes Lions predictions, personal shortlists and favourite campaigns from the last 12 months they believe deserve Lion-recognition.
The result is a sharp, generous and revealing watchlist: the work that made creative leaders jealous, made them laugh, made them think, or simply reminded them why great ideas still cut through.
Ana Balarin, Chief Creative Officer Wieden+Kennedy London
š¦ NPR – For Your Right to be Curious | Agency: Mischief
A stripped-back campaign for NPR celebrating curiosity as a public good ā and reminding people why asking better questions still matters.
Anna said; “Who? Why? How? I hope the jury appreciates the utter simplicity of this extremely powerful campaign, hailing a trait that the world is lacking the most at the moment: curiosity. It may not be the flashiest, but one of the most important pieces of work Iāve seen this year.”
Joel Holtby, Founder & Co-CCO, CourageInc
š¦ IKEA – Sleep Talk Reviews | Agency: Rethink
IKEA turns mattress reviews into something far more charming: real sleep talk from real customers, used as proof of a better nightās sleep.
Joel said; ‘Simple insight that connects to IKEA’s mattresses so brilliantly. What I love about it is that it takes on what we have all had to use before “real customers” Or “Customer Reviews” and plays with it in a tonal and hilarious and way that only IKEA can. It puts the product at the heart of the idea and just has fun with it. I think this has a really strong shot in Radio Lions as well as the Film Lions. It’s really smart how they brought it across multiple touch points as well without losing it’s charm and whit. It was one of those campaigns that when I saw it I went, yup thats really smart and executed perfectly for IKEA.’
more about it here
š¦ Columbia Sportswear – Impossible Expedition | Agency: Adam Eve / TBWA
A brilliantly witty campaign that sent flat earthers on an expedition to the edge of the world, turning internet conspiracy logic into a deadpan outdoor adventure for Columbia.
Joel said; ”This work killed me in the best way. made me laugh and was work I was jealous of. What a brilliant premise! It’s just written and shot perfectly, so charming and makes me love Columbia so much more for it. The brand’s purpose is dead centre to the idea but does not feel heavy. What a change from what we have seen from the category where everything is “extreme”. It broke through and jumped on what the internet loves, also a great laugh which is truly hard to do now a days. Every part of this is work that deserves to be recognized And i think this is going to make a very strong showing in Cannes in Social media as well as in the Film Lions. Great work and Smuggler killed the execution.’
more about it here
š¦ Hornbach – No Project Without Drama | Agency : Heimat TBWA
A home improvement film that turns the emotional chaos of DIY into high craft, with drama, choreography and comedy pushed to operatic levels.
Joel said; ”This film, I think is gonna win in Film Craft as it deserves to. It’s a wonderful piece of work that is crafted in such a creative breakthrough way. It just keeps getting better and better, never letting the visual premise of the spot get tired. Sound design is perfect, choreography is amazing, the worlds they make are spot on to the emotion, and it perfectly threads the needle on humour and craft. A simple insight about how we feel with our homes during DIY/home improvement but the way they brought this to life is just awesome. Perfect casting, amazing simple but so smart visual performance that does not feel overcooked. It’s just great and is inspiring work.’
Matt Moreland & Chris Clarke, ECDs, T&P
š¦ Coinbase – Your Way Out | Agency: Isle of Any & Coinbase Creative Studio
A painstakingly crafted film that makes the real world feel like a video game, using in-camera technique to sell the idea of escape with unusual charm.
behind the scenes….
Matt and Chris said; “An absolute masterclass in craft. A brilliantly simple idea so beautifully executed. Most would have created this as pure CGI. But to do it all in camera and make all everything look like a video game is something to behold. Coupled with a brilliant soundtrack and so many comedic touches. Bravo. The making of alone should win something.”
Ana Balarin, Chief Creative Officer Wieden+Kennedy London also tipped this campaign; “I didnāt immediately fall for the craft and behind-the-scenes hype that enveloped this film when it launched. Iām sure the craft juries will consider it in the most favourable light, but, personally, thereās so much feeling packed into the two minute narrative that the intricacies of the human-made production take a supporting role, as it should be.”
MinĆ© Cakmak, Head of Strategy at Mother London agrees “An absolute masterclass in craft. By borrowing a cultural language that a generation instinctively understands, the work feels immediately familiar and of the moment. It channels a growing sense of frustration and disillusionment, turning a complex financial proposition into something emotionally and culturally resonant. With world-class craft, a sharp strategic insight and cultural relevance, it has all the hallmarks of a Cannes winner.”
š¦ Channel 4 – Fountains Of Filth |4 Creative
A deliberately disgusting public installation created to promote Channel 4ās water pollution documentary ā and make the UKās sewage crisis impossible to ignore.
Matt and Chris said; “Channel 4 made us want to projectile vomit. With their installation to PR a show about water pollution in the UK. Itās shocking. Itās vile. It lived on our timelines for weeks on end. Disgustingly brilliant.”
Ana Balarin, Chief Creative Officer Wieden+Kennedy London said; “It’s been a while since an installation felt like āthe ideaā versus the response to a specific deliverable. However this fountain came to be, itās marvellous in all its faux-bronze detail and repulsiveness. A perfect embodiment of what itās selling – the shallowness and stomach-churning realities of the water crisis in the UK.”
more info here
š¦ Claude – Superbowl Ads | Agency: Mother
A stand-out Super Bowl campaign that mocked the overblown promises of AI advertising with sharp casting, dry humour and restraint.
more info here
Matt and Chris said; “For all the billions of dollars spent on Superbowl ads, the ones that stole the show didnāt star celebs or use Hollywood levels of CGI. They used brilliant casting and minimal dialogue. They were from Claude. Showing characters playing the part of Ai ads inflating peopleās lives. So simple and cuttingly funny. And couldnāt be more culturally relevant.”
Ā A striking OOH campaign that celebrates the beauty of air travel.
MinƩ Cakmak, Head of Strategy at Mother London.
š¦ LEGO F1 Driversā Parade | The LEGO Group
The Formula 1 Miami Grand Prix got a playful twist, as LEGO took over the Driversā Parade with 10 fully driveable F1 cars ā made almost entirely out of bricks.
MinĆ© said; “Formula 1 has become increasingly more accessible in recent years, but itās still a sport that takes itself very seriously. We all love Drive to Survive because we get to see the human aspect of the sport – the jokes, the rivalries, the emotions. And LEGOās doing the same with this activation, bringing fun and play to an arena thatās often reserved for sincerity.”
š¦ Gap – Better In Denim| Agency: Invisible Dynamics
Gap unveiled āBetter in Denim,ā forits Fall 2025 campaign – starring global girl group KATSEYE. Set to āMilkshakeā by Kelis, the campaign reintroduces low rise denim into the conversation through a genre-blending dance.
MinĆ© said; “Iām probably the billionth person bringing up this one. We all love a comeback story. Gapās been shedding its noughties hangover for a few years now, but this ad truly catapults it towards a younger audience. Thereās a lot to appreciate here. Choreography that understands TikTok, a track steeped in y2k nostalgia and the use of insanely popular band Katseye… Itās simple, full of joy, and the denim looks really good.”
Chris Birch and Jonathan Parker, CCOs at VCCP
š¦ Instacart – Banana Debate | Agency: McCann New York, BBDO New York and internal agency
Instacart used the Super Bowl to turn grocery shopping into pure entertainment, putting familiar food characters into a brilliantly silly argument.
Chris and Jonathan said; “We live in an attention economy. Our āadvertisingā must compete with the best entertainment in the universe. And this superbowl spot for Instacart is pure unadulterated entertainment of the highest level. And itās funny. Extra awards points for sure.”
š¦ Everybody Coinbase – Super Bowl | Agency: Isle of Any
While most Super Bowl advertisers went bigger and shinier, Coinbase went deliberately rough, simple and memorable with a karaoke track ā which may be exactly why it stood out.
Chris and Jonathan said; “Yes yes they did the other one with insane production and craft. Itās brilliant as well. But this one was so crappy it was even more brilliant. IMO. Brave as in fact. When other brands were spending gazillions on their superbowl spots, Coinbase went the other way. Love it.
Rob Lenois, Global Chief Creative Officer, Vayner Media
š¦ A Minecraft Movie | Warner Bros Pictures
A film launch campaign that understood internet culture better than most, embracing memes, mockery and fan behaviour instead of trying to control it.
Rob says “First Iām obsessed with all things A Minecraft Movie. Warner Bros.’ launch campaign for the film has been one of the most fascinating examples of modern entertainment marketing in recent years because it truly understood how culture moves. Instead of resisting internet chaos, they embraced it and even weaponized it, turning memes, mockery, and audience participation into real momentum. āChicken Jockey,ā āI am Steve,ā and the uncanny reactions werenāt treated like problems to manage, but signals to double down on. The campaign blurred the line between marketing and fandom through product integrations, immersive activations, and community participation. What I loved most was its confidence to let the audience shape the conversation. It proved modern marketing is less about controlling the narrative and more about channeling chaos into cultural relevance and commercial success. Bravo.”
š¦ Open AI – The Intelligence Age | Agency: Accenture Song
A human take on AI marketing, framing the technology around imagination, progress and possibility rather than cold technical capability.
Rob says “What I loved about OpenAIās The Intelligence Age campaign was that it avoided the typical AI trap of making the technology feel cold, intimidating, or overly technical. Rather than focusing on features or functionality, the campaign framed AI as part of humanityās long history of invention and discovery, positioning it as a tool that could unlock new forms of creativity, curiosity, and progress. Instead, it made AI feel human, creative, optimistic, and culturally relevant. In a year where everyone was talking about AI capabilities, OpenAI focused more on possibility and imagination. The work had confidence, restraint, and emotional intelligence. It understood that people donāt connect with technology because of the power alone, they connect with how it can unlock creativity, curiosity, and our potential. That balance of innovation and humanity is what made the campaign stand out to me.”
š¦ e.l.f. Cosmeticsā āMelissaā | Agency: 72andSunny
A comedy-led Super Bowl campaign starring Melissa McCarthy, showing how e.l.f. continues to turn beauty advertising into pop culture entertainment.
Rob says “e.l.f. Cosmeticsā āMelissaā is such a great example of what happens when brands move beyond interrupting culture and instead invite people to participate in it. Instead of simply reacting to a trending moment, they built an entire entertainment platform around āThe drama of learning Spanish before the gameā. The telenovela format felt socially native, and built for how people already engage online rather than forcing another traditional ad into the feed. The Duolingo integration turned the campaign from something people just watched into something they could actively join. People donāt just want to consume campaigns anymore, they want to play with them, remix them, and become part of the actual conversation itself.”
