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Is Cannes still rel­e­vant or is it just a li­cence to print money? It has cer­tainly changed. This year, it is more cor­po­rate than ever. One look at La Croisette and you can see it dom­i­nated by the tech com­pa­nies. There are fewer cre­atives (and even fewer next year, thanks to Pub­li­cis). It is less a fes­ti­val of cre­ativ­ity now and more a cor­po­rate net­work­ing event. One of the most sig­nif­i­cant changes is the ex­plo­sion of cat­e­gories (that’s loads more money into the Cannes cof­fers). Get­ting a gold 15 years ago in the south of France or­dained you as a prince or princess; a Grand Prix and you were a frig­ging king or queen to be tri­umphantly car­ried around the agency on the ex­ec­u­tive creative di­rec­tor’s shoul­ders. This year, win­ning the big prizes is ridicu­lously dif­fi­cult. But data (jeez, a creative ut­ter­ing that word) would sug­gest it was much, much harder in the past. Ev­ery year, there are the beartrap trends that catch peo­ple out. Films that fell into this were man­i­festo mood films mas­querad­ing as ads. “Real peo­ple” in deep, mean­ing­ful sit­u­a­tions. Brands tack­ling so­cial is­sues be­came so last year. The win­ners stood out as they had ex­cep­tional craft (re­mem­ber that oft-for­got­ten thing?) and, of course, fan­tas­tic ideas that cre­ated an emo­tional re­ac­tion. Yes, a lot has changed, but the Grand Prix win­ner, “We’re the su­per­hu­mans”, would stand shoul­der to shoul­der with the best of all time. The an­swer to that first ques­tion is yes (just) and yes (buy shares in it).

Grand Prix: Chan­nel 4 ‘We’re the su­per­hu­mans’ by 4Creative and Blink

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