For the love of creativity, award organisers must be more vigilant
Multiple campaigns have been withdrawn from Cannes (again). TrinityP3’s Darren Woolley argues that in the era of AI, all awards organisers need to look at their criteria and systems.
When it comes to Cannes Lions, the stakes are high. Careers and creative reputations are on the line. No more so than what is considered the biggest, flashiest and most expensive advertising awards show of them all, the Cannes Lion International Festival of Creativity. An annual pilgrimage of the industry to the south of France to drink rosé and celebrate all things creative.
However, there is a dark underbelly to this celebration, driven by the demands of award success to bring home the trophy and the financial success for the organisers to deliver dividends to their shareholders. Cannes Lions is owned by Informa PLC, which acquired the previous owners, Ascential, for US$1.6 billion (A$2.4b) in 2024. As of June 30, 2025, the current share price is £8.14 (A$17) per share, resulting in a market capitalisation of £10.56 billion (A$22b).
So, each year, we have big business, big egos, and big reputations at stake on the French Riviera. Is it possible that we also get big controversies? This year, reports indicate that the Cannes Lions International Festival of Creativity has withdrawn three winning campaigns from DM9, including the Creative Data Grand Prix winner, after an investigation revealed the use of AI-manipulated footage in the “Efficient Way to Pay” campaign for Consul (see video below). The other two campaigns withdrawn were “Plastic Blood” for OKA Biotech and “Gold = Death” for Urihi Yanomami.
Cannes. Where agencies go to win awards,
while tech companies take their clients.
[Is it any wonder tech companies are Cannes’
biggest sponsors?]