No doubt you've been inundated with articles, opinion pieces and comments on this year's Cannes Lions Festival, and I don't feel the need to add to this. Instead, let's have a look at the Gold Lions in Film and Print. The Grand Prix awarded in these two categories have been familiar to Archive's readers for quite a while: We first featured Channel 4’s brilliant trailer, "The Superhumans", for its Rio Paralympics 2016 coverage back in Vol. 5-2016 and it featured as our Spot of the Week before that (Week 30 to be exact, almost a year ago). As for Print, the surprisingly – for such a big brand that is – bizarre "Flame Grilled Since 1954" ads, which show actual Burger King stores on fire was awarded the Grand Prix. It was featured in Vol. 3-2017 of Archive, the issue of our magazine that came out in mid-June was also handed out at the festival.
As for the other Gold Lions given out to Print, I feel a bit like a broken record. In fact, I could just repeat my comments from last year. Quite a number of Gold Lion-winning campaigns went virtually unseen or unknown before they were entered into the Cannes competition. Which means that they came out way too late to make it into Vol. 3 of the magazine, or were simply withheld from us. In one case a very beautiful-looking campaign was submitted to us, we selected it to feature in Vol. 3 only for the agency withdraw it from publication. When it re-surfaced at Cannes, it suddenly had a new client and went on to win one of the Gold Lions in Print. Which again all sounds very suspicious in terms of that contentious issue, namely print campaigns specifically – though hopefully not solely – created to win metal at Cannes. But I'm wary of opening that old can of worms again, so I will just shut up.
Anyway, here are some of my favourites among this year's Lion winners in Print, to be featured in Vol. 4, our next issue, as they were unavailable for publication to us before. Go to the Gallery on your right to check out some of the very few Gold Lion winners in Film not yet featured in the magazine.
Client: Forbes. Agency: Ogilvy, São Paulo. CD: Félix del Valle, Eduardo Doss, Claudio Lima. AD: Phylippe Moura, João Alexandre. CW: Guilherme Moreira, Marcos Botelho. Illustrator: Estúdio Notan.
Client: Alcoholics Anonymous. Agency: JWT, São Paulo. CD: Ricardo John, Rodrigo Grau, Humberto Fernandez, Mariana Borga. AD: Fernando Palandi. CW: João Gandara. Illustrator: Ana Maria Alves de Moraes, Pict Studio.
Client: Mapfre. Agency: Talent Marcel. CD: João Livi, Marcello “Droopy” Almeida, Rodrigo Lugato. AD: Leonardo Carvalho. CW: Fillipe Abreu, Marcello “Droopy” Almeida. Digital Artist: Hadolpho Corrêa.
Client: AEFI. Agency: Y&R, Madrid. CD: Mauricio Rocha, Martin Ostiglia. AD: André Moreira Sousa, Jesus Morilla, David Pascual. CW: Ricardo Uribe, Miguel Provencio, Nicolás Bernaudo. Photographer: Ale Burset. Digital Artist: Diego Speroni.
Client: Newsweek. Agency: Young & Rubicam Prague. CD: Tereza Sverakova, Dora Pruzincova, Atila Martins. AD: Jan Siller. CW: Jaroslav Kratochvila. Photographer: Pavel Hejny. Illustrators: Monika Zahem, Jan Kroupa, Viliam Pangrac.
Client: Freddo. Agency: Y&R, São Paulo. CD: Rafael Pitanguy, Victor Sant'Anna. AD: Ronaldo Fonseca. CW: Pedro Guerra. Photographer: Miro.
Client: Heinz. Agency: David the Agency, Miami. Creative Director: Antony Kalathara, Russell Dodson. Art Director: Ricardo Casal, Carlos Lange. Copywriter: Juan Javier Peña.
(This, of course, is from a campaign for Heinz Ketchup that made its way from Episode 6 of "Mad Men" into real life.)