Cannes Lions 2026 closed its final day of activity with a showcase dedicated to some of the Festival’s most symbolic categories: Dan Wieden Titanium Lions, Film Lions, Glass: The Lion for Change, Sustainable Development Goals Lions and the Grand Prix for Good. These recognitions were joined by the Young Lions winners, the global competition that supports new creative generations across key industry disciplines.
According to the official winner files reviewed, the closing day brought together 65 awards across the main categories and 21 Young Lions medals. The day included 5 Titanium Lions, 45 Film Lions awards, 5 Glass: The Lion for Change recognitions, 9 Sustainable Development Goals Lions and 1 Grand Prix for Good.
The final day’s top honours went to “Haven” by Suncorp Insurance; Claude’s Film Lions campaign; “Nigrum Corpus” by Idomed & Instituto Yduqs; “Paid Sick Leave for Cows” by Too Good; and “600K Network” by Comando con Venezuela. The closing results confirmed a Cannes Lions edition where creativity was judged by its ability to transform categories, mobilise culture, activate purpose and create real-world impact.
In the Dan Wieden Titanium Lions, the Grand Prix went to “Haven” by Suncorp Insurance, created by Leo Australia in Sydney. The category, one of the Festival’s most prestigious, recognises work that opens new directions for the industry, and this year awarded an idea connecting insurance, resilience, protection, service and innovation.
Titanium Lions also recognised “The Legacy of Virginia Giuffre” by Virginia Giuffre; “Oreo Cows” by Oreo; “Expedition Impossible” by Columbia Sportswear; and “600K Network” by Comando con Venezuela. The selection confirmed that Titanium remains the territory for ideas that break traditional formats and propose new ways of using creativity, media, data, purpose and culture.
Mexico had a strong presence in Titanium with two relevant works. “Oreo Cows”, developed by VML New York and VML Mexico City, received a Titanium Lion, while “600K Network”, entered by Rainbow Lobster Mexico City and Comando con Venezuela Caracas, was also recognised in the category.
Film Lions was the largest category of the final day, with 45 official awards. The Grand Prix Campaign went to Claude for “Can I Get a Six Pack Quickly?” and “How Can I Communicate Better With My Mom?”, created by Mother London, demonstrating the power of humour, artificial intelligence and everyday conversation in contemporary audiovisual storytelling.
Claude’s recognition confirmed one of 2026’s major creative conversations: how to make artificial intelligence feel human, useful and culturally understandable. The winning pieces did not present technology through technical distance, but through doubts, insecurities and situations that are recognisable to anyone.
Among the Film Gold Lions were IKEA’s campaign pieces “Hope”, “Mornings”, “Picky” and “Awake”, created by TRY Oslo. Gold Lions also recognised “No Project Without Drama” by Hornbach; “I Think of You Dying” by Life360; “Apple Music x Bad Bunny Halftime Show – Shot on iPhone” by Apple; “A Time and a Place” by Claude; “Based on a True Story” by Missing People; “Bullet Machine” by La Unión Newspaper and Article 19; and “Your Way Out” by Coinbase.
Film Lions delivered a clear reading on the value of moving image as a central brand language. The awarded campaigns showed that audiovisual work remains one of the most powerful formats for building emotion, humour, cultural tension, recall, entertainment, purpose and public conversation.
Mexico stood out again in Film Lions with “Bullet Machine” by La Unión Newspaper and Article 19, created by Grey Mexico City, which won a Gold Lion. The work also earned a Bronze Lion in another subcategory, reinforcing its strength as a socially relevant piece with strong audiovisual craft and creative advocacy.
Mexico’s presence in Film Lions also included “Mafia”, “Samurai” and “Western” by Purga Studio, created by GUT Mexico City; “The Mexican Dream – The Work” by Indio, created by Ogilvy Mexico City; and “Who’s Waiting for You?” by Cerveza Victoria, created by Wieden+Kennedy Mexico. This participation confirms the Mexican market’s strength in storytelling, production, humour, identity and local culture.
Glass: The Lion for Change awarded the Grand Prix to “Nigrum Corpus” by Idomed & Instituto Yduqs, created by Artplan São Paulo. The category, focused on creativity that advances equity, representation and cultural change, placed Brazil at the centre of the Festival’s closing conversation.
Glass also awarded a Gold Lion to “The Māori Roll Call” by Whānau Ora, created by Motion Sickness Auckland. The Silver Lion went to “The Unburied Casket” by Women for Change, created by Edelman SA Johannesburg, while Bronze Lions went to “Recipe for Change” by Puck, created by FP7 McCann Dubai, and “Welcome Back, Paisano” by Tecate, created by LePub Mexico City.
Tecate’s presence in Glass reinforces Mexico’s role in cultural and social creativity. “Welcome Back, Paisano” connects identity, return, community, belonging and representation through a deeply local lens with international relevance.
Sustainable Development Goals Lions awarded the Grand Prix to “Paid Sick Leave for Cows” by Too Good, created by The Partnership Agency Nairobi. The campaign led a category dedicated to ideas that contribute to the United Nations Sustainable Development Goals, with a focus on health, education, equality, tourism, agriculture, justice, sustainability and wellbeing.
The Sustainable Development Goals Gold Lions went to “The Māori Roll Call” by Whānau Ora and “The Period Uniform” by Somos Martina. Silver Lions went to “The Healing Stage” by Armed Force of Ukraine and “Three Words” by AXA France, while Bronze Lions recognised “Bedtime Donations” by Royal Society for Blind Children; “Santa Maria Pueblo Hotel” by Senatur; “Fertilizer 2.5” by Thai Health Promotion Foundation; and “It’s Time to Stop!” by Bingo Group.
The Sustainable Development Goals category sent a clear signal to the industry: purpose must demonstrate concrete solutions. The winning work did more than raise awareness; it showed ideas capable of addressing real problems, mobilising communities, redesigning habits and connecting creativity with social outcomes.
The Grand Prix for Good went to “600K Network” by Comando con Venezuela, entered by Rainbow Lobster Mexico City and Comando con Venezuela Caracas. The special recognition placed Mexico and Venezuela at the centre of the closing day, highlighting an initiative that brings together networks, civic mobilisation, data, communication and creativity in response to an urgent political and social context.
The strength of “600K Network” became one of the major Latin American stories of the final day. In addition to receiving the Grand Prix for Good, the work was also recognised with a Titanium Lion, confirming its weight as a cross-category idea operating across activism, technology, strategy, public communication and collective action.
The closing day also celebrated the Young Lions winners across seven disciplines. In Design, Colombia won Gold with “Re:hold the Earth”, developed by Juan Manuel Linares, Art Director at DAVID, and Alejandro Orjuela, Copywriter at Isla, from a Re:wild brief focused on making nature the headline act.
In Young Lions Digital, Gold went to “Amaz-on Red Nose” by Moyan Tang and Yue Yin from Havas Creative China, Mainland China. The competition worked from a Comic Relief brief that challenged teams to reimagine the Red Nose as a symbol of modern activism for Gen Z.
In Young Lions Film, Georgia won Gold with “A Life in the Picture” by Giorgi Abuladze and Luka Mosiashvili from SUPERMARKET. The Princess Charlene of Monaco Foundation brief challenged teams to create a 60-second piece capable of changing perceptions around drowning and water safety.
In Young Lions Media, South Korea won Gold with “The note: I’m Here” by Bonkyung Koo and Yerin Jang from Cheil Worldwide. The work responded to the ABC Global Alliance brief, which focused on making the undercounting of advanced breast cancer impossible to ignore.
In Young Lions Marketers, Spain won Gold with “The wildest bookmate” by Helena Navarro Valero and Marta Benedito Bernat from Penguin Random House. The Re:wild brief asked teams to develop a brand partnership campaign capable of reconnecting people with nature and turning passive concern into measurable support.
In Young Lions PR, Norway won Gold with “The Official Flag of Space” by Sebastian Pandonis and Jens Østrem from NoA Anorak. The competition worked from a United Nations Office for Outer Space Affairs brief designed to make space governance visible as shared infrastructure.
In Young Lions Print, Ireland won Gold with “A Guide to the Signs” by Hannah Murphy and Kate Dempsey from TBWA. The Princess Charlene of Monaco Foundation brief challenged teams to transform the way people recognise danger around water.
The Young Lions map delivered a diverse and powerful international reading. Colombia, Mainland China, Georgia, South Korea, Spain, Norway and Ireland won Gold, while Portugal, Pakistan, Norway, Hong Kong, Canada, Germany, Denmark, Japan, India, Hungary and Greece also appeared across Silver and Bronze recognitions.
The final day delivered a particularly strong reading for Latin America. Mexico appeared in Titanium, Film, Glass and the Grand Prix for Good through work including “Oreo Cows”, “600K Network”, “Bullet Machine” and “Welcome Back, Paisano”; Colombia won Young Lions Design; Brazil won the Glass Grand Prix; Paraguay was recognised in Sustainable Development Goals; and Venezuela appeared alongside Mexico in one of the closing day’s most relevant special recognitions.
Among the most relevant campaigns from the closing day were “Haven”, “Claude”, “Nigrum Corpus”, “Paid Sick Leave for Cows”, “600K Network”, “Oreo Cows”, “Bullet Machine”, “Welcome Back, Paisano”, “The Māori Roll Call”, “The Period Uniform” and “Three Words”. Their presence confirms that the end of Cannes Lions 2026 was driven by ideas crossing craft, impact, culture, purpose, technology and transformation.
With these results, Cannes Lions 2026 closed an edition defined by the expansion of creativity into new territories. The final-day winners showed that advertising, design, film, strategy, technology, purpose and emerging talent can respond to cultural, social and business challenges with real impact.
The final message of Cannes Lions 2026 is clear for the global industry: the most powerful creativity changes something. It changes a category, a conversation, a perception, a behaviour, a community or an opportunity for the next generation.
