Glass Lion for Change, Media and Creative Strategy
Dove “Real beauty†by Ogilvy UK
Ogilvy UK won two Grands Prix at this year’s Cannes Lions International Festival of Creativity: in the Glass: The Lion for Change category; and for Media and Creative Strategy.
The awards were given for the agency’s long-running campaign for Dove, entitled “Real beautyâ€, which aims to challenge the way women view beauty. It launched in 2004, after research found that just 2% of women saw themselves as beautiful, leading to “Campaign for real beautyâ€, which featured a range of women in underwear.
Grand Prix for Good
New Zealand Herpes Foundation “The best place in the world to have herpes†by Motion Sickness
Auckland creative agency Motion Sickness, video production company Finch Sydney, and the New Zealand Herpes Foundation landed the Grand Prix in the Glass Lion for Good category.
The Lion was awarded for “The best place in the world to have herpesâ€, which also picked up gold in the Health and Wellness Lions.
The campaign aims to destigmatise herpes in New Zealand by talking more openly about the subject. It is made up of a 90-second spot which uses dry humour and features former rugby union coach Sir Graham Henry as a spokesperson. Henry highlights that New Zealand has lost its purpose, so he challenges people to make New Zealand the “best place in the world to have herpesâ€.
Dan Wieden Titanium Lion, Direct and Creative Business Transformation
Axa “Three words†by Publicis Conseil
Publicis Conseil in France received Grands Prix in the Dan Wieden Titanium Lion, Direct, and Creative Business Transformation categories for its domestic violence campaign for Axa insurance.
The campaign highlights Axa’s inclusion of domestic violence as a risk within its home insurance policies so that women are covered for relocation in the event of this type of emergency. Wavemaker Paris oversaw media.
Film Lions
Channel 4 and L’Oréal Paris each received a Film Lions Grand Prix this year, the former for “Considering what?†launched as part of the Paris 2024 Summer Paralympic Games, and the latter for “The final copy of Ilon Specht.”
The 18-minute L’Oréal Paris film by McCann Paris followed the legacy of Ilon Specht, the woman who created the tagline “Because I’m worth it”. Specht was an advertising assistant working for McCann Erickson when she came up with the line, at a time where women’s beauty advertising was predominantly created through a male lens.
The Channel 4 campaign, made by 4Creative, included a 140-second film that brought three forces to life: gravity, friction and time. It explored how these forces do not care whether someone is disabled and encouraged the world to praise athletes for their performances at the Paralympic Games, without any caveats.Â
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Audio and RadioÂ
Budweiser “One second ads†by Africa Creative DDB
Creative agency Africa Creative DDB, São Paulo, took home the Audio and Radio Grand Prix for “One second ads†for Budweiser.
Playing on audiences’ lack of attention to online ads and their tendency to skip after just one second, creative used second-long excerpts of popular songs to create a “guess that track†competition linked to Budweiser. Rather than skipping the ads, people replayed them over and over.
PR
Indian Railways “Lucky Yatra†by FCB India
Mumbai advertising agency FCB India was presented with the PR Grand Prix for the “Lucky Yatra†campaign for Indian Railways.Â
The work centred on combatting ticket fare evasion, and featured train tickets turned into lottery tickets. It also received a gold and silver Lion.
Brand Experience and Activation, and Design and Digital Craft
Chicago Hearing Society and Rakish Entertainment “Caption with intentionâ€Â FCB Chicago
FCB Chicago, Chicago Hearing Society, and Rakish Entertainment received the Grand Prix in the Brand Experience and Activation category at this year’s festival, as well as the Design and Digital Craft category.
“Caption with intentionâ€, in partnership with the Academy of Motion Picture Arts and Sciences, reimagines closed captioning by emphasising that it has remained largely unchanged since the 1970s.
The two-minute film uses animation, colour and variable typography to showcase dialogue alongside emotional subtitles, such as tone, pacing and speakers’ identities. It is overlaid with clips from films such as Toy Story, Forrest Gump and Avatar, and highlights several of the issues deaf or hearing-impaired viewers could experience.
Creative Commerce
Ziploc “Preserved promos†by VML New York
This campaign tapped into the growing costs of groceries by asking people to upload expired coupons. The brand then matched the promotion when the item was bought alongside a Ziploc product.
Jury president Gabriel Schmitt, global chief creative officer at Grey, said: “It doesn’t get more commerce than this. I can’t think of any other brand that would do this idea at a massive scale.â€
Creative Effectiveness
Apple “Shot on iPhone†by TBWA\Media Arts Lab
This work made use of images and videos that iPhone users had taken on their phones.Â
The Creative Effectiveness Lions jury president Andre Diquez, global chief executive of Gut Global, said: “When a client commits to a long-term campaign and platform that is highly creative, that uses user-generated content, that has the product and the technology … it’s [a] breakthrough, it’s relevant globally and locally. It’s just magic and it works.â€
Entertainment – Gaming
Hyundai “Night fishing†by Innocean Seoul
Hyundai won the Entertainment Lions Grand Prix for its film promoting its Ioniq car. “Night fishingâ€, by Innocean Seoul, used cameras on the car to film the ad, and jury president David Rolfe, global head of production at WPP, called it “an extraordinary fictional filmâ€.
Hyundai described the 10-minute film (teaser above), directed by Moon Byounggon, as a “humanistic thriller†involving a spy, played by actor Son Sukku, and an unidentified individual at an EV charging station. It was screened across 15 cinemas in South Korea with a ticket price of 1000 won (54p).
Entertainment Lion – Music
Independent music label Rimas Music’s “Tracking bad bunny†by DDB Latina Puerto Rico was awarded the Entertainment Lions for Music Grand Prix.
Jury president Seiya Matsumiya, chief executive and co-founder of Black Cat White Cat Music, said: “It was heavily contested. We had a long, long argument about it, but then [there were] a couple of comments made by the minority in the room who supported this work to say that it brought pride back, not only to Puerto Ricans, but to Latin Americans as a whole. And that’s what changed everything. It’s unique. It has a huge cultural impact. It pushes boundaries, and it’s a statement.”
Entertainment Lion – Gaming
Mercado Livre “Call of discounts†by GUT Sao Paulo
 “Call of discounts†scooped the Entertainment Lions for Gaming Grand Prix.
Jury president Sue Anderson, vice-president, creative at Roblox, said “It’s the whole package. You could not have done that anywhere else, and it took somebody to really know that mode of Call of Duty, the amount of homework that was done in what the props could be, matching those to a brand. It just feels like it’s kind of classic.”
Entertainment – Sport
Clash of Clans ‘Haaland payback time” by David New York
Norwegian Manchester City forward Erling Haaland was immortalised as a character in the popular Clash of Clans mobile game, owned by Supercell, for this campaign.
The film opened with a newspaper floating into the game picturing Haaland next to the headline, “World’s greatest attacker,” as the game’s characters need help and embark on a mission to bring Haaland into the animated game by heading into the real world. The video features both animation and live action.
Jimmy Smith, chairman, chief executive and chief creative officer at Amusement Park Entertainment, and president of the jury, said: “The fan engagement had to have made its competitors cry, as the number of downloads was well into the double-digit millions. ‘Payback Time’ effortlessly pulled all of the right levers of gaming, sport, celebrity and entertainment. So effortlessly, in fact, there was no Clash of Jurors. The Jury chose Clash of Clans’s ‘Payback Time’ for the Cannes Lions Grand Prix on the very first vote!â€
Film Craft
Telstra “Telstra – Better on a better network” by Bear Meets Eagle On Fire and +61Â
Australian telecommunications company Telstra and its agencies Bear Meets Eagle On Fire and +61 landed a Grand Prix in Film Craft for its “Better network†ad in the Cannes Lions International Festival of Creativity 2025.
The work – which Campaign highlighted as one of its Cannes Contenders – is a series of 26 ads directed by Jeff Low through Revolver for Biscuit Filmworks. They showcase a variety of Australian wildlife brought to life via stop-motion.
Industry Craft
Idomed “Nigrum corpus†by Artplan Sao Paulo
Idomed and Artplan Sao Paulo were awarded a Grand Prix in the Industry Craft category for “Nigrum corpus†– a medical book highlighting racism in medicine. The brand based the work on research that found that in Brazil, black patients are “six times more likely to suffer medical errorsâ€, with their appointments being shorter and their pain ignored.
Innovation
Spotify and the Museum for the United Nations “Sounds right” by AKQA Copenhagen
This initiative by the Museum for the United Nations – UN Live in partnership with Spotify, rebranded “Nature†as a music artist, recording natural sounds and letting other artists use it in their music. By crediting “Nature”, it collects funds through royalties which are then used for nature conservation.
Luxury and Lifestyle
LVMH “The partnership that changed everything” by Havas Play Paris
The Grand Prix for the Luxury category, which was launched at last year’s Cannes Lions, was picked up by LVMH and Havas Play Paris for “The partnership that changed everything” this year.
The campaign aimed to redefine Olympic sport sponsorship, where advertising is not allowed in competition areas. As partner for Paris 2024, LVMH was involved in various touchpoints, such as dressing artists and the French athletes for the opening ceremony and creating the medals, and the partnership resulted in €350m (£298m) earned media for the brand.
Outdoor
KitKat “Phone break” by VML Czechia
This playful campaign pokes fun at how people take breaks today — without even using the long-running tagline. It replaces smartphones with KitKat bars in everyday scenarios, such as waiting for a bus or meeting a friend for a drink, to highlight how people instinctively reach for their phones during breaks.
Outdoor Lions Jury President Keka Morelle called the campaign a “masterclass in Outdoor,†and praised its minimalism and cultural relevance.
Print and Publishing
Penny “Price packs†by Serviceplan Munich
This campaign was designed as a response to the uncertainty of inflation, Serviceplan redesigned the packaging of Penny’s products to include the price, communicating trust and security in the supermarket. Running through print and outdoor, it generated $190m (£139m) in earned media as news channels picked it up.
Icaro Doria, jury president and DM9’s president and chief creative officer, said: “This idea is print, publishing, it’s packaging, it’s price and it’s position – the 5 Ps in every marketing book. It’s such a massive yet simple and elegant statement from the brand. They’ve done an amazing job to set up what Penny stands for.â€
Social and Influencer
Vaseline “Vaseline verified” by Ogilvy Singapore
This campaign showcases many of the Vaseline life hacks people have put out on the internet — including some good and some potentially dangerous. The campaign aimed to test the hacks in the Vaseline labs and “verify†the ones that actually work.
It boasted a success rate of 63.3 million social interactions, 87% positive sentiments and 7.1 million organic reach and views.
]]>BigTime Creative Shop has made a historic mark at this year’s Cannes Lions International Festival of Creativity, becoming the first independent agency from the region to be named Independent Entertainment Agency of the Year. The recognition cements BigTime’s rising global status and highlights the growing influence of Saudi-born agencies on the international stage.
BigTime Creative Shop took home a total of seven Lions — two Gold, one Silver and three Bronze — making it the most awarded independent agency in the Middle East at the 2025 Festival. The agency’s standout wins include two Golds for its campaigns The 4th Judge and Obsession in the competitive Entertainment Lions for Sport category.
Both campaigns were recognised for their unconventional creative approach and genre-defying humour. The showing places BigTime Creative Shop among the top-performing independent agencies globally and reflects a broader trend of emerging market players gaining traction at the world’s most prestigious advertising festival.
Here’s a look at the campaigns that netted the agency its wins.
Agency:Â BigTime Creative Shop, Riyadh
Client: The Ring
Lions: Gold (Entertainment for Sport); Silver (Entertainment for Sport)
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Agency:Â BigTime Creative Shop, Riyadh
Client: Riyadh Season
Lions: Gold (Entertainment for Sport); Bronze x2 (Film Craft, Film)
EVERYTHING OR NOTHINGÂ
Agency:Â BigTime Creative Shop, Riyadh
Client: Riyadh Season
Lion: Bronze (Film Craft)
This Cannes recognition follows BigTime Creative Shop’s recent Sports Emmy® win, further solidifying its growing reputation in the realms of sport, culture and entertainment.
BigTime Creative Shop’s success adds to the region’s strong performance at Cannes Lions 2025, as more MENA agencies push the boundaries of storytelling, innovation and cultural resonance on an international platform.
]]>Private Jet Media, a regional specialist in high-end advertising platforms, has announced a significant expansion of its private jet terminal network across the Asia-Pacific (APAC) region. The move aims to meet increasing demand for premium media environments targeting high-net-worth individuals (HNWIs) across Asia’s fast-growing luxury markets.
The new rollout includes digital advertising and activation zones at private aviation terminals in key APAC cities including Sydney, Melbourne, Brisbane, Hong Kong, Macau, Jakarta, Kuala Lumpur, Manila, Singapore and Bangkok. Across these locations, 30 high-resolution digital screens and experiential spaces will be made available to advertisers seeking direct access to affluent travellers in exclusive aviation settings.
“We’re incredibly excited about the potential this expanded network brings—not just for Private Jet Media, but for the visionary brands we partner with. For the first time, C-suite executives and ultra-high-net-worth travellers across APAC are reachable in a highly curated, premium environment—with full category exclusivity. This is a powerful opportunity to engage the region’s most influential audience at scale, in moments of privacy, influence, and intent,†said, Alexander Haddad, CEO – APAC, Private Jet Media.
With Asia now home to more than 7 million HNWIs—according to recent wealth reports—the expansion presents an opportunity for GCC-based luxury brands to connect with a growing, high-value audience in curated, high-impact environments. From fashion and jewellery to real estate, banking and hospitality, brands can benefit from placements in private terminals designed to reach individuals at moments of high influence and minimal distraction.
“This expansion is about creating a seamless, high-impact platform for brands to connect with UHNW travelers at key decision-making moments,†said Banan Abu Sitta, commercial director in Private Jet Media. “GCC brands looking to grow their visibility in Asia will benefit immensely from this strategic footprint, engaging audiences in the most refined settings imaginable.â€
The expansion follows increased interest in private aviation across Southeast Asia and Greater China, driven by growth in wealth creation, family offices, and luxury travel preferences. The new network builds on Private Jet Media’s existing presence in the GCC and Europe, extending its footprint to more than 50 terminals worldwide.
]]>Production company Rush has served as the Dubai production partner for Hans Zimmer & Friends: Diamond in the Desert – a theatrical concert film spotlighting the globally acclaimed composer through a series of live performances, interviews and behind-the-scenes moments, all filmed across multiple locations in the city.
The Dubai segment of the film was staged at a number of landmark venues including Expo City and the Burj Al Arab. Each location was carefully selected to visually echo the emotional range of Zimmer’s music – from intimate, reflective sequences to sweeping, orchestral set pieces. The production worked to match the grandeur, scale and tone of Zimmer’s scores with Dubai’s architectural and visual diversity.
Rush was appointed to provide full production services for the local segment, supporting an international creative team led by director Paul Dugdale and producer Simon Fisher. Over the course of the shoot, the crew captured a combination of live performances, personal insights from Zimmer, and stylised sequences designed to bring cinematic context to his work. The film was produced by Jerry Bruckheimer Films, in collaboration with Executive Visions Inc and RCI Global.
Adding further creative weight, the film features appearances from leading voices in cinema and music, including Christopher Nolan, Pharrell Williams, Billie Eilish, Denis Villeneuve and Timothée Chalamet – showcasing Zimmer’s longstanding influence across the entertainment industry.
Positioned as more than a concert film, Hans Zimmer & Friends: Diamond in the Desert blends musical performance with storytelling and visual ambition. For Dubai, the production marks another high-profile credit that reinforces the city’s positioning as a preferred destination for global-scale creative projects.
Credits
Director:Â Paul Dugdale
Executive Producers:
Jerry Bruckheimer
Steven Kofsky
Michael Marto
Omar Saab
Producers:
Simon Fisher
Steven Kofsky
Michael Marto
Omar Saab
John Featherstone
Dubai Unit:Â
Executive Producer: Alain Abi Khalil
Producer: Ellie Ballan
1st Assistant Director: Patrik Farra
Production Manager: Zaid Abou Zeid
Production Coordinator: Farah Khalil Moued
Production Assistant: Hussein Dia
Aerial Coordinator: Khaled Zazzouh
Government Liaison: Faisal Al Kaabi
Drone Pilot(s): Cai Willis, Hugo Healy, Alaaeldin El Sherbiny
Camera Operator: William Ferguson
Drone Operator: Reid Zanbelt
Drone Tech(s): Anjelito de Jesus, MOhammd Assam
Audio Engineer(s): Joe Farahat, Alain Akiki
Audio Assistant: Pupsa Raj
Gaffer: Elie Kolko
Best Boy: Roy Kolko
Spark(s): Chady Nasr, Shahid Iqbal, Sajid Anwar, Santosh Kumar, Shahzad Ghani, Sufian Khan, Saiqan Farooq, Muhammed Naseem, Muhammad Amjid, Mohammad Arif Khan, Zubair Ali
Art Director: Bora Batur
Props Master: Francis Reyes
Art Assistant(s): Ali Haider, Amjad Ali, Muhammad Umar, Malik Yaseen
SFX Supervisor: Rudolphe Saleh
Key Make Up Artist: Hani Kleib
Key Hairstylist: Steve Wahab
Make Up Artist(s): Alex Starek, Veronica Maria, Tatiana Kulikova, Rami Rizk
Hairstylist(s): Rabih Gerges, Mohammad Taha
Wardrobe Stylist: Michella Bteiche
Wardrobe Assistant(s): Mila Kondratenko, Kateryna Trusylo
Location Manager: Rochard Kamel
Location Assistant: Andy Macgregor
Unit Manager: Nuwan De Zoysa
Unit Assistant(s): Chamara Perera, Ravishka Lakshan, Ladinku De Silva, Anjana Chalana, Rizwan Royal, Devaneshan Devarajan
Search Max represents Google’s latest innovation in search advertising, blending the capabilities of Performance Max, Dynamic Search Ads and broad match keywords into a single automated campaign type.Â
Currently in closed beta, this new solution promises to reshape how advertisers approach search campaigns through advanced automation and machine learning.Â
This comprehensive analysis explores Search Max’s key features, evaluates its potential benefits and drawbacks and offers strategic guidance for advertisers preparing to adopt this new campaign type.
Key features of Search Max
Search Max introduces two core technological components that fundamentally alter traditional search campaign management: Search term matching and optimisation in Search Max.
Rafay Qureshi, Head of Digital, baraka, who has been closely tracking the evolution of Search Max shares insights on how marketers should approach the platform’s unique automation features.
Search term matching: At the heart of Search Max is its sophisticated search term matching engine. Qureshi says, “Search term matching brings together the best of Broad Match, Performance Max (Search) and Dynamic Search Ads, using the latest AI technology to extend the reach of your Search campaigns. It leverages all your inputs – keywords, creatives and URLs – to reach your most relevant customers.â€
This marks a departure from traditional keyword-based targeting. Instead of manually selecting keywords, Search Max uses AI to dynamically match your campaign assets with search queries tied to
user intent.
“Feed it the right ingredients: great creative, meaningful messaging and well-structured landing pages.â€
“The buyer journey is essentially a series of questions,†Qureshi adds. “Search Max is designed to answer them in real time by aligning intent with message – even when exact keywords aren’t used.â€
Text and URL optimisation: The second major component is automated content and destination optimisation. Qureshi says, “Search Max doesn’t just match queries — it directs users to the best possible landing page for their query and tailors ad copy for better relevance and performance. It’s real-time optimisation at scale.â€
This includes:
- Â Automatically selecting the most relevant landing page
- Â Dynamically adjusting ad messaging based on query context
- Â Continuously learning and refining through live performance data
“Content marketing is more critical than ever,†he adds. “With Search Max, content must not only resonate – it must be structured so the AI can use it effectively.â€
AI-driven decision making: While Search Max is search-specific – unlike Performance Max, which spans multiple surfaces – its AI-first philosophy is the same. Qureshi emphasises the importance of intentional setup.
“You won’t be targeting exact keywords or manually choosing landing pages – the AI is driving most of the decisions,†he adds. “The real skill lies in feeding it the right ingredients: great creative, meaningful messaging and well-structured landing pages.â€
Potential benefits
To help break down the real-world impact of Search Max, Hani Hatoum, Digital Manager, Ipsos, shared his perspective on what advertisers should keep in mind.
Expanded reach: Search Max is designed to uncover more opportunities by identifying relevant queries beyond your keyword list.
“Stop interrupting what people are interested in and be what people are interested in,†Hatoum says, underscoring the importance of connecting with users in moments that matter.
Reduced manual workload: Automation in targeting, creative generation, and landing page selection means marketers can shift focus away from execution and toward strategy and storytelling.
Dynamic optimisation: Search Max continuously learns and improves campaign performance without needing manual tweaks.
“Marketing like the year you are in becomes a reality, because the system evolves with behavior patterns and market shifts,†Hatoum adds.
Improved ad relevance: By tailoring ad copy and destination dynamically to each query, Search Max boosts personalization at scale. This has the potential to raise click-through and conversion rates by delivering more contextually aligned user journeys.
Potential drawbacks
Diminished control: The biggest tradeoff is reduced oversight over targeting and placements.
“There’s a fine line between trusting the machine and losing control,†Hatoum says. “With Search Max, advertisers must be comfortable letting the algorithm steer the ship.â€
Increased ad spend: More reach often means more cost – and not always with proportional return.
“With broader exposure comes increased responsibility—and spend,†Hatoum adds. “You’ll need strong guardrails in place to maintain ROI.â€
Potential for lower quality traffic: Broader targeting increases the risk of engaging with users who aren’t an ideal fit.
“If you’re not reaching people aligned with your brand’s ‘why,’ performance can suffer,†he says, adding, “Intent still matters.â€
Reduced visibility: Like other automated campaign types, reporting in Search Max may lack granularity.
“Knowing where your ads show and why is getting harder,†Hatoum says. “That creates challenges for optimisation, especially in complex accounts.â€
How to prepare for Search Max
To help guide marketers through the shift to Search Max, Nasser Oudjidane, CEO & Co-founder, Tapper advices on what’s strategic and actionable.
Review and strengthen your foundations: Nasser emphasises that getting the fundamentals right is critical before layering on automation.Â
“Before you even think about testing Search Max,†he says, adding, “Make sure your account structure is clean, your conversion tracking is accurate, and there’s enough historical data to inform performance.â€Â
He also highlights the importance of landing pages, saying that they should be optimised for speed, clarity and conversion.
Develop a comprehensive negative keyword strategy: With broader targeting, you need tighter controls.Â
Nasser says, “You’re casting a wider net – that’s the point – but that doesn’t mean you want to catch everything.â€Â
A strong negative keyword strategy helps protect efficiency. He recommends reviewing past search terms, building exclusions proactively and setting up a system to monitor and update regularly.
Optimise all potential landing pages: Because the tool can dynamically select landing pages, Nasser stresses that every page must be ready to convert.Â
“Every touchpoint matters,†he says. “Make sure each potential landing page clearly communicates value, matches ad messaging, loads quickly and is optimised for mobile.â€
Plan for strategic testing: Nasser advises against a blanket rollout.Â
“This isn’t about switching everything at once,†he says. “It’s about structured testing.â€Â
He suggests identifying campaigns to test against Search Max, defining success metrics in advance and rolling out in phases with built-in checkpoints to evaluate performance.
Prepare for increased budget management: Search Max may drive increased volume, so financial planning is key.Â
“Be ready for higher impression and click counts,†Nasser warns. “That means setting clear daily budgets, defining ROAS or CPA limits, and aligning spend with business goals. It’s not just about spending more – it’s about spending with purpose.â€
Messages from marketers on Search Max
While the tool is still in early rollout, the online chatter among PPC professionals has only grown louder. From Reddit threads to LinkedIn debates, marketers are beginning to form strong often polarising opinions about what this new campaign type means for the future of Google Ads.
Some view it as another iteration of automation from Google, reminiscent of Performance Max. Miles McNair, Founder of The PPC Hub and a seasoned PPC voice, described the tool on a LinkedIn post as “like Performance Max, but for Search,†warning that it could bring the usual tradeoffs: broader targeting, reduced advertiser control and increased frustration from specialists.
His sentiment was echoed by Fredrik Andersson, Paid Search Specialist at Polestar, who clarified on a LinkedIn post that Search Max isn’t technically a new campaign type, but rather a feature you activate on an existing one.
A recurring concern is the continued erosion of transparency and manual control. Silvia Trapasso, the Co-Founder of AdsMaiora, shared on Linkedin that while she’s curious about the potential of Search Max, it also “feels like another step toward giving more control to Google’s AI,†which makes campaign optimisation more difficult.
Lee M., Performance Marketing Lead at Pitchup.com, took this sentiment a step further, highlighting on a LinkedIn post the risk of inefficiencies if advertisers can’t see search terms. In his words, “negative keyword management will skyrocket,†and without visibility into where ads appear, waste will grow.
Fears of the ‘black box’ approach
On Reddit, one viral thread questioned whether Search Max could be the final step in turning Google Ads into a full-blown black box.Â
The original Reddit user (Refer Image 3) wrote that it “feels like the next level of removing human input,†prompting dozens of comments from long-time advertisers.
Navigating the future of search advertising
Search Max represents Google’s continued push toward AI-driven campaign management, promising greater efficiency through automation while potentially reducing
advertiser control.Â
As with previous automated campaign types, success will likely depend on thorough preparation, vigilant monitoring and strategic intervention when necessary.Â
“The buyer journey is nothing more than a series of questions that must be answered,†says Omar Zahriyeh, VP Director – Search, Publicis Media.Â
As Search Max takes over more of the tactical execution of answering those questions, advertisers must focus on providing the right information, crafting compelling messages and creating exceptional post-click experiences.Â
Whether the tool becomes the new standard for search advertising or simply another tool in the advertiser’s arsenal remains to be seen.Â
What’s certain is that understanding its capabilities, limitations and optimal implementation will be essential for digital marketers navigating the increasingly automated advertising landscape of 2025 and beyond.
]]>The media landscape in the Middle East and North Africa (MENA) is undergoing a dynamic transformation that feels personal to me. The reason I entered this industry was to modernise communication while honouring our traditions.
Imagine two films – one Eastern, one Western – each with its own language and style. Now picture merging them into a single production that speaks a universal creative language, combining the richness of Eastern storytelling with the polish of Western production.
The result is powerful, where cultural heritage meets modern techniques. Today, this fusion of culture and modern production isn’t just a creative experiment; it has become a cornerstone of MENA’s booming media scene.
Across news, television, digital content, film and gaming, MENA’s media ecosystem is buzzing with creativity and innovation. The region’s media and entertainment market is projected to reach $60bn by 2028. A young, digitally savvy population is driving demand on new platforms from TikTok to streaming services.
In the Gulf, high internet and mobile adoption means countries are poised to lead tech-driven media innovation. Yet even as new tools and formats emerge, our strong heritage of oral storytelling reminds us that human connection remains at the heart of content. Technology is opening new doors, but culture and emotion still drive engagement.
Bridging the East and the West in production
One exciting trend in this evolution is the convergence of East and West in content creation.
At On The Way Media Agency (OTW), our team’s mix of cultures enables us to integrate Western styles with Eastern nuances, crafting strategies that resonate globally while honoring local sensibilities. We’re not alone in this approach.
Across MENA, agencies are blending global expertise with local insight because integrating local traditions into modern productions is essential. Content that fuses regional insight with international best practices truly speaks to MENA audiences. Embracing cultural diversity in production leads to more original and impactful media.
The real star of any production remains the human element the relatable characters, emotions, and culturally resonant moments that no algorithm can replicate.
Using modern tools with a traditional soul
Amid the race to adopt high-end techniques from cinematic visuals and special effects to virtual reality and artificial intelligence, creators in MENA are learning to keep the soul in the story.
It’s tempting to chase every new tech trend, but true success comes from using these tools to amplify our narratives, not overshadow them.
AI, for example, can streamline workflows or provide data insights, but it should amplify our core ideas, not replace human creativity. It must also preserve the authentic voice that audiences connect with. The real star of any production remains the human element the relatable characters, emotions, and culturally resonant moments that no algorithm can replicate.
Audiences agree: slick production means little if the content ignores culture.
Today’s viewers demand authenticity and reward content that stays true to local culture while also embracing global ideas. The recent surge of high-quality Arabic series and films on streaming platforms proves this point now that audiences can enjoy stories in their own language with world-class production, they are responding with enthusiasm. “Audiences are craving authenticity… now that we see Arabic content with high production value, people are leaning in,†observed Emirati filmmaker Nayla Al Khaja.
In short, modern techniques can deliver polish and spectacle, but it’s the culturally authentic touch that truly captivates.
The MENA media landscape: A new era of culturally rich storytelling
All signs indicate we’ve entered a new era of culturally rich storytelling in MENA, powered by cutting-edge production. The region is increasingly seen as both a growth market and a cultural powerhouse, full of stories that resonate far beyond its borders. As someone straddling eastern and western creative worlds, I find this evolution exhilarating – it proves that tradition and innovation can co-create spectacular content.
Going forward, we must maintain this balance. We should continue encouraging cross-cultural collaborations and nurture local talent, so that creators who understand their audiences have the support to shine globally. As we embrace new technologies like AI, we must remember they are just instruments human creativity, emotion, and cultural wisdom are the conductors that give any production life.
In the end, MENA’s evolving media landscape is a story of fusion a fusion of past and future, of tradition and technology, of regional heart and global vision. By staying true to who we are while innovating, we are building a media industry as vibrant and diverse as the people it represents. That is the real magic: East and West meeting not in opposition, but in harmony, speaking one language the language of storytelling.
By: Abbas Al-Hazeem, CEO of On The Way Media Agency.
]]>The MENA region has had a great run at the Cannes Lions International Festival of Creativity 2025, with a total of 32 wins awarded across agencies and markets – up from 22 in 2024. This year’s Cannes Lions MENA winners include work from the UAE, Saudi Arabia, and, winning its first Silver Lion, Jordan.
Of these, UAE agencies have 18 wins so far led by Impact BBDO, which was awarded MENA Network of the Year at Cannes Lions 2025 on total points, marking a historic seventh time that the network has claimed the title.
In terms of trophies won in the UAE, we have FP7 McCann Dubai (1 Gold, 1 Silver, 5 Bronze); VML Dubai (1 Silver, 3 Bronze), Impact BBDO (1 Gold, 2 Silver, 2 Bronze), LEO Dubai (1 Bronze). Meanwhile, sharing the spoils with Impact BBDO on its Silver Lion, Jordan picked up its first-ever Silver Lion in Cannes Lions’ 72-year history.
Representing Saudi Arabia at Cannes Lions, agencies from the Kingdom have 13 wins, led by BigTime Creative Shop (2 Golds, 1 Silver, 3 Bronze) as well as the Independent Agency of the Year: Entertainment; SRMG Labs (1 Gold, 2 Silver), and VML Riyadh (1 Silver, 2 Bronze).
Burson MENA took home a Gold in the PR category at this year’s Young Lions Competitions as winning team – Raneem Saleh and Youssef Yammine – topped the category for The Silent B campaign.
The awarded work spans a mix of categories and disciplines, offering a snapshot of the campaigns and ideas that resonated with juries this year.
Below is a breakdown of the Cannes Lions MENA winners and the campaigns recognised in 2025.
MOST TROPHIES WON:
- BIGTIME CREATIVE SHOP – SEVEN – (2 Golds, 1 Silver, 3 Bronze) + Independent Agency of the Year: Entertainment
- FP7 MCCANN DUBAI – SEVEN – (1 Gold, 1 Silver, 5 Bronze)
- VML MENA – SEVEN – Dubai & Riyadh combined – (2 Silver, 5 Bronze)
Below is a detailed breakdown of the Cannes Lions MENA winners and the campaigns recognised in 2025.
Agency: FP7 McCann Dubai
Client: Arla Foods
Lions: Gold (Sustainable Development Goals);Â Silver (Brand Experience & Activation); Bronze (Creative B2B)
Agency:Â BigTime Creative Shop, Riyadh
Client: The Ring
Lions: Gold (Entertainment for Sport); Silver (Entertainment for Sport)
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Agency:Â SRMG Labs, Riyadh
Client: Billboard Arabia, Riyadh
Lions:Â Gold (Audio and Radio); Silver (Audio and Radio)
Agency:Â BigTime Creative Shop, Riyadh
Client: Riyadh Season
Lions: Gold (Entertainment for Sport); Bronze x2 (Film Craft, Film)
Agency:Â Impact BBDO, Dubai
Client: Annahar Newspaper
Lion: Gold (Creative Strategy)
Agency:Â VML Riyadh
Client: Hungerstation
Lions: Silver (Digital Craft); Bronze x2 (Health & Wellness, Outdoor)
Agency:Â SRMG Labs, Riyadh
Client: Billboard Arabia, Riyadh
Lions: Silver (Design)
Agency:Â VML Dubai
Client: Hungerstation
Lions: Silver (Creative Commerce); Bronze x 2 (Brand Experience & Activation, Creative Data)
NOTES ON NOTES
Agency: Impact BBDO, Dubai / AdPro& Jordan
Client: Capital Bank
Lion: Bronze (Print & Publishing)
READ BETTERÂ
Agency: FP7 McCann, Dubai / McCANN, Bristol
Client: Waterstones
Lions: Bronze (Digital Craft)
SAFE AT 3AMÂ
Agency:Â VML Dubai
Client: Dubai Tourism
Lions: Bronze (Direct)
Agency:Â FP7 McCann Dubai
Client: McDonald’s
Lions: Bronze (Outdoor)
Agency:Â FP7 McCann Dubai
Client: Testicular Cancer Society
Lion: Bronze (PR)
EVERYTHING OR NOTHINGÂ
Agency:Â BigTime Creative Shop, Riyadh
Client: Riyadh Season
Lion: Bronze (Film Craft)
THE GREAT INDIAN DUNKÂ
Agency:Â LEO Dubai
Client: NBA India
Lion: Bronze (Print & Publishing)
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For the second year in a row, the UAE Government Media Office has attracted incredible attention at the Cannes Lions International Festival of Creativity, with several hundred delegates, attendees and passers-by seen raising their phones to scan the QR Code on a massive billboard that read: “An ad without a logo. There’s only one country that would do something that risky.â€
Positioned perfectly at the busiest entry points within the heart of the Palais, and on the glass façade overlooking the Croisette, these billboards played on the inherent curiosity of the global creative, brand, marketing and advertising industry.
Several similar billboards located within the Palais and along the Croisette also drew eyeballs. Campaign Middle East overheard conversations of the ‘bold’ and ‘disuptive’ ads from those who stood watching these billboards while waiting patiently in long queues – in the hopes to lay eyes on global celebrities such as Serena Williams, Jimmy Fallon and Reese Witherspoon.
Many visitors and attendees at Cannes Lions raised the question about “what it would be like to work in a country that is daring enough to have billboards that read”:
- “If ideas don’t seem impossible, we’re not interested.â€
- “You didn’t get into this business to resize banners. Let’s fix that.â€
- “Where ideas go from ‘nice deck’ to ‘next landmark’.â€
Commenting on the campaign, Khaled AlShehhi, Executive Director of Marketing and Communication at the UAE Government Media Office, said, “The UAE Government Media Office returned with louder confidence and sharper intent, taking over the Palais and the Croisette with bold, pointed headlines that did more than catch the eye.”
He added, “The strategically placed outdoor and indoor billboards didn’t ask for attention. They earned it. But beyond scale or design, it was the tone that turned heads: not promotional, not ceremonial, but culturally fluent. Made for the creative crowd, by a country that now speaks their language fluently.”
With an approach that included out-of-home (OOH) static billboards, digital-out-of-home (DOOH) billboards, and indoor billboards, the campaign created in collaboration with Impact BBDO, was also rolled out across some print publications.
Furthermore, the campaign also showed up on digital and social channels as a result of user-generated content (UGC) at Cannes Lions 2025.
Reacting to the buzz around the campaign, Ghassan Kassabji, CEO Dubai, CGO MENA, Impact BBDO said, “The UAE didn’t just show up at Cannes Lions. It showed the world what it stands for. If ideas don’t seem impossible, they’re not enough. This was a bold invitation to dream bigger, do more, and do it from the Emirates.â€
Ali Rez, Chief Creative Officer, Impact BBDO, added, “We are beyond proud to have the opportunity to create this bold campaign for the UAE, a place which has always inspired us with its vision of making the impossible possible.â€
That said, Campaign Middle East also spoke to agency leaders who were not involved in the campaign.
For instance, Natalie Shardan, Managing Partner, Serviceplan Group Middle East, and a jury member at Cannes Lions 2025, said, “If there were a Grand Prix for turning the impossible into reality, the UAE would win it hands down.”
She added. “After 20 years of calling this place home, the UAE’s relentless ambition – regionally and on the global stage – still leaves me in awe. And, as someone leading an advertising agency, I know bold messages like this don’t just inspire – they attract ambitious creative minds who want to turn possibility into action.”
Nassib Boueri, Chief Executive Officer, VML MENA, said, “The UAE, and Dubai in particular, has always raised the bar not only in creativity, but across everything they do. We are proud to be a part of this nation, and look to keep contributing to it.”
This campaign also closed the loop on “Bring Your Impossibleâ€: The platform launched by the Emirates at Cannes Lions 2024. What began as a campaign has since evolved into a narrative that continues to unfold: A narrative that calls on creators, founders and thinkers to go beyond ambition and move into execution.
And, this year, that message was not only reinforced on the streets; but also within the Cannes Lions 2025 jury rooms. Khaled AlShehhi was selected as a PR Lions juror marking a quiet shift in how the UAE is showing up at the highest levels of creative influence.
“We didn’t come to Cannes to be seen,†AlShehhi said. “We came to be part of the conversation on the stage, in the jury room, and on the streets. Our message is simple: if you have an impossible idea, you’ll find your partner in the Emirates.â€
The UAE’s presence at Cannes Lions 2025 was further boosted by several UAE-based brands, government entities, and agencies that were seen engaging in the form of panels and partnerships throughout the festival.
Additionally, FP7 McCann Dubai, Impact BBDO, VML Dubai and LEO Dubai picked up the coveted metal cat trophies at the Cannes Lions Awards 2025, adding credibility to the Emirates on the global creative stage.
There’s no doubt about it: These ads weren’t just seen; they were felt. They didn’t promote; they provoked.
They didn’t sell; they were invited. They didn’t follow; they set a standard.
“And the message was clear,” AlShehhi concluded. “The Emirates are open for ideas as long as those ideas are impossible.”
]]>Campaign Middle East reports live from Cannes Lions 2025, covering key conversations, exclusive interviews, and on-the-ground insights from industry leaders shaping the future of advertising, media, and marketing.
Across the week, our team is speaking with regional and global leaders, attending panel discussions, and spotlighting emerging trends —from purpose-driven creativity to AI-powered campaigns. Here are all the sharp insights, real-time reflections and unfiltered takes from the Croisette.
Through Day 1 at Cannes Lions, Campaign Middle East interviewed:
- Ali Rez, Chief Creative Officer at Impact BBDO
- Mike Khouri, CEO of Independent Agency of the Year-winning Tactical;
- Matt Manning, President, dentsu Sports International
- Aude Gandon, Global Chief Marketing Officer of Nestlé;
Tor Myhren, VP of Marketing Communications, Apple helped set the tone for the week; reflecting on the heartfelt keynote presentation, Ali Rez, Chief Creative Officer at Impact BBDO welcomed the focus on creativity, emotion, and storytelling in an increasingly tech-driven industry. He saw it as a strong reminder that human-centric narratives still hold power – even as AI takes center stage.
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Tactical’s Founder and CEO Mike Khouri reflected on the ongoing push-and-pull between creativity and technology. He emphasised the importance of using tech as an enabler – not a replacement – for original thinking.
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Speaking to Campaign Middle East, Matt Manning, President of Dentsu Sports International, discussed the company’s latest announcement: officially launching its MENA headquarters in Saudi Arabia as part of its broader global expansion strategy.
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Aude Gandon, Global CMO at Nestlé, reflected on her key message from Cannes Lions 2025 which is that creativity is fundamental to driving growth and ROI. She emphasised that creativity is not just a brand-building tool, but a business accelerator.
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Through Day 2 at Cannes Lions, Campaign Middle East interviewed:
- Melissa Hseih Nikolic Director – Product Management, YouTube Ads
- Reda Raad, Group CEO of TBWA\RAAD
- Tom Otton, CEO, Create. Group
- Steve Plimsoll, Chief Strategy Officer and Acting Chief Marketing Officer, HUMAIN
- Simon Cook, CEO, Lions.
- Natalie Shardan, Managing Partner, Serviceplan Group Middle East.
- Fabio Silveira, Managing Director, Havas Creative Network
Melissa Hseih Nikolic, Director of Product Management at YouTube Ads highlighted the power of open calls and creator partnerships and explained how bringing brands alongside creators helps uncover authentic stories that truly resonate with audiences.
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Reda Raad, Group CEO of TBWA\RAAD, reflected on the buzz around AI in the industry. While acknowledging its potential, he cautioned against over-reliance, warning that excessive use risks flattening culture and making creative work look increasingly similar.
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In a rapidly evolving industry, Tom Otton, CEO of Create. Group, highlights the importance of agencies and clients working more effectively together.
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Steve Plimsoll, Chief Strategy Officer and Acting Chief Marketing Officer at HUMAIN, shares his thoughts on why it’s more important now more than ever to truly understand data.
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This year’s Cannes saw a noticeable rise in brand attendance, something Simon Cook, CEO, Lions was quick to highlight.
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Natalie Shardan, Managing Partner at Serviceplan Group Middle East and a jury member this year, reflects on the experience and shares key insights into the strict judging criteria for Brand Experience and Activation.
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Fabio Silveira, Managing Director of Havas Creative Middle East and jury member for the new Creative Business Transformation category at Cannes Lions 2025, highlighted the importance of balancing creativity with tangible business outcomes.
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Through Day 3 at Cannes Lions, Campaign Middle East interviewed:
- Gary Vaynerchuk, CEO and Chairman of Vayner Media
- Siddarth Sivaprakash, Head of Brand & Marketing, Home Centre, Landmark Group and Mitin Chakraborty, Head of Marketing, Babyshop, Landmark Group
- Rayyan Aoun, Chief Creative Officer, BigTime Creative Shop
- Khaled AlShehhi, Executive Director of Marketing and Communication at the UAE Government Media Office.
- Nassib Boueri, CEO of VML MENA
- Lara Assouad, Executive Creative Director, Landor
Gary Vaynerchuk, CEO and Chairman of VaynerMedia, warns that we should be afraid of AI and its impact.
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Siddarth Sivaprakash, Head of Brand & Marketing at Home Centre, Landmark Group, and Mitin Chakraborty, Head of Marketing at Babyshop, Landmark Group, reflect on the Middle East’s lack of engagement with the region’s real issues and discuss how AI is transforming the industry.
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Rayyan Aoun, Chief Creative Officer at BigTime Creative Shop, reflects at Cannes Lions on winning five metals including two golds and proudly representing Saudi Arabia.
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Khaled AlShehhi, Executive Director of Marketing and Communication at the UAE Government Media Office, reflects on his experience as a jury member for the PR category. He notes that one thing the entire jury had in common was speaking broken English, which highlights the diversity of the discussions behind the scenes.
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Nassib Boueri, Chief Executive Officer at VML reflects on the conversations that have been occurring at Cannes.
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Lara Assouad, Executive Creative Director, Landor reflects on the buzzword of the festival – AI and augmented reality.
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Through Day 4 at Cannes Lions, Campaign Middle East interviewed:
- Thomas Kolster, International Advertising Association Sustainability Council Member; Founder & Creative Director, Goodvertising Agency
- Fahd Hamidaddin, Board Member and Founding CEO, Saudi Tourism Authority
- Ramzy Abouchacra, President, Media – MENA, dentsu
- Elda Choucair, Chief Executive Officer, Omnicom Media Group – MENA
- Kiran Haslam, CMO, Diriyah Company
Thomas Kolster, International Advertising Association Sustainability Council Member; Founder & Creative Director, Goodvertising Agency reflects on the need for “the right” and stronger leadership in the industry.
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Fahd Hamidaddin, Board Member and Founding CEO of the Saudi Tourism Authority, shares why the industry must pause, cut through the noise, and genuinely identify the evolving needs and wants of consumers.
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Ramzy Abouchacra, President of Media – MENA at dentsu, reflects on his time as a jury member, sharing key lessons and observations. Three main themes emerged from the jury room: the concept of hacking, the integration of culture, and the role of AI.
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Elda Choucair, Chief Executive Officer, Omnicom Media Group – MENA reflects over the years at Cannes Lions and how the industry is changing.
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Kiran Haslam, CMO of Diriyah Company, reflects on his top takeaways from Cannes, emphasising the vital role of credibility and the need to uphold it within creativity.
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Follow our real-time coverage across Campaign Middle East’s social media channels.  Stay updated on the latest of what’s happening at The Palais, the Rotonde, The Carlton Hotel and stay tuned for exciting events at the Campaign House Hilton Canopy.
This year, the prestigious Cannes Lions International Festival of Creativity once again set the stage for some of the most impressive campaigns globally, and VML MENA was no short of that.
VML MENA proudly took home 7 awards, spanning across 2 Silver and 5 Bronze alongside an impressive 10 shortlists, reinforcing its position as a leading creative force in the region.
Among the winning campaigns, “The Shaded Route” and “The Social Feed,” for Hungerstation. In addition to the impactful “Safe at 3AM” campaign for Dubai Tourism.
“We are incredibly proud of our teams across the MENA region for their achievements at Cannes Lions this year,” said Nassib Boueri, CEO of VML MENA . “These awards and shortlists are a testament to our unwavering commitment to pushing creative boundaries and delivering impactful results for our clients. We look forward to continuing to set new benchmarks in the industry.”
Beyond the wins, VML MENA’s secured 10 shortlists, which included standout projects such as “Test My Dacia” for Dacia, “Speak My Language” for STC, “For The Love of Kudu” for Kudu, “Blind Faith” for Bank Al Etihad, and additional recognition for Hungerstation’s “The Social Feed.”
Amidst all the celebrations, Campaign Middle East got a chance to speak with Nassib Boueri, Chief Executive Officer at VML, see his reflections on the week below.
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This strong performance at Cannes Lions 2025 highlights VML MENA’s commitment to creating impactful campaigns that connect with audiences worldwide and deliver significant outcomes for its clients.
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