Cannes Contenders 2026: The UK

Britbox See It Differently

Two studios that consistently deliver, Uncommon and BlinkInk have outdone themselves with this remarkable Nicos Livesey-directed piece. Motion control can be notoriously unforgiving, so the sheer ambition of this 15-hour, single-shot journey is enough to induce palpitations in even the most seasoned crew.

In an era of algorithmic shortcuts, this is a love letter to the analogue - and a timely reminder of what we stand to lose.

What’s been achieved is nothing short of extraordinary: a commercial marathon that celebrates traditional craftspeople, those that built an industry with skill, ingenuity and the magic of human hands. It's also a brilliantly crafted, two-fingered salute to AI. In an era of algorithmic shortcuts, this is a love letter to the analogue - and a timely reminder of what we stand to lose.

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BritBox – See it Differently

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BritBox – See it Differently - BTS

Claude Keep Thinking

Speaking of AI, Anthropic's Claude spot, by Mother London, deftly flips the tech-doomsayer narrative on its head: there's never been a better time to be a problem solver. There's a notable trend emerging - tech brands commissioning deeply human, craft-led work (see Oscar Hudson's phenomenal Coinbase, or Miles Jay's ChatGPT).

Daniel Wolfe takes us into our minds, out to the cosmos, and everywhere between.

Here, Love Song's Daniel Wolfe takes us into our minds, out to the cosmos, and everywhere between. Shooting on film, he and Louis McCourt track the concept with a confidence and fluidity that perfectly matches the flow of Madvillain's hypnotic All Caps soundtrack. Apple once told us to 'Think Different'. Almost 30 years later, Claude is urging us to keep thinking. For now, at least.

Anthropic – Keep Thinking

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Agency Mother/London
Production Company Love Song
Director Daniel Wolfe

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Agency Mother/London
Production Company Love Song
Director Daniel Wolfe
Executive Producer Shirley O'Connor
Editing MARSHEEN
Editor Dominic Leung
Editor Dave Davis
Assistant Editor Matthew Blacklock

Executive Producer Harriet Cawley
VFX Stray
Creative Director/VFX Supervisor Dan Williams
Executive Producer Clare Melia
Color Electric Theatre Collective
Colorist Jason Wallis
Post Producer Alex Carswell
Sound Design King Lear Music & Sound

Sound Designer Jack Sedgwick
Sound Designer/Audio Mixer Ed Downham
Producer Natalie Curran
Music Curation Music
Music Supervisor Sunny Kapoor
Production Services Monkey Films/South Africa
Executive Producer Clare van Zyl
Chief Creative Officer Felix Richter

Executive Producer Sara Wallace
Producer Alexander Chamberlain
Production Designer Fiona Crombie
DP Andre Chemetoff
VFX Producer Lewes Bridson
VFX Producer Jack Williams
VFX Producer Chloe Kerr
Line Producer Patricia Wheeler

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Andrex First School Poo

FCB London continues to elevate this most functional of products (if you haven't seen King She's recent Labour Poo, do yourself a favour - it's superb). The campaign establishes a poo-taboo before brilliantly dismantling it with spot-on casting, phenomenal child performances and impeccable comic timing as our young Harry Plopper glides through the halls of an inner-city Hogwarts to take care of business.

If, like me, you find toilet humour more amusing you perhaps ought, you'll agree the team has created something memorable and shareable.

Biscuit's Andreas Nilsson gives us a 60-second masterclass in visual storytelling - no dialogue necessary, save for that soaring soprano 'Poooooo'. If, like me, you find toilet humour more amusing than you perhaps ought, you'll agree the team has created something memorable and shareable - which means less kids 'holding their poos' at school - which is good for everyone. Knowing some of funnies judging on the Croisette, I'm hopeful this will land. And for the team where there's muck, there’ll be more than brass.

Andrex – Conquer The First School Poo

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Agency FCB Inferno/London
Production Company Biscuit Filmworks/UK
Director Andreas Nilsson

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Agency FCB Inferno/London
Production Company Biscuit Filmworks/UK
Director Andreas Nilsson
Editing The Quarry
Color Selected Works
Sound Design No.8
Music Leland
Chief Creative Officer Owen Lee

Executive Creative Director Kyle Harman-Turner
Creative Partner Kyle Harman-Turner
Head of Art Jack Walker
Art Director Rupert Thornborough
Copywriter Lou Bogue
Executive Producer Nikki Chapman
Production Partner Nikki Chapman
Founding Partner Shawn Lacy

Executive Producer Daisy Mellors
Head of Production Emily Atterton
Production Manager Meghan Young
Managing Director Rupert Reynolds-MacLean
Producer Lucy Gossage
Production Designer Daniel Taylor
DP Lasse Frank
Editor Ben Campbell

Executive Producer Dilia Knobel
Colorist Hannibal Lang

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JD Sports Where Are You Going?

It’s depressing that ones phone probably ‘knows' you better than the people in your life - an insight that JD Sports leans into with infectious energy in this ‘Christmas’ campaign which was shot by 286 young people on their mobiles. Not directed at them, but created by them - a poignant snapshot of youth through their eyes, on their terms, in their style; the authenticity is undeniable.

A poignant snapshot of youth through their eyes, on their terms, in their style; the authenticity is undeniable.

Iconoclast director Francis Plummer and editor Anders Mills weave the different perspectives into something that crackles and delivers positive vibes. The edit is exceptional; bright, diverse, flowing seamlessly with an energy that feels genuine and hopeful for what the future holds for these kids. JD Sports has created something that actually understands its by audience going inside their world. The result? Raw, real, and absolutely compelling.

JD Sports – Where Are You Going?

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Agency Uncommon/London
Director Francis Plummer

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Agency Uncommon/London
Director Francis Plummer
Senior Creative Quba Tuakli
Senior Creative Charlie Rout
Editor Anders Mills

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Kotex Art's Missing Pieces

*Disclaimer; one of ours… More bodily functions - but of a different order entirely. Kathryn Everett's incisive, nine minute doc and accompanying virtual gallery shines a light on the systematic censorship of menstrual blood in art throughout history. It's not something many of us have considered, and that's precisely the problem: periods have been airbrushed from our cultural canon by institutions, tech platforms and society at large.

Bold, beautiful filmmaking in service of a conversation we should have been having centuries ago.

By interviewing contemporary artists reclaiming menstrual imagery and excavating historical works that slipped through the cracks, Kathryn builds a compelling case for why this matters - not just as a feminist issue, but as a question of artistic freedom and cultural honesty. While the Andrex spot makes us laugh at our bodily taboos, Kotex asks why we have them in the first place. Bold, beautiful filmmaking in service of a conversation we should have been having centuries ago.