Cannes Contenders 2026: The UK
Sam Walker, Global Creative Partner at Uncommon Creative Studio and director at Creators Inc, goes for Channel 4 filth, some flawless direction and a debut poo as he highlights his pick of the UK crop.
In a world increasingly dominated by discussions about AI it’s nice to have the opportunity to shine a light on human creativity.
Because we’re still doing some brilliant stuff, it turns out. Here’s a selection of great UK work selected from a much bigger list I could have chosen. I’ve tried to pick a breadth of styles, tones and scales but I could just as easily have written an entirely different article detailing an entirely different set of work.
4Creative Fountain of Filth
I thought 4Creative’s Fountain of Filth statue for Channel 4’s Dirty Business was great. A series of vomiting people beautifully crafted as a 10 metre statue on the South Bank in London to point out how the privatised water companies have literally put shit in the UK’s water.
Simple idea, excellently executed, by the reliably brilliant Glue Society.
For those reading not in the UK - we really are the only major developed county in the world to have sold their water supply to a hedge fund and allowed them to siphon off billions of pounds while filling our water full of raw sewage. Yes, as shocking as it sounds, and a statue to match. Simple idea, excellently executed, by the reliably brilliant Glue Society who’ve really carved out a niche for themselves in large scale builds over the last few years. Statues have been done before but almost never this appropriately and with this commitment to craft and projectile vomiting.
Waitrose The Perfect Gift
Onto film, and Waitrose won Christmas (our Super Bowl) according to the public and industry alike. Flawlessly directed by Molly Manners it felt like a short slice of a Richard Curtis-esque rom com rather than an ad trying to be a short slice of a Richard Curtis-esque rom com.
Hard not to not like for even the most hardened cynics.
A familiar storyline we all know and love and its execution was perfect. Hard not to not like for even the most hardened cynics.
Credits
View on- Agency Wonderhood Studios/London
- Production Company Biscuit Filmworks/UK
- Director Molly Manners
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Credits
View on- Agency Wonderhood Studios/London
- Production Company Biscuit Filmworks/UK
- Director Molly Manners
- Editing Shift Post
- Post Production Time Based Arts
- Audio Post Runamok Studios
- Music Supervision Native Music Supervision & Production
- Brand
- Chief Customer Officer Nathan Ansell
- Chief Creative Officer/Founder Aidan McClure
- Executive Creative Director Stacey Bird
- Executive Creative Director Jack Croft
- Senior Creative/Writer Jennifer Ashton
- Senior Creative/Writer Oliver Short
- Creative Holly Nash
- Creative Alysha Radia
- Lead Senior Producer Nikki Holbrow
- Senior Producer Alice Konstam
- Senior Producer Henry Davies
- Producer Stefanie Forbes
- Founding Partner Shawn Lacy
- Managing Director Rupert Reynolds-MacLean
- Executive Producer Hanna Bayatti
- Head of Production Emily Atterton
- Production Manager Ada Almeida
- Production Designer Fiona Crombie
- Producer Peter Knowles
- DP Benedict Spence
- Editor Saam Hodivala
- Editor Joanna Lewandowska
- Editor Rob McGuire
- Executive Producer Kirsty Oldfield
- VFX Artist Sheldon Gardner
- VFX Artist Miguel Wratten
- Senior VFX Producer Matthew Squires
- VFX Producer Mia Saunders
- Colorist Simone Grattarola
- Sound Designer Jon Clarke
- Executive Producer Lucy Spong
- Executive Producer Ornela Peka
- Talent Keira Knightley
- Talent Joe Wilkinson / (Talent)
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Credits
powered by- Agency Wonderhood Studios/London
- Production Company Biscuit Filmworks/UK
- Director Molly Manners
- Editing Shift Post
- Post Production Time Based Arts
- Audio Post Runamok Studios
- Music Supervision Native Music Supervision & Production
- Brand
- Chief Customer Officer Nathan Ansell
- Chief Creative Officer/Founder Aidan McClure
- Executive Creative Director Stacey Bird
- Executive Creative Director Jack Croft
- Senior Creative/Writer Jennifer Ashton
- Senior Creative/Writer Oliver Short
- Creative Holly Nash
- Creative Alysha Radia
- Lead Senior Producer Nikki Holbrow
- Senior Producer Alice Konstam
- Senior Producer Henry Davies
- Producer Stefanie Forbes
- Founding Partner Shawn Lacy
- Managing Director Rupert Reynolds-MacLean
- Executive Producer Hanna Bayatti
- Head of Production Emily Atterton
- Production Manager Ada Almeida
- Production Designer Fiona Crombie
- Producer Peter Knowles
- DP Benedict Spence
- Editor Saam Hodivala
- Editor Joanna Lewandowska
- Editor Rob McGuire
- Executive Producer Kirsty Oldfield
- VFX Artist Sheldon Gardner
- VFX Artist Miguel Wratten
- Senior VFX Producer Matthew Squires
- VFX Producer Mia Saunders
- Colorist Simone Grattarola
- Sound Designer Jon Clarke
- Executive Producer Lucy Spong
- Executive Producer Ornela Peka
- Talent Keira Knightley
- Talent Joe Wilkinson / (Talent)
Confused.com Wife/Dad/Neighbour
Next, I love Jeff Low, still one of the world’s most reliable and best comedy directors for me. And here he is again with some restrained, elegant, perfectly pitched 30-second ads for Confused.com and Leo’s. Jeff does the VO, as he often does.
Restrained, elegant, perfectly pitched.
Effortless post too with inflating people becoming lighter after clicking on their insurance. Not trying too hard and all the better for it. Can AI do comedy? Don’t know, but until it can, let’s keep making each other laugh as we march towards the apocalypse.
Andrex Conquer the First School Poo
And to complete the Biscuit bingo, who’ve had a frankly exceptional year, a nod to Andreas Nilsson and FCB’s bold Andrex film. It’s amazing what FCB have done with toilet roll advertising after decades of brands trying to pretend they’re not selling a product that literally exists to help you wipe your arse.
Toilet humour. Who knew it could be a gold mine for comedy?
Toilet humour. Who knew it could be a gold mine for comedy? Even before I knew who’d directed it I kind of already knew, such is the strength of Andreas’s directorial voice. The chorus of school children singing ‘pooooo’ is genius and something very few directors would have done. And that’s how great directors are judged in the end. There are lots of people who can point a camera but these little moments of magic are the difference for me.
Credits
View on- Agency FCB Inferno/London
- Production Company Biscuit Filmworks/UK
- Director Andreas Nilsson
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Credits
View on- 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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Credits
powered by- 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
CHANEL Métiers d’art 2026 Collection Teaser
A return to form for Michel Gondry through Partizan with his film for Metiers D’Art and Chanel. I love the confidence of using a deliberately old fashioned, simple, cinematic trick of speeding up A$AP Rocky on his way to propose to Margaret Qualley. Somehow feels way more modern than any amount of CGI or AI fuckery to me. Again, a great director doing what great directors do.
Credits
View on-
- Production Company Partizan/Paris
- Director Michel Gondry
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Credits
View on- Production Company Partizan/Paris
- Director Michel Gondry
- Music Le Motel.
- Talent Margaret Qualley
- Talent A$AP Rocky
- Art Director Matthieu Blazy
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Credits
powered by- Production Company Partizan/Paris
- Director Michel Gondry
- Music Le Motel.
- Talent Margaret Qualley
- Talent A$AP Rocky
- Art Director Matthieu Blazy
Claude Keep Thinking
And the same too for Daniel Wolfe, Mother and Claude. In the last few years Daniel has almost single handedly reminded the industry we can still do great things with lenses, frame rates, exposures and film. Again, old techniques feeling super modern against a zeitgeist of caution and formula. Great directorial choices throughout, and a brilliant music choice too.
Credits
View on- Agency Mother/London
- Production Company Love Song
- Director Daniel Wolfe
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Credits
View on- 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
Explore full credits, grab hi-res stills and more on shots Vault
Credits
powered by- 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
Good luck to everyone, and congratulations on another year of great work from an industry that seems keen to write itself off via LinkedIn. It’s worth just stopping to celebrate the ambition, talent, and effort that’s gone into every one of these pieces of work. It’s not easy and there are many more I ran out of space to mention, including typically great stuff from Kim Gehrig, Dougal Wilson, Oscar Hudson and Steve Rogers, as ever.
The end might be nigh, but we’re not done just yet.
Human creativity might one day be completely replaced by AI, but for the time being the brands, the agencies, the creatives, and the directors, who continue to produce genuinely original stuff will be more valuable than ever. The end might be nigh, but we’re not done just yet.