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Advertisers’ decisions can substantially influence how people view others and themselves. Although the purpose of advertisements is to sell products, the influence that ad narratives have on groups of people and the broader culture is arguably unparalleled. Through their storytelling and character portrayals, ads can challenge or reinforce cultural standards.

Research also confirms that people want to see the real world reflected in the media they consume. Consumers are more likely to commit to brands that authentically execute this goal of diverse representation in advertising. For instance, 73% of global consumers say they want brands to authentically reflect today’s culture, and 75% say that representation within brands influences their purchasing decisions. Consequently, advertisements that challenge dated stereotypes or tropes with diverse characters not only contribute to healthy outcomes developmentally and socially but also are good for business.

Although that research is well known, our report asks: Does on-screen representation in advertising reflect this reality? To answer this question, this study assesses character representation in Cannes Lions Film and Film Craft shortlisted and winning work from 2006 to 2025. We investigate the overall trend of representation longitudinally from 2006 to 2025. For creative work in 2025 — the most recent year under analysis — this study goes deeper to assess how various groups are portrayed and whether statistically significant differences emerge. We present a description of the sample and research methodology, followed by a profile of Cannes Lions Film and Film Craft shortlisted and winning work from 2006 to 2025. We also partnered with Alltold to analyse the feminine gender expression of those with screen time in 2024 and 2025 film and film craft shortlisted and winning work, an anaylsis that was enabled using machine learning technology. To conclude, we offer ad creators and marketers recommendations for improving diverse representation in advertising.

Representation overview

  • The representation of women in Cannes creative work increased nearly 8 percentage points, from 33.9% in 2006 to 41.5% in 2025. Nonetheless, in 2024 and 2025, representation of women in Cannes creative work decreased from 2023 by about 2 points. Although this decrease is small, it is a continuous pattern since 2021 — a year in which gender parity was almost reached, at 47.6%.
  • Overall, there was a significant increase in the representation of characters of colour from 2006 to 2025. The representation of people of colour in Cannes creative work has increased 25.6 percentage points, from 25.9% in 2006 to 51.5% in 2025. From 2020 to 2021, there was a sharp increase (14 points) in the share of on-screen characters identified as people of colour, from 40.6% to 54.6%, respectively. However, from 2021 to 2022, there was a sharp decrease (8 points) in the share of on-screen characters identified as people of colour, from 54.6% to 46.3%, respectively. In the years since 2022, more than half of the characters were people of colour.
  • While a study of 30 countries found that an average of 9% of adults described themselves as lesbian, gay, bisexual, pansexual, omnisexual, or asexual, the representation of LGBTQIA+ characters in 2025 creative work hit its lowest share (0.7%) since we started measuring for it in 2018. That represents a 1.4-point decrease from 2024 and a 1.2-point decrease from 2018. Statistical analysis indicates that the representation of LGBTQIA+ characters did not significantly change from 2018 to 2025. In other words, ads failed to sufficiently represent LGBTQIA+ identity.
  • Representation of disabled characters increased from 2024 to 2025 by about 1 point, from 2.1% to 3.2%. But these changes were small, and statistical analysis from 2018 to 2025 indicates that the representation of disabled characters did not significantly change over time.
  • In 2025, the inclusion of characters ages 60 and older dipped to 9.7% from 11.5% the year before. While there had been a shift upward between 2021 (6.2%) and 2022 (12.8% ), that shift was followed by a gradual drop in the years afterward. For reference, about 12%–15% of the world’s population is 60-plus, according to the World Health Organization’s estimate. Statistical analysis indicates that the representation of characters ages 60 and over did not significantly change from 2019 to 2025.
  • The representation of people with a large body type slightly improved (0.4 points) from 2024 to 2025, going from 4.3% to 4.7%. However, this is down from a high of 7.2% in 2019. Statistical analysis indicates that the representation of characters with a large body type did not significantly change from 2019 to 2025.
  • Intersectional analysis of 2025 Cannes Lions creative work reveals one statistically significant difference in the demographics of female and male characters. As shown in Table 1, male characters were more likely than female characters to be 60 and older (10.9% of men compared with 7.9% of women). There were no significant gender differences in race, LGBTQIA+ identity, disability, or large-body-type portrayals (see Table 1), which tells us that male and female characters are depicted at broadly similar rates with respect to those factors, and are similarly as likely to be people of colour.

Recommendations

Gender

  • The representation of female characters was the lowest it has been since 2019. Still, statistical analysis of women’s representation from 2006 to 2025 indicates a significant increase overall of female characters over time — from 33.9% of prominent characters on screen in 2006, to 42.4% in 2024 and 41.5% in 2025. That said, to maintain the progress made, continue to center female characters in ads of all kinds. 
  • Recognise gender stereotypes concerning domestic and independent activities, and flip these scripts. Show more male characters engaging in domestic work, and show more female characters engaging in independent work, such as at a job.
  • Show more female characters in settings outside the home, such as at sporting events and in the outdoors, and show more male characters in settings inside the home, such as in a bedroom. The settings where male and female characters are placed can communicate deeper truths about their identities. 
  • Show more female characters with leadership traits and settings, such as having an occupation or being in an office. This can make the audience rethink the “male breadwinner” model.
  • Add more personality traits to female characters, such as humour and intelligence. Analysis shows that female characters often do not have distinct personal attributes. Consider adding other dimensions to their personalities.
  • Rethink what female characters are shown wearing, thereby having the audience focus more on their personable traits instead. We found a positive shift in sexualising portrayals, with more equality in portrayals of objectification and nudity. But female characters are still disproportionately shown wearing sexualised clothing. This can send a message that women are mostly valued for the way they look or their sexual appeal. 
  • Feature more female characters endorsing products in ads. This will give female characters more prominent speaking roles that are essential to the ad itself. 

Race

  • The data suggests that characters of colour are frequently featured in creative work. To enhance diversity, think about showcasing a variety of ethnicities and skin tones. For example, ads can highlight more experiences within the Asian and Pacific Islander or Latinx communities.
  • Show characters of colour socialising or cooking, to paint a more complete picture of their interests. 
  • Show more characters of colour in workplace settings. Consider female characters of colour in this type of environment. 
  • Give characters of colour more personable attributes, like humour, to add more dimension to their characterisations.

LGBTQIA+

  • Increase the overall representations of prominent LGBTQIA+ characters. In 2025 creative work, LGBTQIA+ representation was the lowest it has been in the years analysed. LGBTQIA+ characters comprised 0.7% of prominent characters in 2025. Statistical analysis indicates an overall steadiness over time for the representation of LGBTQIA+ characters, from 1.9% of prominent characters on screen in 2018, to 2.1% in 2024 and 0.7% in 2025. 

Disabilities 

  • Increase the number of visibly prominent characters with disabilities. People with disabilities were lacking in 2025 creative work, comprising only 2.1% of characters on screen in 2024 and 3.2% of characters in 2025. In 2018, disabled characters comprised 0.8% of prominent characters on screen. There is an overall steadiness over time for the representation of characters with disabilities.
  • Show disabled characters living an everyday life, in various settings, and doing activities unrelated to their disability. 

Age

  • Continue to increase prominence of characters ages 60 and older in creative work, to better reflect their prevalence in the population (13.5% globally). Statistical analysis of creative work indicates an overall steadiness over time for characters ages 60 and older, from 7.0% of prominent characters on screen in 2019, to 11.5% in 2024 and 9.7% in 2025. Representation of characters 60 and older in 2025 decreased by 1.8 percentage points from 2024. 
  • Show more characters ages 60 and older doing active things outside of the home, such as exercising. This can counter the stereotype that old people engage in mostly sedentary activities.
  • Continue to show characters ages 60 and older in settings outside of the home. Characters who were older were shown in restaurants/bars more often than younger characters. Other settings to consider that are outside of the home include the office, store, outdoors, gym, and classroom/school.
  • Continue to show characters ages 60 and older as leaders and in positions of authority. These portrayals challenge the stereotype that older age is associated with weakness or impotence. 

Body Type 

  • Significantly increase the inclusion of people with a large body type. Statistical analysis indicates an overall steadiness over time for people with a large body type, from 7.2% of prominent characters on screen in 2006, to 4.3% in 2024 and 4.7% in 2025. 
  • Be mindful of stereotypes that associate people with a large body type and eating/drinking. Instead, be sure to show characters with a large body type doing several things generally unrelated to food, like exercising, driving, or working. 
  • Continue to place characters with a large body type in counterstereotypical settings, like the outdoors. These portrayals can challenge the stereotype that those with a large body type are uninterested in movement or outdoor activity. 
  • Continue to feature characters with a large body type endorsing products. This often means that such characters are the focus of the ad. However, be mindful of what they are endorsing, such as food or drink, and whether it reinforces stereotypes that people with large body types are obsessed with food or drink. Ensure characters with a large body type endorse or use products outside of this realm, like technology or beauty products. 

How to cite this report 

Terán, L., and Conroy, M. (2026). Twenty Years of Representation in Cannes Lions Film and Film Craft Shortlisted and Winning Work. The Geena Davis Institute.

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