It's never an easy task to call a winner. Individual opinions, never mind the unpredictable nature of awards-show juries, result in so many variables that industry watchers tend to rely on best-guess judgments and conventional wisdom. But what about when there's little consensus in conventional wisdom? You call it Cannes 2007.

As if to reflect the current state of affairs, the CDs solicited for this year's predictions feature ventured all over the map in naming the work they'd like to see win - from R/GA's awards banger Nike+ to websites to virals to TV spots. Following several years where the outcome of the Cannes Film Grand Prix was nearly fait accompli (or so predictors liked to think at the time), watching this year's awards is going to be much more interesting. Here, several international creative directors weigh in with their conventional - or unconventional - wisdom.

Andy Fackrell
Executive Creative Director, 180 Amsterdam
I don't know about a clear Grand Prix in Film. Looking back over last year's film work, there were a lot of strong candidates going in with nice easy names to remember ("Balls", "noitulovE") and all distinctively different in style. Not so obvious this year.

So I'll just think about Golds. Starting on my home turf, just up the canal, Wieden+Kennedy have "Happiness Factory". At 180, we have the adidas Impossible is Nothing Drawings campaign in with a shot.

From the non-Dutch speaking part of the world, due to an impressive One Show, one of the TBWA\Chiat\Day Skittles ("Beard", "Leak") spots could do it. Take your pick, they're all hilarious and could be filling up the podium together.

"Tate Tracks" from Fallon, London will do well, as should Sony "Paint", even though it gets such a bollocking from a lot of people. But what's not to love? Maybe everyone heard about the idea too early before it was broadcast and it lacked the surprise factor (er, for advertising people).

In terms of Integrated, thankfully that is now clearly a category after last year's joke, the Titanium. A shame the campaigns that got thrown out for being too integrated can't re-enter.

As you'd expect, the Wonderful World of King will do well for Crispin. Their campaigns just don't know when to stop. I also liked the Battle of The Album Covers (Battle of the Ad Bands) in some category. Viral, I'd assume. It was just raw and fun and a tonic for tired judges looking to wake up.

Mark Tutssel
Chief Creative Officer, Leo Burnett Worldwide
The work that has been standing head and shoulders above the rest this year (e.g. Aqualtis "Underwater World," Skittles and Combos) all won at Cannes last year. Therefore, this year is going to be interesting because, at this point, there doesn't seem to be an outright contender for the Grand Prix.

Of course, there is a great deal of buzz about Sony Bravia "Paint." After the remarkable Sony "Balls" commercial from last year, "Paint" has the biggest act to follow. "Paint," while different in style and delivery, is still a remarkable piece of work. It's breakthrough for its category and it is a wonderful evolution of the "Like No Other" campaign. If you were to force me into a corner at this point to choose the big winner, I'd pick "Paint."

However, there's a raft of interesting work from around the world that might win in their respective categories, which I would be remiss not to mention. Some category contenders: Happydent Teeth Whitening Gum "Palace" from India will likely win in the Toiletries category. Dove "Evolution" (from Canada) has a great shot in Cosmetics & Beauty, as does Axe "Crashes" (from Latin America). In my opinion, "Crashes" is yet another great spot for this brand - and better than "Love Story." In terms of the clothing category, "Dangerous Liaisons" for Levi's (from the UK) is a good bet. The strongest contenders from the States have to be Coca-Cola "Happiness Factory," Burger King "The Stuff of Legends" and Altoids "Fruit Pants" in their respective competitions.

Stephen Goldblatt/Mike McKay
Associate Creative Director/Group Creative Director, Goodby Silverstein & Partners, San Francisco
The commercial that hates advertising will win.

The one that mocked the million dollar spots that ran before it, and after, will prevail.

The spot that fired the key grip and sent the make-up artist home.

The commercial that made every person watching it like themselves a whole lot more.

It's the one we wish we had done.

Go, Dove.

Nobby (David Nobay
Executive Creative Director, Saatchi & Saatchi, Australia
Seeing as this is Boards magazine, I feel mercifully released from the prospect of predicting winners in the 4,324 categories that now make up "Le Festival de Fuck-votre-tete Oop". This "thing of ours" is getting mighty fragmented (which is fun) and along with it, the slightly cracked mirror that is Cannes. Still, it remains the best way to take our collective temperatures once a year (up the ass, of course!), so we should thank our Gallic millionaire mates...

I get the impression, more than ever before, this is the year to "send a message". For that reason alone, I think that the big winners will all be rank outsiders, completely overlooked by renowned adwankers like me. Still, let's have a go: Smooth E's campaign out of JEH United, Bangkok may score Grand Prix. It certainly sends a clear message, although ironically I prefer the long-format stuff last year. Happydent "Palace" out of McCann, India fits the bill, and is arguably for a tough client. The same could actually be said for Saatchi & Saatchi, New York's Tide-to-Go spot, "The Interview", which does an awful lot with a little. Lux "Neon Girl" from Santo, Buenos Aires is another toiletry breakthrough. Which begs the question: Is this the year of the medicine cabinet? Anyone seen a good tampon spot lately?

Lisa Bennett
Chief Creative Officer, DDB, San Francisco
2007 may not be the year of the TV spot. For the first time, The Andy Awards gave the Grandy to an online idea. Nike+ from R/GA bested TV and took home the $50K grand prize. Tate Modern's "Tate Tracks", a brilliant campaign from Fallon, London, picked up a Gold Pencil at One Show. This year, there's no sure bet for the Film Grand Prix, but there are plenty of Gold Lion contenders.

Riding the Honda "Grrr" 'animation + music = cool spot' wave are Coca-Cola's "Happiness Factory" and "Videogame" from Wieden+Kennedy (Amsterdam and Portland), National Lottery's "Bag of Smiles" from AMV.BBDO, London and Lux's "Neon Girl" from Santo, Buenos Aires.

One of my favorite '06 Cannes winners was Recrear's "Truth". This year, there are two poetic justice spots that should fare well: Dove "Evolution" from Ogilvy & Mather, Toronto and VW "Night Driving" from DDB, London.

Cannes would not be complete without a few big budget/big name director spots. Sony "Paint" picked up Gold at Clios and Silver at One Show and Andy's, but I'll be surprised if the Cannes jury awards the "Balls" sequel Gold. Honda "Asimo" from Wieden+Kennedy, London is beautifully shot by Peter Thwaites of Gorgeous.

It looks to be a pretty open playing field for Grand Prix in the Film category, but in Cyber, my money is on Nike+ and in Titanium, Tate Modern.

Robert Rasmussen
Creative Director, JWT, New York
And the winner of the Grand Prix for 2007 will be Nike. Specifically, the Cannes Grand Prix winner in the Cyber Lions will be the Nike-Apple-R/GA Nike+ effort. Why credit Nike and Apple in the same breath along with R/GA? Because this work represents something truly innovative and inspiring. Nike and Apple had the cojones to believe if you build it they will come. Combining a smart product with an incredible execution and the belief that consumers would respond, they created a community that keeps runners connected with both the brand and each other. Not only was it brave, it worked: in less than a year, Nike+ members have run over 13 million miles together. For these reasons, this is the most important Lion of the season.

Many other creations will rise this year too. Crispin, Porter + Bogusky will win for Burger King's BK Games and their many integrated campaigns, including VW "Safe Happens." For them, the big idea is not usually limited to one media, but a combination of media that keeps them all the way to the online brand experience.

Ogilvy & Mather, Toronto's "Evolution" for Dove will silence rooms and get standing ovations. Wieden's Coke commercials will also be applauded. The highest number of Lions will go to TBWA\Chiat\Day, New York for its Skittles efforts. Poor ECD Gerry Graf has been so loaded up with awards this year that he's lost nearly half his body weight from carrying them. If you see him partying at Cannes this year, please give him a pat on the back. And a sandwich.

Martin Beauvais
Creative Director, Zig, Toronto
If I had it my way, Dove "Evolution" would win the Film Grand Prix in Cannes this year.

It's really smart, simple and does not try to be too clever. It makes you think, it makes you rethink the category and it touches people in a way an ad rarely does.

It does not have high-end production values - it's actually quite simple. But it's perfect. Had it been more polished, it would not have worked as well....it's still a bit raw and more real and true because of that. Well done for the people who did it; they could have ruined it.

I also think it's the first TV ad that only lived on the web - no print campaign was required to promote it, no wacky trick to make people go to the web. It just became part of pop culture and the web for weeks; people loved it, forwarded it to friends and it was the cheapest media buy this year at Cannes for sure. I think it would be bold for the Cannes TV jury to give it the Grand Prix. It would mean a lot. This is what the web can do now. It lives by itself, it's a powerful new channel and can be used to make the whole world rethink a brand, a product and in this case, the way we see things.

Rob Bagot
Executive Creative Director, McCann Erickson, San Francisco
It's always difficult to weigh in on awards shows without first honoring the art form known as the 30-second spot. With that in mind, you have to recognize Skittles "Beard" for delivering the most uncomfortably funny spot of the year. Cannes would also not be complete without "Happiness Factory" from Coca-Cola and Sony Bravia "Paint", though the latter is a :60.

With that said, it's increasingly difficult for me to get excited about advertising without some participatory or conspiratorial element in the mix. What fun is anything if I can't get personally involved with it? So this year I believe the best work is coming from the interactive side of things.

The standouts being the Philips Bodygroom "Shave Everywhere" work that seemed to turn up just about everywhere; the Mini "Follow the Rabbit" program for an inspired use of the modern digital landscape; the Windows Vista "Clearification" campaign, which vastly broadens the parameters of integrated marketing; and last, but in no way least, the Tate Modern "Tate Tracks" work from Fallon, which takes on the age-old problem of making high-concept artwork accessible to the world beyond academics. No small feat. When civilization marches forward thanks to advertising, you've earned your pint. And maybe the Grand Prix.

Fabrice Brovelli
Managing Director, BETC Euro RSCG, France
Well, my preference would go to the Live Earth "SOS", directed by Frank Budgen where people Morse-code SOS signals. I guess it's not really a commercial spot, but it's a big issue, a great ad for a great cause and really well executed. Remarkable direction, once more for Budgen, and the perfect balance between the actors and voices highlights the sincerity of the message. I don't understand why we don't do such great campaigns in France.

Psyop's animated work for Coke, "Happiness Factory", is a great comeback for the brand - it's a good thing for them, maybe also related to their change of agency.

After the little "Balls" of Sony, it's now the turn of the big balls in Hollywood: "Sphere", directed by Laurent Chanez; such strong visuals and high style. Another impressive spot is the effects-oriented "Pinball" for Pepsi, helmed by Traktor, where the streets of San Francisco become a huge pinball game. A good balance between the story and the big effects.

At BETC, we also have the Canal+ "Brokeback Mountain", and even if it's no longer a brand new idea (it follows "March of the Emperor"), I think it can still seduce a jury. Or our "Horror Month" spot for 13e Rue (13th Street) French TV station, which is based on a simple idea. And with universally-recognized fluffy kittens, it should be understood by all jury members.

Greg Hahn
Executive Creative Director, BBDO, New York
Ever since it appeared on the circuit way back in 2002, Titanium has been the most talked-about and controversial element at Cannes. The parameters of this category seem to change every year, mostly as a reaction to what won or didn't win the year before. In fact, it was created because of what didn't win the year before.

So what will happen in 2007? Well, last year the jury raised the bar and dropped a few jaws by awarding the Titanium Lion to a small Tokyo-based design firm for an idea that was noticeably absent from the major award shows tour.

So, based on this Reactionary Year Theory, we could go big again. And there are some worthy contenders. Ones that we all could guess; Burger King's video game, Fallon's Tate Modern project. Ideas that have already raked up some Gunn points elsewhere.

But maybe, just maybe, the Lion will go to an idea that few of us knows of yet. An idea that once again, hasn't appeared in any show because there was no way to judge it. And then, the work, the category, and the judging will all do what the Titanium was meant to do - defy categorization.

Hal Curtis
Executive Creative Director, Wieden+Kennedy, Portland
I love the Starburst work from Ian [Reichenthal] and Scott [Vitrone]. It's brilliant and odd and perfectly suited for something as silly as candy. I think it will do very well. I loved their work when they were with us many years ago and they've done nothing but get better and better, and now they're doing some of the best work in the world. I hope they win the Grand Prix. I think they deserve it.

José Molla
Creative Director, La Comunidad, Miami
Part of what makes Cannes Cannes is that it's hard to predict. A lot of times that I thought I had some great work competing, nothing came of it. Similarly, when my expectations weren't too high, I'd be pleasantly surprised.

So, for what it's worth, I think this year will belong to big brands. Coca-Cola finally made good on its promise of being refreshing. It's great to see so much good work coming from different parts of the world. "Happiness Factory", "Videogame" and "Birdman" are definitely big contenders. The same applies to traditionally boring categories like cosmetics and beauty

where Lux, Axe and a great campaign for Impulse called "Train", "Ring", "Airport", "Airplane" will make it one of the most exciting categories of the Festival. We'll also see some work from the '06 World Cup, where adidas scored over Nike. And no one will be surprised when Sony adds some color to the show with "Paint". We entered a few things that have a chance, like our work for the Buenos Aires Film Festival.

But we'll see.

There's only one prediction for Cannes that I'm sure about: the parties will be great.