Saatchi’s New Creators’ Showcase gets a new stage and a broader brief

For decades, the New Creators’ Showcase has been a Cannes institution. But this year Saatchi & Saatchi is giving it a new backdrop and a broader remit.

Curated by Franki Goodwin, CCO, and Jess Ringshall, CPO, the Showcase is now open to all forms of motion creators, as well as a wider mix of film formats, experiences and styles.

Making its debut at SXSW London in 2026, it also comes with a renewed commitment to “put the C in NCS”, thereby shifting the emphasis towards connection, collaboration and conversation as much as exposure.

In this Q&A, Goodwin and Ringshall explain why now felt like the right moment to rethink the platform, and what this new chapter says about creativity now.

Creative Salon: Tell us why you have decided to move the event to SXSW London after so long as part of Cannes?

Ringshall: New Creators’ Showcase has long been a highlight of my pilgrimages to Cannes – even before I started at Saatchi – but without change, nothing can grow, and for us that means evolving the event with a new home at SXSW London.

Goodwin: I totally agree. It’s more than just a change of venue; creativity itself is changing, and after three decades calling Cannes Lions home, it feels like the right time for a new chapter. The move to SXSW London reflects the nuance and originality of today’s creator ecosystem – not just advertising, but also film, music and culture – the new location represents us, a melting point that is uniquely SXSW, and uniquely Saatchi.

What will entrants and the audience notice is different about the new event?

Goodwin: SXSW is famously where technology, film, music and culture naturally come together, so for the 2026 New Creators’ Showcase we’re opening submissions to all moving‑image formats. That means welcoming work from artists, animators, filmmakers, composers and musicians alike. There’s often a perception that creators are focused on content, social media platforms and trends, but we’re deliberately taking a broader view of what creator means culturally.

Ringshall: We were discussing this yesterday. As NCS makes its London debut, we want to celebrate the modern creator – which to me is anyone who creates. Someone who is inherently creative, whose imagination and ability to make work knows no bounds, and isn’t limited by format or label. NCS × SXSW London is a huge opportunity, with no limits. Audiences will really feel the range and depth of talent on display.

You talk about putting the ‘C’ back in NCS - what does that mean and how do you hope to achieve that?

Goodwin: As the New Creator’s Showcase makes its debut in London this June, we have announced a renewed commitment to putting the C back into NCS. More than just a showcase, NCS is about bringing creative ideas and creative people together.

For us, the C stands for creating, but also for converging, collaboration and conversation. We’re inviting everyone to get stuck into all the Cs, and for us that means enabling connections between people. The more people involved, the more creative ideas – and the more brains working together, the more creativity. This is a crucial part of the New Creator’s Showcase at SXSW, as we want to help build meaningful, helpful industry connections, rather than just offering a moment on stage.

As a result, we’re introducing a new structured networking event this year, connecting everyone with the person they really need to help make the most impact. Who is the person you really need to see, the connection you want to make? We all know that a huge part of our industry is about relationships, so we want to take this up a gear and connect creators directly with the people who can help move their careers forward with hands‑on assistance, expert guidance and insight.

What other work are you hoping to see this year?

Goodwin: One of the things I’ve always loved about New Creator’s Showcase is its total unpredictability – you never know what’s coming next. Even after three decades, the creativity and originality continue to inspire, excite and surprise me. I know the standard of creativity will remain high, so this year I’m hoping to see more integrated work that steps away from traditional narrative structures.

Ringshall: Absolutely, we really want to see work that challenges the ordinary. I’d love to see something unexpected or unusual – work that feels like a moment of escape or reflects the world around us in a new way. This experimentation is what NCS has always stood for.

Tell us a bit more about the NCS Music – why have you done it?

Ringshall: SXSW has a long history of iconic musical performances, so a dedicated music showcase at the inaugural NCS Music felt like a no‑brainer.

Music has always played a huge role in advertising, particularly when it comes to emerging talent. Just look at how many artists have had their big break through a John Lewis ad.

However, we’re at a point where traditional revenue streams such as gigs and merchandise have become less reliable, so partnerships with brands can offer musicians a way to build connections and expand networks, helping them find more sustainable income streams. Initiatives like the New Music Showcase open the door to this world for many creators and demonstrate how agencies like Saatchi & Saatchi can invest in and work with musicians.

By connecting with these creators early, we’re helping emerging artists build careers, grow their networks and discover commercial projects within the creative industries – not just offering them a moment of exposure.

What have been some of your favourite NCS winners and why?

Goodwin: What a question! The quality of winners over the years has always been incredible. One highlight for me was Will Wightman in 2023. His short musical – I didn’t even know it was a genre – was such a banger. It’s unlike anything I’d seen, and it’s been great to see him go on to work with some fantastic brands.

Billy King and Tom Emmerson also deserve a notable mention. They are both brilliant independently, but their partnership was a great example of collaboration and lifting each other up to deliver absolute gold.

Can I add two more? Shona Heath brought a new, unique vibe last year, and I’d love to work with her. Caleb Femi is also one to watch – I’m obsessed with his multi‑channel work, spanning poetry, books, film and performance.

Ringshall: Love those picks, Franki! Hmm… where do I start? For me, there are three films that really stand out.

2021’s Permutation City, featuring the STORROR parkour team, is one that sticks in my memory for its early and innovative use of AI in filmmaking.

A real early adopter, it pushed the boundaries of how technology can be used to aid storytelling. It cleverly used AI to create a distinctive and experimental visual style, seamlessly blending moving footage into the background to create a look that was completely its own – and years ahead of its time.

2024’s Jellyfish and Lobster by Yasmin Afifi is another firm favourite, and a seriously impressive achievement for a young filmmaker.

Yasmin showed a strong creative voice so early on. Going on to win a BAFTA, Jellyfish and Lobster blends emotional depth with subtle humour, resulting in a touching film that had me literally choking up. It’s so, so good – wise beyond its years, it demonstrates real confidence in storytelling and is a masterclass in character development.

Finally, there’s the brilliant The Gospel According to Gail from 2023 by Florence Winter Hill. Starring the great Harriet Webb, it’s one of my favourite comedy shorts from recent years.

With its unique patter and razor‑sharp, unforgettable tone, it brilliantly uses humour to explore relatable everyday themes in a way that still feels fresh. Then there’s the timing. Just watch it – you won’t be disappointed.

The New Creator Showcase 2026 will take place as part of SXSW London at Protein Studios from 5pm on 4 June.