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Focus on Cartoon Movie Spotlight on Germany Must-Attend Events

ALL ABOUT ANIMATION AND ENTERTAINMENT

Dear Reader

We are delighted to introduce the winter issue of The European Animation Journal (EAJ) for the first time. For those who have been following us for a while and those reading us for the first time today, we’d like to point out that this publication is very young and will celebrate its first anniversary at the upcoming Annecy International Animation Film Festival (!), where we will once again be present with a stand and magazine’s distribution bins in the MIFA area. So, we have accomplished a lot, but there is still so much to do!

We are also pleased to highlight that the number of events welcoming us as Media Partners is constantly increasing. In this issue, there’s a preview of where we’ll be going in the coming months to cover Festivals, Markets, and Events related to the rich world of animation. It’s also significant that our partner events recognize the uniqueness of our editorial line and approach to content.

The winter issue of EAJ was born partly from the request of our readers and followers, and we wanted to satisfy them by producing a smaller issue compared to our usual standards, but no less rich in content and indepth analysis.

In this issue, we will once again take a beautiful journey into the world of European animation, also welcoming international content from Asia in the Worldwide section. We couldn’t miss a comprehensive look at the European animated film projects pitched at Cartoon Movie! Additionally, there are exclusive interviews, previews, and a Spotlight on Germany, resulting from our visit at EFM in Berlin and a preview of the Stuttgart Animated Week, which will take place at the beginning of May.

We wish you, as always, happy reading, and keep following us!

PUBLISHER

BM Srl

EDITOR-IN-CHIEF

Davide Abbatescianni

EDITORS

Cristina Angelucci, Serena Previderé

GRAPHIC DESIGN

Francesca Wolfler

SPECIAL THANKS TO

Lucas Fillon, Kévin Giraud, Sofia Li Crasti, Veronica Orciari

PUBLISHING, ADVERTISING AND ADMINISTRATION

BM Srl - Via Po, 14 - 10123 Torino, Italy Ph. +39 011 1921 1996 - info@brands-media.com

PRINTING

Casma Tipolito - Via B. Provaglia nn. 3/B-3/C-3/D 40138 Bologna - Italy

STUDIO 100 INTERNATIONAL

DINO MATES: A Powerful New Franchise for a Global Audience

Pioneering the Future of Lithuanian Cinema

IBRIDO STUDIO

Dark Horses: Defying the Odds in Rebellion and Self- Discovery

MAGIC LIGHT PICTURES

A Journey of Enchanting Animation

CARTOON MOVIE

Showcasing Creativity

MEDIAWAN KIDS & FAMILY

FRANCE TÉLÉVISIONS

Unity in Strength: the Future of Linear Broadcast in Europe

QVISTEN ANIMATION

The Past, Present and Future of Qvisten Animation

ANIMAR_BCN

Advancing Sustainability in Animation

ANIMATION GARDEN

Tales of Hope and Belonging

Original Creations and Proactive Policies for Future Projects WOJTEK WAWSZCZYK

Diplodocus, from Polish Comic Books to Worldwide CG-Animated Film

SILEX FILMS, ARTE FRANCE

The Legends of Paris: a French Masterpiece

GKIDS

Behind the Scenes of GKIDS

TOONIMOTION

Pioneering the Future of Animation

TALES FROM THE MAGIC GARDEN

A Closer Look at the Stop-Motion Hit Tales from the Magic Garden

Ina Sommer Surveys the Current State of German Animation

ULYSSES FILMPRODUKTION

Ulysses Filmproduktion on Their Upcoming Projects, Fostering New Partnerships

GERMAN FILMS

The Last Whale Singer: Telescope Animation’s New Journey into the Deep Sea

STUTTGART

ITFS and APD 2025: a Networking Hub for Animation Professionals

STUTTGART

ANIMA

An Animation Festival at the Heart of the Belgian Animation Industry

SHARJAH ANIMATION CONFERENCE (SAC)

A Vision for Engagement and Collaboration

ANNECY INTERNATIONAL ANIMATION FILM FESTIVAL AND MIFA

Celebrating Animation: A Glimpse into Annecy 2025

BOLOGNA CHILDREN’S BOOK FAIR

TV/Film Rights Centre and Games Business Centre. What’s new in Bologna

VIVO ANIMATION

Elevating Animation Education to New Heights

SAVE THE DATE

The Next Events to Follow!

STUDIO 100 INTERNATIONAL

DINO MATES: A Powerful New Franchise for a Global Audience

Studio 100 International has secured global distribution and international licensing and merchandising rights for the animated series DINO MATES, bringing the magic of a popular theme park attraction to worldwide audiences.

DINO MATES (26 x 11’), a captivating adventure, blending innovatively 2D and CGI animation, is a co-production of the entertainment companies MACK Magic, Edel Kids, and KiKA, with production underway at B-Water Animation Studios in Spain. Created by Michael Mack, CEO of MACK One, film producer and publisher, with his producing team including Anne Tintinger and Tobias Mundinger, the series is produced by Dirk Hampel (Conni, Pettson and Findus) at B-Water Animation Studios, with content creation overseen by David Ginnuttis and Oliver Huzly, and editorial guidance from KiKA.

IDENTITY CARD: DINO MATES

Format: 26 x 11’

Status: in production, delivery fall 2025

Target: 6-10 year olds

Style: 3D Animation (CGI), 2D Animation

Genre: Action, Adventure, Comedy

Produced by: MACK Magic & B-Water Animation Studios

Co-producers: KiKA, EDEL Kids

Synopsis: The story follows 10-yearold Sophie and her older brother Leo as they spend their summer holidays with Grandma Clara. Their ordinary vacation turns extraordinary when they discover real dinosaur eggs in a mysterious cave. The siblings embark on an exhilarating mission, forging bonds with their hatched dino friends and exploring values such as imagination and teamwork, as well as solidarity, problemsolving, and mutual support.

Based on the popular family attraction Madame Freudenreich Curiosités at the German Europa-Park and the best-selling Dinosaurs in Grandma’s Garden picture book series, which has sold over 300,000 copies in eight languages, DINO MATES targets children aged 6 to 10. The German premiere is set for Fall 2025 on KiKA.

At MIPCOM in Cannes last October, Studio 100 presented the project to broadcasters and streaming platforms for the first time, receiving enthusiastic feedback, especially

“With DINO MATES, we are taking the world of Madame Freudenreich to a whole new level. We are excited to bring our beloved characters and their adventures to a wide audience, and deliver the magic of our stories to people’s living rooms”.

- Michael Mack - CEO MACK One

for its concept and visual style. Negotiations with several broadcasters are now underway and a cross-platform presence across key channels, including YouTube and social media, is planned to maximize reach.

The global licensing rollout began with the DINO MATES Summit in November 2024 at Europa-Park, and with a dedicated License Preview at this year’s Toy Fair in Nuremberg, offering potential partners an exclusive look at the series’ development and marketing strategy. DINO MATES is positioned for strong licensing opportunities in toys, publishing, apparel, and location-based entertainment.

The magical story of DINO MATES revolves around ten-yearold Sophie and her older brother Leo, who experience exciting days during their summer holidays with their adventurous grandma Clara. But what begins as a normal holiday takes an unexpected turn: the two discover real dinosaur eggs in the legendary ‘dragon cave’. Suddenly they find themselves in the middle of a breathtaking mission full of excitement and fun, which bonds them inseparably with their new dinosaur friends.

The series celebrates the power of imagination, teamwork and the courage to explore the unknown. Each episode takes you into a fantastic world and teaches the fundamental values of social interaction, such as solidarity, joint problem-solving and mutual support.

Europa Park

Known as the biggest theme park in Europe and located in the south of Germany, it has been honored as the Best Amusement Park Worldwide for 9 times already. Now, thanks to its visionary CEO Michael Mack, the storytelling department MACK Magic is setting off for new shores by bringing one of his brands to television. This year the journey of the joyful grandma Madame Freudenreich and her dinosaurs continues from a theme park attraction and already very successful picture books to a TV series!

TAURAS FILMS

Pioneering the Future of Lithuanian Cinema

Tauras Films is one of the leading movie production companies in the Baltic States, with over 20 years of experience in the development and production of animated and virtual reality original content.

Tauras Film is a pioneering force in the Lithuanian film industry, recognised for its substantial contributions to the country’s cinematic landscape. With a legacy rich in creativity and innovation, this film company comprises a dedicated team of creators and distributors, crafting some of the mostviewed contemporary Lithuanian films and nurturing a vibrant film culture that resonates both locally and beyond.

Landmarks and Upcoming Projects

Tauras Films team, composed of seasoned technical and

Žilvinas Naujokas

marketing professionals specializing in mainstream and cross-border content aimed at diverse audiences, boasts a wealth of industry knowledge.

Founder Žilvinas Naujokas is a prominent figure in the film industry with an impressive career, spanning over 25 years. Previously founder of ACME Film – a leading film distribution company which operates in the Baltic States, partnering with major studios like Sony, Warner Bros., Lionsgate, and Black Bear – Naujokas later focused on film production, leading record-breaking projects for box office revenue and audience attendance in Lithuania. His international productions include notable works such as 1 Night, acquired by Netflix, and the acclaimed Ashes in the Snow, based on the New York Times bestseller Between Shades of Gray by American novelist Ruta Sepetys

In recent years, Naujokas has redirected his efforts toward animated content production, culminating in the development of the award-winning, 20-minutes immersive film, Play Life, gaining international recognition with a nomination at 2024 Venice International Film Festival (Venice Immersive category) and winning the Golden Alexander Award (Immersive Competition section, 65th Thessaloniki International Film Festival). It has also been selected for participation in various international events, including the Kurzfilmfestival Köln and Siggraph Asia (Tokyo, 2024).

Inspired by the works of renowned Lithuanian artist Algis Kriščiūnas, the project brings to life some of his paintings, interwoven with the story of a man and a woman symbolizing the passage of life and showcasing a diverse team of cinema, computer graphics, and animation professionals.

Building on the success of Play Life, Tauras Films has leveraged their newly acquired knowledge of 3D animation to enter the production stage of a feature-length animated film titled The Adventures of Dominic the Horse: in Search of a Magic Diamond. This big-screen adaptation features the beloved character Dominic, who embarks on a cosmic journey to save his cherished flower. With a focus on rich storytelling

and cinematic craftsmanship, this project aims to captivate audiences of all ages, conveying themes of love, unity, and wisdom that resonate deeply with both children and adults. Slated for release in 2026, the film is funded by Tauras Films with the additional support of the Lithuanian Film Center and various tax incentives. As the production progresses, the company is actively seeking an international sales agent for this animated feature.

Financial Model and Creative Strategies

Tauras Films employs a strong financial model, funding the majority of its productions through private investments, complemented by national and European grants for selected projects. In 2023, the company also took a significant step forward by launching Hexa Cinema, a virtual reality (VR) cinema network dedicated to showcasing cutting-edge VR content, which attracted tens of thousands of paying consumers to watch virtual reality projects.

With a dedicated sales and marketing team, Tauras Films is not only a leader in traditional film but is also pioneering animated movies and immersive experiences, extending the boundaries of Lithuanian cinema into global markets. The company meticulously oversees every element of film production, from conceptualizing ideas and developing scripts to assembling talented crews and ensuring exceptional production values – an unwavering commitment to excellence, driving Tauras Films to consistently deliver top-quality results.

For further information and requests, please contact info@taurasfilms.com

The Adventures of Dominic the Horse

IBRIDO STUDIO

Dark Horses: Defying the Odds in Rebellion and SelfDiscovery

by Sofia Li Crasti

Planned for release in 2027, the anthology feature film Dark Horses is set to redefine the boundaries of the drama genre. The animated project features five stories set in different times and places, exploring the extreme and hidden emotions that lead tormented souls to personal rebellion.

Dark Horses is an ambitious project that highlights IBRIDO Studio’s (IT) extensive expertise in animation development and training. Its journey began in 2020. The project was presented at the CEE Animation Forum in November 2022 and later pitched in its in-concept stage during Cartoon Movie 2024, Europe’s premier animation market for feature films. Recently, it has been supported by Ciclic for development, and in March, Federico Turani, the Italian producer, attends the ACE Animation program.

At its heart, Dark Horses is a choral narrative of human existence, delving into the depths of personal turmoil, where the horse acts as a driving force of transformation, guiding characters to confront their limits and challenge psychological, relational, or social constraints.

The first chapter, Scarpe, with Salvatore Centoducati as the director, is set in a world suspended between past and future, where a young man grieving the death of his mother embarks on a quest for a land “where no one ever dies”, with a horse

as his only companion, just to realize the importance of embracing pain and loss.

In Dorian, directed by Linda Kelvink, the talented showjumping champion Nina is trapped in a toxic marriage. She finds a kindred spirit in a wild horse, leading her to confront her feeling of vengeance, and finally seek liberation.

The third chapter, Rosaspina, with the direction of Francesco Forti, introduces a love turned into hatred: the main character, Greta, is consumed by bitterness after years of waiting for her beloved’s return, and she transforms into a ruthless woman

Still from Rosaspina

seeking revenge and independence in a life of crime and turmoil – with the horse as the last token of his love for her. Robins, helmed by Massimo Ottoni, is set in Italy during fascism: Lidia and Emma share an ambiguous friendship, but confront the harsh reality of their time when they experience intolerance and violence from their classmates, leading to the death of an innocent horse.

Lastly, in Amigdala, directed by Victoria Musci, the lovers Ara and Ido are temporarily torn apart, in a prehistoric era when war rages between tribes. Through taming and riding a wild horse, they learn how to control their deepest emotions and understand whether to stay together or take separate paths.

Dark Horses boasts a cast of compelling and deeply resonant characters, thanks to the ingenious use of the horse as an externalization of their feelings, allowing the audience to connect with them on a deeper level.

The feature employs a diverse range of animation techniques, including 2D, 3D, stop motion, and oil painting and is set to create a visually stunning and emotionally resonant experience for young adult and adult audiences.

In a development stage of production, Dark Horses results from the outstanding collaborative effort from IBRIDO with Sultana Films (ES), producer of Sultana’s Dream, selected at

About IBRIDO Studio

Annecy 24, and Polish studio Breakthru Films (PL), producer of the  Oscar-nominee  Loving Vincent and the Annie Award nominee The Peasants

The collaboration between the three Studios will deal with the realization of the five chapters, drawing from the experience of Breakthru Films for the oil-painted chapter Amigdala and mixing it with the vibrant skillset of Sultana Films.

IBRIDO is an independent, award-winning animation studio that has been creating 2D, 3D, and stop-motion animations since 2016. They are currently co-producing the children’s TV show Anselmo Wannabe with Portugal, which has been acquired by RAI and RTP. Additionally, they are collaborating with Argentina on the VR series Città Dolente, developed through Biennale College VR. In 2023, IBRIDO completed an animated documentary TV special titled Tufo, which was screened at the Annecy International Animation Film Festival. In addition to Dark Horses, they are also in the process of developing a feature film titled Riamise, which targets a teen audience and received support from the CEE workshop. The focus of IBRIDO is to co-produce with international partners while building up an Italian network, sharing art and culture, growing both as a company and as human beings.

Still from Robins

Still from Dorian

MAGIC LIGHT PICTURES

A Journey of Enchanting Animation

Independent film and television production company Magic Light Pictures has been producing high-end, enchanting films for more than 20 years, mostly based on Julia Donaldson and Axel Scheffler books. Their award-winning animation productions captured the hearts of families worldwide – as well as gaining strong recognition in the industry.

The Gruffalo

From milestones…

Magic Light Pictures’ half-hour specials have become a beloved tradition for children and families on Christmas Day. This delightful appointment began in 2009 with a heartwarming adaptation of the cherished children’s classic, The Gruffalo. The collaboration between the London-based production studio and the renowned duo Donaldson and Scheffler premiered on BBC One and quickly gained immense popularity.

Now their specials are a cherished part of the BBC’s festive schedule, with an eagerly awaited new production each year along with the reshowing of many of Magic Light’s other favourites across the holiday. The latest hit, Tiddler – the story of a little fish with a big imagination – was the ninth most watched show on UK TV on Christmas Day with an audience share of 45%, with consolidated viewing figures of around eight million. And last year’s special, Tabby McTat, became their latest award-winner with an International Emmy for Best Kids Animation (Magic Light’s fifth Emmy in this category).

The enduring success of Magic Light’s specials reveals the incredible attention and creative care of the company for their production. Their approach prioritizes the essence of each book, starting from the selection of the right titles, under the expertise of the company’s co-founders and CEOs Michael Rose and Martin Pope.

Thanks to the combination of funding commitment from major partners – including the BBC and ZDF – as well as

Tiddler

strong sales worldwide and distribution channels maximizing audience reach and revenues, Magic Light Pictures relies on a robust ancillary licensing programme for many of its titles, thus managing to invest in new, promising content despite the growing animation production costs.

…to brand-new plans for the future

Magic Light has announced that another special, yet to be named, is on its way for Christmas 2025, and the company is also diversifying into other projects.

Their hit Pip and Posy – a delightful preschool series inspired by Axel Scheffler’s books and one of the most-watched shows on Milkshake! and Sky Kids – is now on its second season, and it has also spawned a spin-off series exclusive to Sky Kids: Pip and Posy Let’s Learn

Following that success, another series is currently in production, featuring lovable dragon Zog – who has already appeared in two of the company’s festive specials. The 52 x 11’ series, made for the BBC and ZDF and distributed by BBC Studios Kids & Family in all territories apart from the UK and Germany, marks a notable year for the fiery little favourite, which celebrates its 15th anniversary this year. A programme of special activities has been set for the occasion – including the majestic setting of Warwick Castle, where the magical world of Zog will be fired up with scaly fun and roaring character appearances.

Furtherly diversifying its portfolio, Magic Light recently produced a critically acclaimed adaptation of The Velveteen Rabbit, Margery Williams’ classic children’s story, for Apple TV+. The 40-minute film, a clever blend of live action and animation, has been nominated for six Children’s and Family Emmys.

Magic Light Pictures demonstrates an outstanding ability to adapt to the evolving media landscape by exploring different production strategies. Their structure, which combines a relatively small size with significant experience, enables

“The enduring success of Magic Light’s specials reveals the incredible attention and creative care of the company for their production”

them to stay aware of industry shifts and respond quickly to potential opportunities. While industry trends will inevitably change, Magic Light Pictures aims to maintain a consistent level of quality in its productions, emphasizing engaging narratives and relatable characters.

Tabby McTat

The Velveteen Rabbit

CARTOON MOVIE

Showcasing Creativity

by Serena Previderè

Cartoon Movie is the key pitching event connecting producers, investors, and distributors in the feature-lenght European animation industry. It provides a unique opportunity to showcase projects at various stages, increasing chances for securing financing and distribution. The European Animation Journal has encouraged participants to present their projects and share insights into the deeper themes they explore. Here’s a curated selection.

A total of 55 projects from 16 different countries have been selected to represent the creative diversity of European animation at Cartoon Movie, held from March 4-6 in Bordeaux, a vibrant center for animation and gaming in France’s Nouvelle-Aquitaine region.

Following the international success of Flow by Gints Zilbalodis, Latvia is poised to make its mark on the global stage with a dedicated Spotlight. Latvian artists are recognized for their diverse animation styles, which include 2D animation, puppetry, and claymation. Their work often explores profound themes such as strong female characters and the investigation of personal and collective memories.

Transformation, Identity and Self-Acceptance

Stories often reflect intense struggles against oppression, whether due to societal constraints, personal loss, or trauma, showcasing the resilience of the human spirit. These narratives embody the universal pursuit of freedom from physical, emotional, or societal burdens.

Director Kajsa Næss grew up with a father who protected a significant hidden secret for most of his life that deeply affected both his personality and their relationship. So, How to

Deal with Shattering Geists is about children who are trapped into silence, those burdened by secrets that everyone knows yet no one addresses. Joachim Mafaye’s grief and denial profoundly shape Henry’s life, compelling him to modify his behavior to support his father’s emotional state.

The filmmaker holds a profound appreciation for animated films that artfully blend magic with realism. Their goal is to merge traditional animation techniques with engaging storytelling, utilizing 3D tools to illustrate the winds, which will be a character in the film. Drawing inspiration from Japanese anime, the filmmaker aims for fluid and imaginative camera movements, dramatic transitions, and a versatile design style, all enhanced by a remarkable use of color that evokes deep emotions and fosters connection through elegant, simplistic designs.

Currently in the writing and development phase, All the Softness in the World  (100’), set in Istanbul during the 1950s, focuses on the Hakimian family, who raise their male child Levon as a girl to protect him from a dark family curse, leaving him unaware of his male birth. The film, which uniquely blends traditional oil painting animation with 3D techniques, is produced by Les Valseurs (France).

All the Softness in the World

Against the rules stands Bergeronnette (90’), directed by Lucrèce Andreae and produced by Miyu Productions. The story is about young Pierre, who aspires to follow in his father’s footsteps as a shepherd. In a world where traditional norms dictate a serious conduct, Pierre’s free spirit leads him to bond with the eccentric (and magic) Rita, who challenges societal norms, encouraging a celebration of individuality and transformation.

Magic is also behind The Babirusa (70’), adapted from Pierre Fournier’s book. The feature, which follows young Jules as

From Cartoon Movie to Cinemas. ARF

Pitched at Cartoon Movie in 2022, ARF is now on the big screen!

Directed by Simona Cornacchia e Anna Russo, the film has come to life by Genoma Films in partnership with Margutta Studio, Panebarco, ShowLab, and Digitoonz. ARF follows the journey of a child who is abandoned at a young age and adopted by a dog, Bianca, who names the child ARF and raises him as if he were her own. ARF finds himself confined in a camp, but his cheerful spirit and playful nature never wane. The project’s addresses profound themes such as the bond between children and animals, maternal instincts, affection, as well as issues like separation, diversity, confinement, and the suffering of children enduring war. These themes are presented through a distinct perspective: that of a dog.

Bergeronnette

he seeks the mythical Giant Babirusa to help his sick friend, emphasizes the healing power of friendship. Directed by Gabriel Hénot-Lefèvre, it is produced by Tchack and Araprod (France). Carnivaland: Fortune and the Secret of the Traveling Fair (90’) is the first written, directed and animated film by Daniel Villanueva. It introduces Fortuna, an orphan with extraordinary powers, who must break a curse plaguing a traveling fair. This adventure highlights her journey towards self-acceptance and connection with her past.

Meanwhile, in the deep seas, The Axolotls (80’) features Axl, an axolotl facing pollution and feeling neglected. When he runs away and finds himself in danger, the story reveals resilience and the importance of community. Directed by Filip Pošivač, this film is a collaboration between Czechia (Bionaut) and Norway (Fenomen).

IDENTITY CARD

Black Wolf (80’) directed by Raf Wathion

Target: adults and young adults

Genre: nature drama

Animation: 3D CGI

Production Companies: Czar Film (Belgium) / Special Touch Studios (France) / Baldr Film (Netherlands)

Contribution from The Flemish Audiovisual Fund (VAF) and the Creative Europe Programme

A young black wolf at the bottom of the pack hierarchy, evades confrontation and lives on the efforts of others. With his charm winning over the she-wolves, he becomes a source of irritation for the alpha wolves. As he matures, he must navigate survival in a world that is often brutal, ultimately losing his family along the journey. Attracted by new females, he finds a position in a different pack, facing the dominance of a new alpha male. It is only later in life that the Black Wolf steps up to defend more than just himself.

The behaviors depicted in the film are grounded in the real-life actions of wolves, showcasing their harsh and often heartbreaking struggles for survival.

The Axolotls

Families

Inspired by personal anecdotes about the filmmaker’s relationship with her father, My Dad the Truck captures the awkward dynamics between two characters, a father and a daughter, who are forced to live together and find their place in the world, despite not truly knowing each other. The film will feature scarce dialogue, with characters defined by their particular actions, placing them in the absurdity of the story’s universe and making them endear.

The film examines themes of self-discovery, the pursuit of desires, the succeedings and failings, and the sacrifices made in the journey of parenting and growing up. It also highlights the struggles faced by those fleeing rural life for the city, grappling with the challenges of adapting to a new and often unfriendly environment. Transitioning to the city from the countryside, in fact, can feel like arriving from another world. The characters possess physical features and characteristics depicted in a naïve style reminiscent of Chagall that is visually appealing, amusing, and lovable. The visual style focuses on the richness of painting on paper, as the filmmaker aims to preserve the traces of the hand, showcasing visible brushstrokes that contribute to the unique texture of handcrafted work.

The Dreamed Journey of AlphaTwo (75’), directed by Susanne Seidel, is currently in development, produced by Les Contes Modernes (France). It portrays AlphaTwo, who, after being left alone when soldiers force her journalist father Alpha to flee, embarks on a journey to find him, symbolizing resilience and hope.

Karmic Knot (100’) marks the third animated feature film by Latvian award-winning filmmaker Signe Baumane alongside celebrated My Love Affair With Marriage (2022) and Rocks In My Pockets (2014). Set for release in 2028 and produced by Studio Locomotive (Latvia) and The Marriage Project (US), the film follows a family in occupied Latvia from the 1970s to early 1990s as they navigate political upheaval. Blending drama, comedy, and horror, Baumane’s first foray into horror combines various animation techniques—stop motion, 2D, and CGI 3D. With eight central family members and 50 additional speaking characters, each portrayed in unique visual styles, the film targets young adults and features both seasoned actors and emerging talent.

A Wolf’s Journey to Truly Become a Wolf Black Wolf is inspired by the real-life story of wolf 302M, known as Black Wolf, from his tagging by humans until his death, making him one of the longest-lived wolves in the Yellowstone area.

IDENTITY CARD

My Dad the Truck (80’) directed by María Cristina Pérez

Target: families

Genre: drama-comedy, adventure, comingof-age

Animation: 2D oil paint

Production Companies: Sultana Films (Spain), Sacreblue (France), Pez Dorado (Colombia)

Bonifacio is a clumsy and stubborn countryman having a carefree life in his farm with his 6-year-old daughter Hilda and their beloved pet pig, Tulipán. When a devastating flood destroys everything, Bonifacio faces the challenges of single fatherhood and survival. Determined to bring light to their humble lives, he embarks on a journey to the city with Hilda and Tulipán, pursuing the dream of becoming a truck driver. However, a series of misadventures leads them down separate paths, revealing Bonifacio’s true calling: being a dad.

Framed as an adventure filled with misadventures, the film provides a girl’s perspective, even though the father is the main character.

The Dreamed Journey of AlphaTwo

Rather than relying on an analytic perspective or the typical documentary film format, the film immerses the viewers in the intimate world of a wolf, without any voice-over commentary. The absence of human narration serves a powerful asset, allowing the emotional depth of the story to unfold solely through the journey of Black Wolf. Wolves communicate in ways that can be complex and puzzling for humans. However, their clear expressions—such as growling, howling, biting, and body language—convey feelings that are easily interpreted by the audience. As the story unfolds, viewers gradually learn to decode the nuances

of “being a wolf” and connect deeply with the emotions of the Black Wolf.

Employing CGI animation and a striking graphic impressionist style, the film portrays a wildlife tale set against the stunning backdrop of Yellowstone. Each wolf has a distinct graphic character for instant recognition, achieved by using a variety of natural fur colors and unique markings. The visual design also emphasizes differences in body shape, adding a ‘comic’ touch to their portrayal, which reflects their personalities. In this touching animated film, the gritty reality of wildlife is destined to captivate the audience.

IDENTITY CARD

Zako (85’)

directed by Tigran Arakelyan, based on a true story and the graphic novel by Tigran Mangasaryan

Target: young adults and adults

Genre: historical drama

Animation: 3D (Quill, Blender)

Production Companies: OnOff Studio (Armenia), Sacrebleu (France)

Zako tells the story of Sargis Mangasaryan, an Armenian painter who endured the horrors of military camps, surviving by creating portraits of his captors. In 1956, while standing in front of Picasso’s Guernica, he recognized the depth he had missed in his own artistic expression, which had been restricted by war and later by the grip of the Soviet regime.

The film offers a refreshing perspective on the war film genre - it prompts viewers to consider how an artist is shaped and constrained by the backdrop of conflict and the repercussions this has on their creativity and career.

The Power of Imagination and Storytelling Roya, an 11-year-old girl with a disability, dreams of fitting in with her peers. When her beloved cat Truffles disappears, she must confront her greatest fears on a thrilling journey through a realm of dreams and nightmares. Along her path, she meets Valentino, a black sheep who helps her navigate this whimsical world, empowering her to find courage and solve the mystery of Truffles’ disappearance. Valentino (82’), a collaborative effort between Germany (Zooper Film) and Sweden (Sideways Studios), is an enchanting adventure that allows Roya to see the events from various viewpoints,

mixing fantastical settings with deep symbolism. Directed by Samir Arabzadeh, Valentino delves into themes of fear, self-acceptance, and inclusion, highlighting a strong female protagonist.

Another tough character is behind The Perfect Story (89’), a captivating adventure film co-written and directed by Nathalie Pochat Le Roy and Luca Valente, produced by Cheyenne Federation. Set on the magical Island of Écrin, the villagers thrive on the stories found within books. Their peace is disrupted by a fire-breathing Shadow that consumes their

IDENTITY CARD

How to Deal with Shattering Geist (90’) directed by Kajsa Næss

Target: children 7-11 y.o., families

Genre: road movie, coming-of-age story

Animation: 2D

Production Company: Mikrofilm AS (Norway)

Henry lives with his father, Joachim, after his mother left when he was young. They manage their lives by avoiding discussions about her, but whenever her name is mentioned, chaos erupts—a manifestation of unresolved grief tied to Henry’s mother, a shattering geist. Following a tragic incident at school, Henry realizes he must face this reality.

In this narrative, the children take on responsibility, while the adults prefer to maintain a silent status quo.

Valentino

tales. Legend says only the Perfect Story can defeat it. The story follows spirited Louise, whose mother fell victim to the Shadow. Facing expulsion to boarding school, she decides to confront the monster with the help of clever Edouard and his brave sister, Juliette.

IDENTITY CARD

Treasure Island (85’)

directed by Vincent Paronnaud and Alexis Ducord

Target: 7-12 y.o., family audience

Genre: adventure

Animation: 2D/3D

Production Company: JeSuisBienContent (France)

Talking about books, Treasure Island is a timeless classic that continues to engage audiences. By shifting its setting to the 1950s, Paronnaud’s script brings a modern twist to the tale, and opens up new narrative possibilities while still exploring themes of loyalty and betrayal within a realm rich with

In the 1950s, a 13-year-old named Jim Hawkins discovers a map that reveals the location of a legendary treasure belonging to the infamous Corporal Flint, a dangerous US Navy deserter. Alongside Mr. Trelawney and Dr. Livesey, Jim embarks on a journey from Macau aboard the Hispaniola. Here, they encounter a mysterious one-legged cook named Jane Silver.

The Perfect Story

suspense, adventure, and mystery. Capturing the nostalgic feel of the post-war era and incorporating cinematic influences like Spielberg’s Indiana Jones, this adaptation introduces Jane Silver, a female version of the iconic pirate Long John Silver, creating a compelling new dynamic with young hero Jim Hawkins. The treasure, once linked to Captain Flint, is now reimagined as hidden loot from the Nazis.

From books to ancient stories, in Mikisoq (80’) 13-year-old Mikisoq’s life in a small Inuit village changes dramatically when ancient spirits awaken after the arrival of a team of explorers. Joining forces with Michelle, the lead scientist’s daughter, they confront her father, now a vessel for a dark spirit. Directed by Mette Rank Tange, the film is developed by Danish Fleng Entertainment, Nordic Drama Queens, and Mandoverbord. Different spirits and demons are summoned in Mu Yi and the Handsome General (90’). Set in a Chinese community where men have been banished, the Festival of the Dead inadvertently awakens a mischievous spirit during a theatrical performance. This event intertwines the village’s fate with its ancestral history, exploring themes of belonging. The film is directed by Julien Chheng and developed by Studio LaChachette (France).

Lou and The Glacier’s Secret (80’), directed by Sam and Fred Guillaume, is a Switzerland-France-Belgium co-production (Ciné 3D - Gao Shan Pictures - Need Production) featuring the story of Lou, a 12-year-old goat. After a storm sweeps her mother, Zoé, away, Lou sets off on a quest to find her. Along the way, she befriends a mysterious creature who unveils the secrets of the mountains and the world of Spirits. Through this journey, Lou transforms into the new storyteller, ready to uphold her mother’s traditions. The film uniquely combines 3D animation with real landscapes of the Swiss Alps, using clay character sculpting and digital photogrammetry for a distinctive visual style.

Mu Yi and the Handsome General

From spirits to mythology, in the action-comedy Huginn & Muninn (90’) Odin’s ravens are exiled from Asgard and seek Thor’s hammer to return home. Meanwhile, the vengeful Jotuns, led by Mime, also aim to steal the hammer for revenge. Distancing from simplified portrayal of Nordic myths operated by cinematic experiences in popular culture over the past decade, this project aims to return to the essence of mythology, infused with authentic sensibilities and captivating visuals. The feature is directed by Will Ashurst and produced by Fenoment (Norway) and Bionaut (Czechia).

From Colorful Dreams to Harsh Realities: Unveiling the Brutality of War

The theme of inheriting history profoundly impacts characters as they navigate life. It reveals a complex mix of emotions, challenges, and insights, demonstrating how people wrestle with the pressures of their past and the burden of unaddressed conflicts forces characters to confront their own identities.

Les Films d’Ici Méditerranée and Tchack are co-producing Désert (80’), directed and designed by Aurel. Set in 1889, the narrative centers on Rahimé Valladier, who arrives in France as part of Buffalo Bill’s Wild West Show for the Paris World Fair. Throughout his journey, he seeks the Holy Spirit, a legendary treasure said to be left by his ancestors. This story highlights the challenges faced by the Cévennes people and their efforts to maintain their cultural identity in the face of significant changes, particularly concerning Occitan culture and language.

In 1933, anti-colonialist writer Anton de Kom returns to Suriname, only to be brutally imprisoned. While in jail, he discovers a gateway to a mythological rainforest, where he must embark on a life-threatening journey to find the inner strength needed to help his people. Faya (90’), currently in development, is a collaboration between the Netherlands (Submarine Animation) and France (Special Touch Studios), directed by Patrick Chin.

Director Tigran Arakelyan met Tigran Mangasaryan during their studies. Mangasaryan is the son of artist Sarkis Mangasaryan, nicknamed Zako, who endured imprisonment in various camps during World War II. Observing him reconstruct his father’s story through portraits of real-life characters marked a significant stage in the director’s artistic development and in reflection of Zako. On a more personal level, this story resonated also with Arakelyan’s own experiences during the war between Armenia and Azerbaijan in 2020, which necessitated a shift from using a pencil to wielding a rifle, intensifying his connection to Zako’s story. By accurately depicting various German and Soviet camps, the film acquires a documentary dimension. However, Zako is also a poignant testament to the long-lasting destructive impact of war. The film addresses universal themes that transcend borders—isolation, grief, shattered dreams, and various forms of oppression. In the midst of these struggles, Zako emerges as a symbol of hope and resilience.

The project utilises cutting-edge technologies, employing

Désert

IDENTITY CARD

The Northern Star (72’) written and directed by Kārlis Vītols

Target: 6+, family audience

virtual reality headsets (QUILL software) for character and set creation, along with traditional CG rendering methods, drawing inspiration from the graphic novel by Tigran Mangasaryan. Mangasaryan will serve as the art director for the project, ensuring a seamless transition from page to screen.

Set against the historical backdrop of the 1967 Six-Day War, Uncle Jo’s Cabin (80’) follows Lili, a 9-year-old girl, and her mother as they flee Tunisia for safety in an apartment in SaintDenis where they are welcomed by Uncle Jo’s family. As Lili struggles to adapt to her new environment, a significant twist occurs when Uncle Jo mysteriously disappears. The film, directed by Maud Garnier and Marc Robinet and produced by Offshore and Folimage, employs rotoscoping as its unique animation technique.

Genre: 18th-Century road movie, adventure comedy

Animation: 2D cut-out

Production Companies: Studija Kokles (Latvia) / Tchack (France)

Planned to be delivered in 2026.

The Northern Star is a coming-of-age story centered on 15-year-old Nikolaus von Himsel, a member of the Baltic German aristocracy in the 18th century. Accompanied by his tutor Georg, Nikolaus embarks on a Grand Tour of Europe to collect rare artifacts symbolizing his social status. However, his curiosity leads him off the prescribed path, where he meets various individuals who challenge his views. A pivotal encounter with Maria, a girl disguised as a boy, teaches him to embrace the uniqueness of others and cultivates his humility. This transformative journey drives Nikolaus to prioritize the broader needs of science and humanity over personal ambition.

The feature is based on the historical figure of Nicolas von Himsel (1729-1764), a doctor, bibliophile, and collector whose travels across Europe resulted, after his death, in the establishment of the first-ever museum in the Baltic states.

The film’s aesthetics draw inspiration from 18th-century storytelling methods, including magic lanterns, shadow theaters, and oil paintings.

Uncle Jo’s Cabin

MEDIAWAN KIDS & FAMILY

Original Creations and Proactive Policies for Future Projects

by Kévin Giraud

With more than eighty production companies under its wing, Mediawan is one of the strongest European studios. But how does Mediawan Kids & Family - the division of Mediawan dedicated to the production and distribution of children and family content - face the current challenges of a shifting market? Following a panel at Cartoon Business last November, Julien Borde, President of the powerhouse, spoke with us about his plans to look beyond doom and gloom.

How do you stay optimistic about the future of the animation sector today?

The current animation crisis is mainly linked to decline in orders for animated series from studios and streamers in the US. The Mediawan group is the leader in European animation with Mediawan Kids & Family and Miraculous Corp. We are lucky to work with loyal partners - public channels, commercial channels, streamers, who trust our talents and our projects.

© 2024 - Method Animation - Good Hero

Julien Borde © Nasser Berzane

Mediawan Kids & Family brings together 8 studios in Europe to imagine content that resonates with audiences’ desires. A content which has the potential to develop into major franchises that audiences can enjoy in their daily lives across all media platforms worldwide. Animation now serves all genres of content and all narratives and boosted by AI and the creator economy, is at the center of the game.

How does Mediawan balance its editorial strategy between existing IPs and new content?

We often contrast evergreen IPs born from strong franchises and heritage works with original creations, whereas, in an editorial line up, they are essential to each other. Any powerful IP that has become a franchise began as an original idea which found partners who dared to believe in it! Original creations are more essential than ever. Our portfolio of projects in development consists of 80% of original projects that we incubate and develop aiming for them to evolve into strong franchises. We have approximately 10 projects underway - Artefacts, a new world created by Stéphane Berry (Somewhere Animation); Tales of the Miruu, a co-production between Method Animation and Good Hero; Taitikis, the new creation of Romuald, the author behind  PJMasks. At Kidscreen in San Diego, we have presented League of Light, a new universe created by one of our in-house talents, Jesse Cleverly (Wildseed Studio). We are also producing an original IP for  France TV  and the  BBC,  Tuff Pom, and another one for  TF1  and  Super RTL,  Witch Detectives. On the animated feature side, we have original projects whose production will start this year.

How are digital, cross-media and transmedia strategies implemented in Mediawan’s approach?

Digital is at the heart of the group’s strategy. Both in the exploitation of our series and catalogs in B2C on YouTube or through AVOD, but also in the active search for new projects and new talents. The Miraculous franchise is the best example of a series that has been able to develop on all media (Roblox,

“We often contrast evergreen IPs born from strong franchises and heritage works with original creations, whereas, in an editorial line up, they are essential to each other. Any powerful IP that has become a franchise began as an original idea which found partners who dared to believe in it! Original creations are more essential than ever.”

YouTube, TikTok). It now boasts 17 official YouTube channels, 43 billion views on YouTube and nearly 40 million subscribers. We are developing new digital first IPs which will be presented at Annecy this year. Our first podcast about the series The Three Musketeers, recorded at Mediawan following the launch of its new podcast studio, is expected to be released in the spring. Animation is intrinsically multimedia, and kids are connecting with franchises on a cross-media basis, be it through TV, Gaming, social media or podcasts.

What about AI?

We are convinced AI is a tool that brings interesting new technical and creative opportunities to the animation sector. To date, we use it mainly in the development phases, but we are also studying all the innovations making it possible to simplify and accelerate manufacturing. We do this internally but also with our partner studios and new market players. AI will boost the capacity of talents in the creator economy to create and produce, and we must take inspiration from this movement and contribute to it by bringing our know-how and imagining partnerships and alliances with new players in the sector.

How do you see the future of the sector in France but also in Europe?

France is at the center of independent animation production thanks to talents, producers, broadcasters and an exceptional regulatory framework. We are at a critical moment where this framework must be adapted to fully take into consideration the evolution of uses and the globalization of content. Europe is an exceptional creative breeding ground and animation is an extraordinary soft power tool. More than ever, French and European public authorities must be proactive in supporting an industry that faces increased competition and accelerated technological developments. Partnerships between producers from different countries on ambitious coproductions and those stimulated by European public services and local or international private players, are decisive for the European audiovisual landscape to keep it an important place in global production.

© 2024 - Somewhere Animation

© 2024 - Miraculous Corp.

FRANCE TÉLÉVISIONS

Unity in Strength: the Future of Linear Broadcast in Europe

by Kévin Giraud

How can linear broadcasters weather the storm in this changeable and shrinking marketplace? That was the main question asked last November at Cartoon Business to a panel of European broadcasters from Belgium, Slovakia, France and Germany. Representing France Télévisions was Pierre Siracusa, Head of Animation & Young Audience.

After more than two decades at France Télévisions (FTV), Siracusa has witnessed - and survived - many storms. For him, deconstructing may not be the best way to go forward in today’s context. And while he acknowledges the specificity of the French market, Siracusa also underlines that linear broadcasting is first and foremost about caring about your audience and understanding them, and about always choosing quality over quantity.

Pierre Siracusa

Les Grande Grande Vacances

Last November, you took part in Cartoon Business in Brussels, an event held under the motto: deconstruct and reinvent. How is this philosophy being applied today at France Télévisions?

Right now, it’s not exactly our angle. We acknowledge that it’s important to find solutions, at a moment where several historical players have drastically reduced their investments. But as a historical broadcaster, FTV is reinforcing its position and increasing its investments. Currently the group’s priority is an audience under 30, and within this target group, the children are the biggest share. Creating content for them is planting seeds to win back teenagers and young adults in the long term, so at the moment we are not in a deconstruction process at all. On the French market, despite the presence of many talented producers and a solid financing system, we have faced an exceptional crisis for the past two years. I believe it’s more about reinforcing our partnerships - understanding the needs and constraints of each partner, and collaborating among European public broadcasters to meet the challenges posed by the private sector’s defections.

As a linear broadcaster, you’ve mentioned that you are more interested in curating content: quality over quantity?

Definitely, but it’s more than that. Our credibility lies in developing programs that match the age and needs of our audience. I firmly believe that the young audience isn’t just a single group, but many segments, from preschoolers to older children. Each audience deserves its content, as we want to support them in their daily challenges. At FTV, we consider every aspect of these different audiences. While many private companies go for the lowest common denominator, we choose to segment our offer. Every program aimed at these young viewers has to be tailored on them, crafted with ambition and understanding of their needs. With our experience, we know that we are often the first encounter with cultural content for many viewers. We embrace this responsibility and are committed to deliver high-quality educational and entertaining content. Over the years, we’ve adjusted our offering to first respond to the limitations of a linear programming that favored stand-alone content. Then, we moved to explore the exciting prospects of the digital space by reintroducing serialized programs, offering the possibility of developing more complex narratives.

“I firmly believe that the young audience isn’t just a single group, but many segments, from preschoolers to older children.“

How does a historical linear broadcaster such as FTV envisions the digital age and reaching young audiences through new media?

Simply by acknowledging that “digital” isn’t our enemy. The digital is now part of a reasoned, responsible and ambitious vision of public broadcasting. More than ever, we base our curation and editorial process on strong projects and shows that are close to our hearts. We consider digital not just as a tool of distribution, marketing or promotion, but also as a way to create additional content and address other needs. This is something we developed further with our Lumni* project where a digital approach allowed us to provide educational complements to topics tackled in our shows.

What are your thoughts on what awaits linear broadcasters in the future?

I’m very confident in the future. As I already mentioned, serial content was considered dead by the industry, and we’ve managed – with the help of the digital media – to thrive with such programs in recent years. I’m very happy that shows such as Les Grandes Grandes Vacances still draw a huge audience each year since its first airing, and I’m confident that we still need to propose ambitious productions. Children care, and they are quicker than parents to notice a program they like. One of our biggest challenges remains getting parents interested in what their children are watching, and this is something we’ll continue to focus on.

*Lumni is a platform created by Arte, France Médias Monde, France Télévisions, INA, Radio France and TV5Monde providing audiovisual educational material for both children and teachers in France.

QVISTEN ANIMATION

The Past, Present and Future of Qvisten Animation

by Kévin Giraud

In the wake of the Norwegian premiere of Spermaggedon, Qvisten’s latest - and boldestfeature set to be released in 2025 in several European territories, we spoke with director and co-founder Rasmus A. Siversten, Creative Director, and Raymond Kreppene, Chief Technology Officer at Qvisten Animation, about the past, present and future of the studio.

During the celebration of their 30th anniversary, Norwegian production house Qvisten unveiled plans for the future. A bright future of technological innovations and ambitious feature film projects while staying true to the elements that have defined their success: strong characters, epic stories and smart budgets.

Qvisten is celebrating 30 years. How did it all begin? It all started in a small attic in 1994. The main source of income was selling boiled and skinned cow-skulls to tex-mex restaurants, dreaming of making an animated feature film one day. Back in the early ’90s, 2D-animation and stop-motion were the only ways to make animation, and we had two small departments handling each technique.

How has the studio evolved since then?

The first big milestone was to go from a hand-craft pipeline that did mostly commercials, shorts and music videos to a full CGI feature film pipeline around 2005. In 2008 we delivered our first CGI feature as co-producer. In 2013 we made the first stop-motion feature in Norway in over forty years, Louis & Luca and The Snow Machine. Even though we had built up a simple

but working CGI pipeline, we decided to do this film the oldfashioned way, as full stop-motion. It was an extremely hard production, but it paid off. Louis & Luca became the most seen movie in Norway that year and still is the most seen movie in Norwegian cinemas in the last 20 years.

The other milestone was in 2014 when we transitioned from mostly doing work for hire and co-producing to become main producer, hiring producers and financing our own films. Since then, we’ve focused on acquiring IPs and developing our own films. We’ve now made 25 animated feature films, and most of them are based on famous IPs. In 2022 our very first original saw the light of day: Just Super, a superhero movie based on an original Qvisten idea and an original script.

With very small budgets, you produce quality animation, widely appreciated by Nordic and international audiences. What would you improve if you had Pixar-like resources for the next feature?

The first thing we would do is to give more time to the animatic process. We usually spend 9 months creating the animatic that go into production. With bigger films we would like to extend that time to 14-16 months at least. The process

Behind the scenes of “Three Robbers and a Lion”

includes several script rewrites and many iterations of the storytelling. Then, we would like to give each artist more time to refine their shot or asset. More time to work on the small details that you don’t necessarily see right away but contribute to the overall quality of the production at every stage.

What technologies are you currently exploring?

We recently invested in building an OpenUSD-based pipeline and we are a member of the OpenUSD alliance. We’re confident that the foundation we’re building can support much larger productions. This has been at the forefront of our minds while rebuilding our pipeline and is a key part of our long-term strategy as we continue to expand our workforce. Going back a few years, Qvisten was much smaller, and working in teams was very natural. It’s important to maintain this collaborative approach even as the studio grows, and this aspect is almost as important as the techniques we are experimenting with.

We also started a project called AI-driven Multiformat universe (AIM), an exciting research taskforce to explore ways to gain insights into our target audiences. Disney and Netflix, for example, use algorithms and large datasets to help their content creation decisions. Our AIM project hopefully can provide us with valuable information and data to develop projects that are more effectively targeted to our audience.

Most animation companies co-produce feature films, yet you do almost everything in-house. On early experiences, we found that co-producing with many different studios in different countries introduced additional

costs. It’s also very easy to get into a “us and them” situation, since a lot of the work is split into parts, and nobody wants to be blamed if the parts suddenly don’t fit together. So, our strategy has been to build a dedicated team that has been with us for years, collaborating effectively to produce highquality work efficiently.

However, to expand and showcase our features beyond the Scandinavian market, collaboration is essential. We will continue to work on some productions entirely in-house, but we will partner with other studios for those projects we believe will appeal to an international audience. We’re now working on an Unreal Engine feature film project in collaboration with Stiller Studios in Stockholm. We’ve already done smaller Unreal projects, but we’re excited to see how this approach fits with a larger scale.

Spermageddon

Three Robbers and a Lion

Captain Sabertooth and the Countess of Grel

ANIMAR_BCN

Advancing Sustainability in Animation

by Sofia Li Crasti

Animar_BCN, the annual forum for European Animation, marked its third edition in November 2024. Its working group, formed by animation experts and chaired by the Animation in Europe board, delved into four discussion topics – Legal Framework for European Animation AV Works, Fostering European Animation Coproductions, AI&Animation, Green Animation – seeking to encourage transformative policy initiatives. The European Animation Journal will share the results of Animar’s report in the upcoming issues, starting with a focus on Green Animation in this one.

Animar_BCN 2024 established a working group dedicated to fostering a transformation towards sustainable practices within the Animation Industry and lay the groundwork for European standards. As the world grapples with an escalating environmental crisis, the group’s aim is to respond to the urge for creative sectors to re-evaluate their production methodologies. Co-chaired by Carlota Guerrero from the Catalan Institute for Cultural Companies and Dirk Beinhold, Vice-Chairman of Animation in Europe, with a strong support from experts in the field, including Alissa Aubenque and Adrien Roche from Ecoprod, the working group comprised a diverse range of participants from across Europe with varied backgrounds and expertise. Among them, industry leaders like Ronan McCabe from Animation Ireland and Mirjam Mikk from

Existing tools: Ecoprod’s Green Guide for Animation and Carbon Footprint Calculators

The fragmentation of tools and regulations in the live-action film industry poses challenges observed in animation as well. However, the opportunity for collaboration can lead to improved sustainability practices. Ecoprod’s Green Guide for Animation in France provides tailored sustainable practices for studios. While primarily national in scope, this guide illustrates how establishing unified standards can lead to enhanced sustainability initiatives across borders. International efforts, such as those being developed by Ecoprod, Green Film, and other organizations, aim to create a global guide for sustainable animation, recognizing the shared responsibility of all stakeholders. Moreover, to effectively manage and reduce carbon footprints, accurate measurement is essential. Various CO2 calculators are available to analyze their emissions and identify areas for improvement but, so far, only one of them (Carbulator) has been designed for animation productions. One common tool will facilitate European coproductions while helping studios track scope emissions, enabling them to set actionable goals for reduction and make informed decisions about their sustainability practices.

the Estonian Film Institute, sharing valuable experience and insights, and green film advocates like Linnea Merzagora and Luca Ferrario, enhancing the focus on sustainable practices.

Proposed solutions to shared issues

The animation industry is facing the dual challenge of meeting increasing demand while addressing environmental

© Roser Gamonal, courtesy of ANIMAR_BCN

concerns. Existing green standards primarily focus on waste reduction and renewable energy, but often overlook the specific environmental challenges associated with digital workflows and production in animation. Animar’s dedicated group invested its efforts in encouraging practical solutions, achievable in a relatively short amount of time, to enhance sustainability within this creative sector.

One of the most critical steps towards sustainability is investing in energy-efficient equipment. The adoption of energy-efficient workstations, graphics cards, and rendering farms can yield substantial energy savings, enabling studios to improve production efficiency while achieving sustainability. For example, Pixar has now embraced energy-efficient servers that optimize power usage, reducing their carbon footprint. Moreover, studios can focus on their physical infrastructures, rehabilitating existing buildings and upgrading heating systems or cooling solutions. Transitioning to renewable heating options, such as heat pumps or biomass heating, can drastically reduce emissions. Aardman Animations has implemented extensive renovations, including improved insulation and green roofs, demonstrating how enhancing physical infrastructures can lead to a smaller environmental footprint.

As far as concerns production workflows, advancements in technology provide opportunities to minimize environmental impact. Real-time 3D technology, for instance, can significantly reduce time and needed resources: many studios have integrated tools that streamline animation workflows, such as cloud-based software for asset sharing and collaboration, speeding up production while reducing digital waste.

Also transportation from and to project locations represents a substantial source of emissions. To mitigate this impact, studios should prioritize virtual meetings and explore sustainable transport options, investing in high-quality video conferencing technology and reducing travel needs while maintaining strong communication, effectively employing virtual platforms for collaboration across global teams.

As the global movement towards sustainability gains momentum, embracing these practical solutions will not only benefit the planet but also contribute to a more efficient animation landscape. As demonstrated at Animar_BCN 2024, the path towards sustainability is attainable – and necessary – for the future of animation.

About Animar

Animar_BCN is an initiative of PROA (Federation of Audiovisual Producers) and ProAnimats with the support of the ICEX Trade and Investment the ICEC (Catalan Institute of Cultural Enterprises), the Ministry of Culture, the ICAA (Institute of Cinematography and Audiovisual Arts), the Barcelona City Council and Animation in Europe, as well as the collaboration of CEE Animation, DSAF!, European Animation Journal, Blanquerna-Ramon Llull University and DIBOOS

It serves as an annual forum where producers, policymakers, and other significant stakeholders convene to enhance the European animation industry and foster cooperation among various EU countries.

For any further info, visit: https://animarconvention.com/ and https://www.animationineurope.eu/

© Roser Gamonal, courtesy of ANIMAR_BCN

© Aitor Rodero, courtesy of ANIMAR_BCN

In times fraught with conflict and uncertainty, stories that highlight the resilience of the human spirit can resonate deeply. A Bear Named Wojtek tells the remarkable true story of Wojtek, an orphaned Syrian brown bear adopted by Polish soldiers during World War II, becoming a symbol of hope and fortitude amidst the chaos of war.

The film follows the bond between Wojtek and Polish Army soldier Piotr Prendys in a journey filled with adventure and tenderness, showcasing how Wojtek went from being a mere mascot to an enlisted soldier, famously carrying munitions during the Battle of Monte Cassino. Following the war, both Wojtek and Piotr find themselves as refugees in Scotland, mirroring the challenges faced during the post-WWII geopolitical reshuffling.

This half-hour animated special reflects not only the

ANIMATION GARDEN

Tales of Hope and Belonging

by Serena Previderè

The European Animation Journal spoke with Iain Gardner, director, animator, and founder of Animation Garden studio. Our discussion covered his recent award-winning project, A Bear Named Wojtek, his artistic vision, and what he has in store for the future.

experiences of the Polish people during a tumultuous period but also resonates with current themes of displacement and nationalism.

Why did you choose to tell Wojtek’s story? How did you ensure the historical accuracy?

In a weird way, Wojtek chose me to tell his story - I first learnt of the bear as a student sketching at Edinburgh Zoo and I seemed drawn to his former enclosure. And my current studio at Summerhall in Edinburgh used to be the University’s Veterinary School and it’s where Wojtek was brought for examination when he died. So, I’ve been aware of the bear for some years. But it was the dialogue around the UK’s Brexit Referendum in 2016 that focused the POV for me, as the language being used against communities within our society,

A Bear Named Wojtek

Iain Gardner

many descended from refugees who fought for our freedom during WWII, I found disagreeable.

I would say we honored the history, without necessarily being accurate to it – research included the Sikorski Institute in London where the original company diaries are archived, and details of Polish military hardware and insignia are kept. Much of the historical context we had to compress into metaphoric imagery to give the feeling of the realpolitik rather than outlining the complex detail.

Animals frequently appear in your stories: what fascinates you most about the relationships between humans and nature?

It’s the disconnect which motivates me – the fact that humanity keeps draining our planet’s resources without any apparent awareness on our dependence on the natural world for our own survival. I’m attracted to narratives where the animalistic is treated as a cultural signifier for human values and behavior – such as Wojtek, who came to represent hope and independence for Poland – or stories where we’ve misunderstood the delicate balance between mankind and the environment, such as in Akbar’s Cheetah

How would you describe your animation style?

I’d say my style is traditional hand drawn animation – I cut my teeth at the Richard Williams Animation studio, and it’s difficult to shake off that discipline.

I’m deeply inspired by the films of Frédéric Back, both in terms of his aesthetic and the messaging, and whilst Back’s animation is sumptuous, his characters move in a more poetic or balletic way which I like to lean towards. A highlight for me personally was for A Bear Named Wojtek to be screened alongside The Man Who Planted Trees and Crac! in celebration of Back’s Centenary at the Quebec City Film Festival.

A Bear Named Wojtek has gained international acclaim, recently winning the Best Animated Film award at the British

Animation Garden is a 2D hand-drawn animation studio in Edinburgh, Scotland, founded in 2016 by award-winning animator Iain Gardner. The studio specializes in bespoke handcrafted animation, providing services from concept design to final production. It is known for Mustard & Ketchup, an animated sitcom for 8+ featuring two gay badgers which promotes positive thinking. Gardner established the studio to nurture animation talent and collaborate on original projects while also offering commercial services. For further information visit https://animation-garden.com/

Short Film Awards. It has also received multiple nominations, including Best Special Production at the Annie Awards® and a spot on the Shortlist for Best Short Animation at the Academy Awards®. What’s next in Animation Garden’s pipeline?

We’re working on a new format for Mustard & Ketchup called Badger Beats and exploring co-productions with bigger fish. My ambition is to direct a feature film I’ve been nursing for about 30 years. I am currently negotiating the development option from the authors estate, so I can’t divulge the title in the moment. However, it’s the story of a pioneering conservationist who has made a positive impact on some of the world’s most endangered species. It’s akin to Capra’s It’s a Wonderful Life and aims to tell the story with humor and light heartedness. It’s about how an individual can make all the difference. A story of hope and kindness during dark times.

Akbar’s Cheetah

these

WOJTEK WAWSZCZYK

Diplodocus, from Polish Comic Books to Worldwide CG-Animated Film

by Kévin Giraud

As an animator, having your film premiere at Annecy can leave you in a whirlwind of emotions. This was true for director Wojtek Wawszczyk, whose first feature film Diplodocus received a positive welcome last June during the 2024 edition of the Annecy International Film Festival.

Diplodocus, Poland’s first hybrid CG animation/live-action family-targeting feature, is based on the 1980’s cult comic book series by Tadeusz Baranowski However, old-time fans and young novices alike will delight in this luscious and colorfully quirky adventure which pays tribute to Baranowski’s unique style while celebrating the power of imagination.

“The idea of adapting Diplodocus had been with me for many years”, says Wawszczyk. “I was reading them as a kid, and my very first drawings were attempts to copy the characters of these books. When I finally met the author, who’s almost 80 now, I told him that I wanted to grab some stuff from his comic books, and tell my own story. I asked him ‘are you OK with that’, and he said yes, and that was a very emotional moment for me. The project was put in motion in 2012. One year later, we pitched at Cartoon Movie, but then we had a lot of problems on the way.”

Wojtek Wawszczyk

In

pages: stills from “Diplodocus”

A project that took 12 years to develop isn’t that rare in the animation industry, yet Diplodocus faced its own unique challenges. As the first film to be done on that scale in Poland, Wawszczyk recalls that many investors frowned upon financing this endeavor. Production finally started in March 2020, only to be smacked by the pandemic, which added another layer of uncertainty, and stretched the process over four years before completion earlier last year.

Telling the story of a struggling artist, his relationship with his characters, and his longing for artistic freedom over market

Wawszczyk graduated from the Lodz Film School and Filmakademie in Ludwigsburg. He has created several award-winning short films and worked as an animator at Digital Domain in Los Angeles on projects like I, Robot and Aeon Flux. He directed cinematics for the Fight Club video game and was the lead animator on Lost Town of Switez. Codirecting the animated feature George the Hedgehog, he won the Grand Prix at SICAF in 2011. Since then, Wawszczyk has been affiliated with Human Film as a director and animation supervisor, directing nearly 200 commercials. He is also the author of Mr. Lightbulb, which won the Best Polish Comic Book award in 2018.

demands, Diplodocus mirrors beautifully the tribulations of its director. “I think every artist does what he does because he wants to prove that he is useful to the world. When you forget these roots, what you were inspired by in the first place, that’s when you lose your way.”

For Wawszczyk, Diplodocus is eventually a movie about art and imagination in all shapes and colors. A film that summons eccentric characters and forgotten memories in order to free children and adults alike from the pressure of the modern and normative world surrounding them every day. “Nowadays, it’s a courageous act to be authentic and stay true to yourself. So if you prefer to read books, walk in the forest or meet your weird friends, just do so. That’s what Diplodocus is about”.

Diplodocus is a Polish-Czech-Slovak co-production between Human Film (PL), PFX (CZ), TVP (PL) and Dayhey (SK). The film premiered in Poland on October 2, and has already been sold to more than 100 countries worldwide. International sales are handled by Gebeka International.

More info on https://www.diplo.film/

SILEX FILMS, ARTE FRANCE

The Legends of Paris: a French Masterpiece

by Lucas Fillon

French animated documentary series The Legends of Paris: A Tale of the 19th Century Artistic Scene, directed by Amélie Harrault and produced by Silex Films with Arte France, traces the paths of those who built French Romanticism, from Victor Hugo to George Sand. Fascinating and visually stunning, the TV show marks a turning point in the history of audiovisual programmes.

Written by

Amélie Harrault, Valérie Loiseleux and Céline Ronté

, and based on an original idea by Dan Franck, The Legends Of Paris: A Tale of the 19th Century Artistic Scene (4 x 52’) is one of the most outstanding French TV shows seen in recent years.

It tells the story of how young Alexandre Dumas, Victor Hugo, George Sand, Honoré de Balzac, Eugène Delacroix, Gustave Courbet, Hector Berlioz and others revolutionized literature, painting, and music through the creation of Romanticism. The

narrative follows their paths from 1827 to 1871. “We all know these artists individually. But when we look back at their history, we realize that they were of the same generation and socialized together in Paris. The series retraces this collective human, artistic and political adventure. In particular, they fought for freedom of expression”, explains Judith Nora, co-founder of Silex with Priscilla Bertin.

The show, suitable for viewers aged 11 and above, reveals fascinating stories and moments from that period. For

Amélie Harrault © Benoît Caurette

example, in 1827 Victor Hugo was deeply impressed by his friend Eugène Delacroix’s painting Mort de Sardanapale, which he regarded as a manifesto of Romanticism. Additionally, Hector Berlioz’s Symphonie fantastique, composed in 1830, was conceived as a declaration of love for the Irish actress Harriet Smithson. In 1838 Louis Desnoyer, the director of the newspaper Le Siècle, along with George Sand, Honoré de Balzac, Théophile Gautier, Alexandre Dumas, Victor Hugo, and others, founded La Société des Gens de Lettres to defend the rights of authors. Or Edouard Manet, who caused a scandal in 1863 with his painting Le Déjeuner sur l’herbe

Like a fictional series, the artists are treated as characters and have their own arcs, full of twists and turns. In the French version, the story is narrated by Belgian actress Cécile de France (Hereafter, The New Pope), who also lends her voice to the various artists. “By using a single voice, we wanted to give the story a tale dimension”, says Harrault. A total of 44 characters are portrayed, and 2,000 sets of Paris have been designed.

The Legends Of Paris was created in 2D digital format using TVPaint and Rebelle softwares. A variety of graphic techniques were used, including animated painting, engraving, and watercolour. This blend of style is Harrault’s trademark: “Ever since I started, I’ve loved playing with graphic breaks. It’s a way for me to engage the audience, encouraging them to look at things differently and to experience different sensations”. Additionally, the paintings featured on the screen are the originals; none have been reproduced or altered.

The entire project took eight years to complete, consisting of six years of writing and two years of manufacturing. The series was produced by Silex Animation, Silex Films’ Angoulême-based studio. Some of the coloring was done at Les Astronautes studio. Ninety people worked on the show, with an average age of 30 among the animation team. The budget for the production was €4 mln. It premiered on Arte’s arte.tv platform on December 14, 2024, and broadcast in prime time on the channel on December 21, 2024. The series is sold by Arte Distribution, Arte’s international sales arm.

Prior to The Legends Of Paris, Harrault and Silex Films worked together on The Adventurers of Modern Art (6 x 52’), which caused a sensation in 2015. This documentary series, directed by Harrault, Valérie Loiseleux, and Pauline Gaillard for Arte France, was scripted by Dan Franck and adapted from three of his books - Bohèmes (1998), Libertad! (2004) and Minuit

(2010). It focused on the lives of notable figures such as Picasso, Apollinaire, Matisse, and Modigliani. Unlike The Legends Of Paris, which is fully animated, The Adventurers of Modern Art incorporated archive footage, with animated sequences accounting for up to 40% of each episode.

The success of The Adventurers of Modern Art, which has been sold in over 40 countries by Arte Distribution, generated great expectations around The Legends Of Paris Nora highlights that the project has always been seen as unconventional. Joséphine Létang, Head of International Distribution & Marketing at Arte Distribution, adds: “The Legends of Paris blends documentary and animation, while borrowing the codes of fiction. It doesn’t fit into any specific category. So, our job is to explain to buyers why it’s an event and a game changer. It appeals to both documentary and fiction players. Most of the series’ characters, such as Victor Hugo and Eugène Delacroix, have a solid international reputation, which is a considerable asset”

All images: © Silex Films

GKIDS

Behind the Scenes of GKIDS

The European Animation Journal interviewed Rodney Uhler, Director of Acquisitions and Development at GKIDS, the producer and distributor of award-winning animation features for both adult and family audiences. He shared insights into the company’s background and upcoming projects, while providing an enlightening viewpoint about the future of European animation.

Could you provide an overview of the history and background of GKIDS?

GKIDS began 16 years ago as a distributor of art house cinema and quickly became a distributor for the best international animated features. One of our first films, The Secret of Kells, earned an Oscar nomination for Best Animated Feature, and since then we’ve received 12 additional nominations, including a win last year for The Boy and The Heron, gaining both critical and commercial recognition.

Rodney Uhler

Ghost Cat Anzu ©2024 Takashi Imashiro, Kodansha/“Ghost Cat ANZU” Production Committee

Which regions or markets is GKIDS more active in?

We feature films from over 15 countries, with most of our current releases coming from Japan. Anime’s growing global popularity is undeniable, and as both distributors responding to that change in the market and longtime fans, we have seen its evolution, and we believe it still holds much potential, artistically and in terms of audience reach. Yet, even if anime is a key focus for us, we are constantly looking for the best animation from all around the world – that’s what drives our work every day.

How would you describe the editorial line of your portfolio?

We don’t follow a strict checklist when assessing a film; instead, we’re guided by what moves us personally before discussing it as a team. For GKIDS, the most exciting prospects are well-crafted, dynamic films by passionate filmmakers: acquiring and releasing a feature is a long, challenging, and expensive process, so we focus on films we can envision supporting for years and map out a direction for. Ultimately, we must be highly selective – we often admire more films than we can take on, making a discerning approach essential.

What are some of your key titles?

Relevance is part of all the titles we work with; that’s how we evaluate them and their audience potential. GKIDS’ role as a producer started with Cartoon Saloon, one of the first studios we worked with, but has evolved in recent years. We were executive producers of Ghost Cat Anzu, a French-Japan coproduction, premiering at Cannes and released in November 2024, we’re involved as producers in other upcoming productions, and plan to invest in this aspect of our business in the future. In production, we use a selective, case-by-case strategy as well, joining only when we can add real value. While distribution remains our core focus, we’re committed to expanding our production efforts to support films in deeper, more meaningful ways.

Could you share your outlook on the European animated film industry?

There is incredible artistic talent in Europe, some of the best animation schools, and a robust (yet competitive) government financial support system. It can be insular though, while many European directors, producers, and studios aspire for their films to achieve international and commercial success. They should leverage the existing support system while thinking beyond its limitations: fostering more meaningful international co-productions involving Europe is key – not just for European

animation but for the whole industry, given its inherently global nature.

Can you provide details on GKIDS’ upcoming projects?

The new film, The Colors Within by Naoko Yamada, was released in January in North America, and we’ve also acquired two of Yamada’s previous works, A Silent Voice and Liz and the Blue Bird. Recently, we also secured Mamoru Hosoda’s catalogue – his beloved films will become theatrical releases through 2025 – and a beloved European animator’s catalogue as well – still top secret, but we’ll be announcing it soon! Representing a filmmaker’s full filmography is always rewarding, as it offers a deeper understanding of their creative journey and allows us to develop a strategic vision to enhance their reputation with critics and North American audiences.

The Boy and the Heron © 2023 Hayao Miyazaki/Studio Ghibli

TOONIMOTION

Pioneering the Future of Animation

The European Animation Journal interviewed Nick Jo, CEO of Toonimotion Corp on the company’s groundbreaking approach to animation, their innovative technologies and production methods, and their forwardthinking strategy in content creation.

How did Toonimotion come to life and what’s the mission behind it?

Toonimotion was born to transform webtoon IPs into captivating animated series that resonate with global audiences: webtoons are widely popular, yet their adaptation into other media formats requires significant time and costs. Toonimotion aims to address this challenge and deliver shortform animated content efficiently and quicky, optimizing costs and accelerating production through digital cutout technology and AI-driven workflows. We go beyond mere content creation, bridging webtoon creators with global audiences and elevating their cultural influence through partnerships with OTT platforms.

How have webtoons evolved as a medium, and what factors have contributed to their growing popularity?

Webtoons firstly emerged in South Korea, introducing a vertical scrolling layout allowing readers to enjoy stories,

without the need to flip pages. They leverage vibrant colours, dynamic panel layouts, and animations or soundtracks to enhance reader engagement, while their weekly episodic format fosters anticipation and loyalty. Dealing with themes of cultural significance, webtoons appeal to various age groups and cultural backgrounds, and their monetization model, offering early access or exclusive content, incentivizes creators and meets the on-demand habits of modern

Nick Jo

audiences.

In the early 2000s, platforms like Naver Webtoon and KakaoPage provided a space for creators to publish their works and generate income, attracting diverse voices and genres and appealing audiences beyond traditional comic readers. It’s a global phenomenon, well-established in an ever-evolving entertainment landscape as an innovative and sustainable cultural medium.

Could you describe your experience adapting webtoons into animated series over the past two years?

It’s a challenging but rewarding process, striking a delicate balance between preserving the identity of the original

webtoon and fitting the animation format. Toonimotion repurposes original webtoon imagery as animation assets, transforming each webtoon episode into a 2-4 minute animation episode. By employing original artwork, exceptional voice acting, and immersive sound design, we created animated series that maintained the flow and integrity of the original webtoons while standing out as independent artistic creations.

In two years, we adapted six webtoons into hit animated series, achieving top two popularity on Korean animation platforms. Then, these series expanded on VOD services, IPTV, cable TV, and recently on streaming platforms like TVING, Wavve, Watcha, and Netflix. After positive reception in Korea, they are now being exported to North and South America and China, with expansion planned for Europe and the Middle East.

Drawing from your industry experience, what do you think the future of animation will look like?

Premium short-form platforms such as TopReels, ReelShorts, and PulsePick are significantly transforming the content industry: they focus mainly on drama content with fast story progression and cliffhanger-driven engagement, but it is reasonable to foresee their expansion into animation. Toonimotion has recently launched its services on korean PulsePick and is currently in discussions with platforms in various countries, even if animation contents require much higher budgets than short dramas, to avoid compromising quality and to meet consumers’ standards. To remain competitive, studios need to explore and develop strong IPs, leverage cutting-edge technologies – such as AI-based workflows and digital cut-out techniques – and extensive research to adapt traditional storytelling to the new medium.

Could you share some details about Toonimotion’s upcoming projects?

2025 will mark the launch of our highly anticipated Robber x Lover, a 49-episode campus comedy – based on a hit Korean webtoon with 17.8 mln views – with strong fanbases in Japan, China, and Vietnam and topping France’s Delitoon BL rankings, while a YouTube pilot received enthusiastic feedback in over 50 countries. Moreover, Toonimotion is producing three more webtoon-based series – Daytime Star, Another Typical Fantasy Romance, and Melody: The Crazy Flower Blooms, all set for a 2025 release – and two vertical short-form animations. The company is also partnering with kftv to expand to Europe, while adapting Japanese manga into animation. We believe in transforming untapped stories into remarkable content, welcoming visionary partners to bring our animations beyond Asia.

Audience at the “Hop on the Success of K-Animation!” conference, ATF 2024

TALES FROM THE MAGIC GARDEN

A Closer Look at the StopMotion hit Tales from the Magic Garden

by Davide Abbatescianni

The Czech-Slovakian-Slovenian-French co-production title shows how imagination can help families stay close and find joy in tough times.

On 14 February, the animated stop-motion feature Tales from the Magic Garden has celebrated its world premiere in the Generation Kplus strand of the Berlinale.

Inspired by Arnošt Goldflam’s children’s book Of Unwanted Things and People and directed by a team of four - David Súkup, Patrik Pašš, Leon Vidmar and Jean-Claude Rozec, it follows three children spending the night at their grandfather’s house for the first time since their grandmother’s passing. Struggling to fall asleep without her bedtime stories, they create their own tales, discovering how imagination helps them navigate life’s challenges and find solace.

Speaking to EAJ, the creative team highlighted the complexity of coordinating the work of four co-production countries— Czech Republic, Slovakia, Slovenia, and France—each with its own director. “From an artistic perspective, the biggest challenge was the scriptwriting for the French story,” they explained, as it had to seamlessly connect all the individual narratives into a cohesive whole.

Another key challenge arose at the very beginning: “It was crucial to grasp the poetics and spirit of Goldflam’s texts,” they noted, describing them as fragile and melancholic, yet cleverly disguised behind the narrative, often with dramatic twists. The team also recalled the intense final phase following their Berlinale selection—”a happy and wonderful moment,” but one that demanded a rapid acceleration in efforts to finalise every detail.

Looking ahead to distribution, they shared their excitement about the film also being selected as a taster for Cartoon Movie. “We believe this will attract additional distributors and serve as an example of a very unorthodox and creative collaboration,” they remarked. Thanks to Berlinale, negotiations with potential sales agents progressed at an exceptional pace. “After two days of intensive meetings, we decided to work with NEFS—they convinced us with their experience, commitment, and the collective spirit of their entire team.”

Their ambition now is to meet the criteria for the MEDIA programme Films on the Move, enabling a European-wide cinema release, ideally aligning with the planned national premieres in autumn.

In this page: Tales from the Magic Garden © Maurfilm/ Artichoke/ZVVIKS/Vivement Lundi !

Ina Sommer Surveys the Current State of German Animation

by Davide Abbatescianni

During our conversation, the exec touched on several key topics, including storytelling trends, international competitiveness, and the evolving role of co-productions.

During the busy days of this year’s European Film Market (EFM, 13-19 February), The European Animation Journal caught up with Ina Sommer, Head of Animation Germany, a division of German Films. Our conversation in Berlin revolved around the health of German animation, key trends in animated storytelling, and co-productions, among other topics.

So far, 2024 has been a positive year for the country’s animation sector. Most notably, Mette Rank Tange and Benjamin Quabeck’s Richard the Stork and the Mystery of the Great Jewel was the fourth most-sold film abroad, having been released in 19 countries worldwide. A co-production

led by German studio Knudsen Pictures GmbH with Belgian and Norwegian partners, it is a sequel to the 2017 film. The film, sold internationally by Paris-based Indie Sales, follows the titular daring sparrow raised by storks, who sets off alone after being denied a leadership role. He meets Samia’s captive flock, trapped by the greedy peacock Zamano. To free them, they must solve a riddle and find the Great Jewel, relying on teamwork and trust.

According to market research firm Mordor Intelligence, Germany’s animation, VFX, and post-production market is expect to experience strong growth, with a projected size of $12.03 billion in 2025, expected to reach $22.48

The Amazing Maurice 2 © Epsilon Film

Stitchead © Gringo Films

billion by 2030. Driven by technological advancements and increased demand for immersive content, major cities like Berlin, Munich, and Hamburg are home to state-of-theart studios producing high-quality animation and VFX for both domestic and international audiences. Meanwhile, the rise of streaming players has significantly boosted the demand for original animated series, films, and VFX-heavy productions. Additionally, the integration of AR, VR, and AIdriven technologies is pushing the boundaries of storytelling, enhancing the sector’s competitive edge.

Looking ahead to 2025 and beyond, Sommer remains optimistic. Through her work for Animation Germany, Sommer ensures the body serves as the primary point of contact for international business partners seeking information about Germany as a business hub. The team works with skilled partners to provide updates on production and technical services within the German animation industry.

By compiling and sharing relevant data, they offer insights into the economic landscape and highlight companies and their diverse programs. Additionally, Animation Germany continues to expand platforms and events designed to foster international business networks, collaborating closely with key animation associations to align their interests and support business development on a global scale.

How would you assess the overall health of the German animation sector in 2024?

Like the rest of the film industry, animation producers are facing significant challenges. However, animation is unique in that AI-generated tools and programs were among the first to be widely adopted. That said, creatives in the animation industry have embraced new technologies, working with agility and adaptability. Expert knowledge and specialized skills are now more important than ever.

What are the key trends shaping German animation today, both in terms of storytelling and production techniques?

One key trend is the growing shift towards animated films with adult themes and the expansion of target audiences. An increasing number of films produced in Germany are addressing topics aimed at older viewers, including young adults. Audiences are being asked to engage more actively, and animated films now operate on multiple levels—appealing to adults, young people, and children alike. Additionally, the

Mimi and Harold © Epsilon Film

Emmi & Unipig © Studio 100

Adam © MovieBratsPictures

creation of original IPs is becoming crucial, spanning films, series, games, apps, books, and interactive media.

How competitive is German animation on the international market? Are there specific territories or platforms where it is performing particularly well?

Germany’s animation production landscape is highly competitive. Although financing uncertainties can create challenges for producers, the country consistently delivers a diverse output of films each year. There are major boxoffice hits, such as The Amazing Maurice and Richard the Stork and the Mystery of the Great Jewel, as well as arthouse films featuring unique animation techniques or storytelling approaches, which often perform well on the festival circuit. Every year, Germany produces around four to five big-budget co-productions that perform exceptionally well abroad and regularly rank among the ten most successful German films internationally. This demonstrates that German animated films are not only creatively significant but also vital to the industry’s overall economic health.

Co-production has long been a crucial model for European animation. How are German studios positioning themselves in this landscape, and which countries are the most strategic partners?

Co-productions are standard practice in animation due to the high budgets and long production timelines involved. Key co-production partners for Germany include France, Spain, and Italy, with growing collaborations in Eastern Europe and Canada.

Have recent funding policies, tax incentives, or regulatory changes had a significant impact on the sector’s development? Are there any gaps that still need to be addressed?

Fortunately, the new German Film Funding Law was introduced at the beginning of 2025. However, Germany still needs additional mechanisms, such as a tax incentive system, paired with a standardized European investment obligation for streaming services. Without these measures, Germany risks falling behind internationally, as productions may relocate to countries with more favourable conditions.

What role do festivals, markets, and industry events such as the Berlinale’s European Film Market or Annecy’s MIFA play in boosting the visibility and reach of German animation?

Specialised industry events and markets, such as Germany’s Animation Production Days and Cartoon Movie, Cartoon Forum, and Cartoon Springboard, are incredibly important for networking and business development. That said, festivals like Annecy and Stuttgart’s ITFS still play a key role in elevating films to the next level.

The Last Whale Singer © Telescope Animation

Balentes © Tama Filmproduktion

Conni © Studio 100

Ulysses Filmproduktion on Their Upcoming Projects, Fostering New Partnerships

by Veronica Orciari

The German studio sees a bright future ahead and aims to strengthen the development of animated shows

We caught up with Emely Christians, Managing Director and Executive Producer at Ulysses FilmProduktion, the German studio behind animated hits such as Ooops! Noah Is Gone… (2015) and The Amazing Maurice (2022). At this year’s Cartoon Movie, the firm is presenting a brand-new title, Skip Currently in development, the film directed by Tony Genkel follows a superhero rabbit who, along with his cockroach friend Fred, tries to survive against the wicked white rat Walzer. Speaking to EAJ, Christians touched on Ulysses’ latest endeavours, new collaborations, and German animation’s positioning in the global market.

Could you describe your last months of work as well as what’s ahead of you in this first part of 2025?

We are always drawn to projects that resonate with the entire

© Malte Christians

family. While some of our films are based on existing material, such as novels, we are equally thrilled to create original content. Our current film in production is Pirate Mo and the Legend of the Red Ruby. This story, about a girl raised by pirates who do their best to care for her, captured our hearts from the very beginning. It blends a strong young female character, pirate adventure, and heartwarming relationships into a perfect mix. The film has been in the design and storyboard phases for the past few months. Meanwhile, NIKO - Beyond the Northern Lights has been completed and is currently screening in cinemas worldwide. It has been particularly well received in Germany, Finland, and Poland. Our upcoming project, currently in the financing phase and set to enter production in the first half of this year, is The Amazing Maurice: The Waters of Life - the sequel to the successful The Amazing Maurice, based on the novel by Terry Pratchett.

Are you looking for any collaborations? What areas of your work would you like to expand?

Although we have already built a strong and well-established network, we are always on the lookout for fresh opportunities, exciting content, innovative projects, strategic partnerships, and visionary investors. One area of particular interest to us is the development of animated series - a field we are eager

© 2020 Ulysses Films, Fabrique d‘Images and Moetion Films. All rights reserved.

© 2024 Anima Vitae, Cinemaker, Ulysses Films, Moetion Films, A. Film Production. All rights reserved.

to expand into. For quite some time, we have been passionate about bringing animated stories to life, whether as extensions of our feature films or as completely original, standalone productions. However, despite our enthusiasm and creative aspirations, we have not yet taken the step of launching a fullfledged animation production. Our portfolio already boasts a range of exceptional projects, including the captivating Princess Pirate Mo series, among others. As we move forward, we are keen to explore new concepts, collaborate with talented creators, and establish a solid foundation in the animation industry. We welcome new partners who share our vision and ambition to help turn these ideas into reality.

GERMAN FILMS

How are the next few years looking for German animation films from your perspective?

For many years, German animation has flourished as a rich and diverse landscape, blending traditional techniques with cutting-edge digital innovations. International co-productions play a crucial role in this growth. By working with producers and studios from different countries, German animation gains access to new markets, diverse storytelling influences, and increased financial resources. Looking ahead, the future of German animation is bright and full of exciting possibilities. With an increasing number of projects in development and a growing demand for animated content across all platforms, German productions have more opportunities than ever to reach global audiences in innovative ways.

The Last Whale Singer: Telescope Animation’s New Journey into the Deep Sea

by Veronica Orciari

At Berlin’s European Film Market, the German animation studio unveiled its upcoming animated feature, which will be followed by a series and a game.

Telescope Animation’s Co-CEO and Co-Founder Reza Memari’s first solo feature, The Last Whale Singer (Der Letzte Walsänger), premiered its first scene at Berlin’s European Film Market (EFM) on 13 February. Co-produced by Canada’s La Boîte à Fanny and Czech studio PFX, the 3D, English-language animated film is currently in production, with a planned runtime of 85 minutes. Previously, the project won the German Animation Screenplay Award at ITFS Stuttgart in 2020. The film is also being showcased at this year’s edition of Cartoon Movie.

Memari, who also penned the script, commented on the film’s presence at EFM: “This project represents both a deeply

© 2024 Ulysses Films, Cantilever Media & Narrativia. All rights reserved.

© 2017 Ulysses Films, Fabrique d‘Images and A. Film Production. All rights reserved.

Still from “The Last Whale Singer”

personal journey and a chance to inspire real change in marine conservation, while taking families on an exhilarating underwater adventure. I couldn’t be prouder to present our work at EFM.” His debut animated feature, Richard the Stork, which he co-wrote and co-directed with Toby Genkel, premiered at the Berlinale in 2017 and became a worldwide critical and commercial success, followed by a sequel in 2023, Richard the Stork and the Mystery of the Great Jewel

The protagonist of The Last Whale Singer is Vincent, a teenage orphaned humpback whale who begins doubting his abilities after losing his parents, particularly his father—the last Whale Singer. When the monstrous Leviathan escapes from a melting iceberg, threatening marine life, Vincent embarks on a perilous journey into the deep sea, hoping to bring his father back from the mythical Star Pool to stop the creature. With the help of Walter, a cleaner fish, and Darya, a deaf orca, Vincent must overcome his fears and find his own song to save the seas.

According to the creative team, the story promises to be “a visually stunning underwater epic that blends the emotional depth of a coming-of-age story with timely environmental themes.”

Munich-based outfit Global Screen is handling the film’s world

sales, with pre-sales already secured in major territories, including France and French-speaking regions (via KMBO), Australia (via Icon Film Distribution), Portugal (via PRIS Audiovisuais), Greece (via Rosebud21), and Germany (via Little Dreams). Martin Schneider, International Acquisition Manager at Global Screen, commented: “We are thrilled to see this film building strong momentum in pre-sales, ensuring its powerful and timely message will reach audiences worldwide.”

Moreover, the animated feature will be accompanied by The Last Whale Singer: Rise of the Leviathan, a 3D rhythm-action game set for release in 2026 on Nintendo Switch, PlayStation 5, Xbox Series X/S, and PC. The game is being developed by the newly established Telescope Game Studios. That same year, a related animated series featuring the same characters will debut in a 26 x 11’ format. The series will be co-produced by Big Bad Boo, with backing from Medienboard BerlinBrandenburg and the Canada Media Fund.

Among the other German animated features presented at Bordeaux alongside The Last Whale Singer are Toby Genkel’s Skip, Matisse Gonzales’s Condenaditos, Nessie Junior (director TBC), Werner Herzog’s The Twilight World, and Samir Arabzadeh’s Valentino

In this page: stills from “The Last Whale Singer”

STUTTGART ANIMATED WEEK

ITFS and APD 2025: a Networking Hub for Animation Professionals

Taking place alongside FMX – Film & Media Exchange during the Stuttgart Animated Week, the Stuttgart International Festival of Animated Films (ITFS, 6-11 May) and the Animation Production Days (APD, 6–8 May) explore the full spectrum of creative and technological innovation in animation and related fields: a unique combination of film festival, congress, and co-production/financing market.

The upcoming Stuttgart Animated Week – located in the heart of Stuttgart, South Germany - promises to be an essential gathering for animation professionals and a unique platform in Europe, attracting up to 6,000 attendees every year and offering a wealth of insights, networking opportunities, and industry highlights.

2025 Spotlights: Stopmotion, Swiss Animation and Exciting New Trailers

Remarkable highlights from ITFS 2025 include contributions from prominent studios such as Nukufilm, the world’s oldest stop-motion studio founded in 1957 in Estonia, and Belgium’s Beast Animation, known for acclaimed films like Panique au Village and No Dogs or Italians Allowed AIM Portugal will also be on board, showcasing its innovative storytelling approach. A key figure at the event is Karsten Matern, a seasoned industry expert with experience in both live-action and

ITFS in Numbers

With an impressive collection of screening content, totaling 233 hours, 49 minutes, and 12 seconds, and 2,305 film submissions – an increase of 141 compared to the previous year – the ITFS 2025 has witnessed remarkable growth and is set to attract over 500 industry guests, with 40% of attendees coming from abroad, highlighting its international appeal.

© Max Kullman

Still from the ITFS trailer © Filmakademie Baden-Württemberg

animation, currently a board member of AG-Animationsfilm With an impressive portfolio including award-winning animated shorts and feature-length films, Matern is set to share his insights with attendees.

For this year’s Focus on Stop Motion, Olga Bobrowska, from the StopTrik Festival (Łódź and Maribor), is putting together a best of and an historical puppet animation film. Moreover, horror enthusiasts will receive a special treat, with the presence of British director Robert Morgan, presenting his feature-length debut Stopmotion. The film explores the painstaking craft of animation, following an animator struggling to emerge from her mother’s shadow.

For this year’s country focus, both ITFS and APD will take attendees to neighboring Switzerland, with dedicated screenings and exhibitions focusing on emerging talent and women in Swiss animation. Animator Elie Chapuis will curate an exhibition of puppets and sets from his stop-motion film Sauvages (2024), while a retrospective on Maja Gehrig will delve into her innovative techniques while celebrating her award-winning work.

Moreover, the new Professional Afternoon (May 8) will foster collaboration and knowledge sharing with discussions on market trends, networking sessions, and key events like the AniX Awards Ceremony and Trickstar Business Award Pitches – including nearly €60,000 in prize money and five competitions: International Competition, Student Competition, Tricks for Kids, Trickstar Nature Award and AniMovie. With its prestigious role as an Oscar-qualifying festival – winners of the Grand Prix receive the honor of being automatically considered for the L.A. Academy Awards – ITFS embodies the spirit of creativity and global collaboration within the industry.

Animation Production Days: A Record-Breaking Year

As a key meeting point for producers, broadcasters and investors, Animation Production Days brings together approximately 180 participants each year, with animation producers from over 20 countries presenting their projects to potential co-production partners and investors in individually tailored meetings. Last year alone, APD hosted 1,000 business meetings, underscoring its role as a crucial networking hub. This year, APD has achieved a record-breaking 103 project submissions. Among these, 26 projects were submitted for the APD Talent Program, with only eight set to be selected. In total, 50 projects will make the final cut, with the official selection to be announced in early March. The unveiled full APD Conference program, scheduled for May 6, will focus on “Trends and Challenges of the Industry,” promising valuable insights into the evolving landscape of animation production.

In this page: Stills from the ITFS trailer © Filmakademie BadenWürttemberg

© Max Kullman

FMX, Providing Inspiration in a Time of Change

In the trailblazing context of Stuttgart Animated Week, FMX – Film & Media Exchange (May 6-9), Europe’s leading conference dedicated to the art, technology and business in media and entertainment, will welcome near 250 speakers to discuss the latest developments in visual effects and animation.

The annual FMX – Film & Media Exchange conference is set to explore the dynamic shifts in the media creation landscape under this year’s theme, “Rhythm of Change”. As media creators navigate an evolving industry, FMX provides a platform for innovation and collaboration, featuring a range of events designed to inspire and educate both newcomers and seasoned professionals – an incredible opportunity to delve into creative solutions and cutting-edge tools redefining the industry.

Exploring New Frontiers

This year’s conference will feature key industry players: Pixomondo’s VFX crew will present insights from the second season of the series House of the Dragon, while the team from Important Looking Pirates (Stockholm) will share their experience on Ronja, the Robber’s Daughter, emphasizing their

FMX Board member Ian Failes, Producer

unique process of transforming a woman into a giant bird. Additionally, renowned animator Shelley Page will showcase a selection of today’s finest animated shorts in her program Shelley’s Eye Candy – a delightful visual feast.

FMX has invited experts to share their insights on artificial intelligence, reshaping the creative landscape. Notable speakers include Kenyan Yvonne Muinde – concept and digital environment artist, addressing critical issues surrounding copyright, originality, and practicality in AIgenerated content – and Martin Nebelong, discussing his strategies for reclaiming creative control within the context of generative AI and text prompts.

Moreover, FMX curator Ian Failes will host a discussion with renowned VFX Supervisor Jake Morrison to compare old-school and new-school visual effects in the upcoming film Thunderbolts, while makeup artist Begoña Martín will showcase the art of makeup and prosthetics in real-time, with a live transformation of a volunteer.

The FMX full program, set to be released in March, promises to offer a unique blend of education, inspiration, and networking opportunities for those passionate about the future of media creation.

To learn more about FMX – Film & Media Exchange, visit https://fmx.de

Andrea Knoll, Overall VFX Supervisor Jay Worth, and RISE VFX Supervisor Andreas Giesen

ANIMA

An Animation Festival at the Heart of the Belgian Animation Industry

by Kévin Giraud

For more than forty years, Anima, the Brussels International Animation Festival, has been a key event for the Belgian animation industry, offering a unique blend of professional and public events while showcasing features and shorts to roughly more than 40,000 animation buffs.

This year, the festival unfolds from February 28 to March 9, in the heart of Brussels’ old radio building Flagey. An architectural masterpiece, which has been the home of Anima for almost two decades.

Anima manages to draw both professionals and public crowds to a wide array of programs. Belgian premieres (Memoir of a Snail, Hola Frida!, The Polar Bear Prince) complement captivating workshops (Arcane Season 2 making of, among others) and masterclasses by European animation leaders and artists (Anthony Roux, CEO of Ankama, Benjamin Renner and Michael Dudok De Wit, multi-awarded directors), along with professional meet-ups from local and international associations.

Oink!, My Life as a Zucchini, Chicken for Linda and many other animated features have been presented at Anima throughout the years. And this year, Flow and Sauvages, both Belgian

Anima, the Brussels International Animation Festival, is a production of non-profit association Folioscope, which handles both film selection, program and organization of the ten-days event. Headed by the two directors Dominique Seutin and Karin Vandenrydt, Anima is one the key animation events in Central Europe, one that deserves more international awareness.

co-productions, will be under the spotlight, as the first one continues its incredible success story throughout the world.

As a Belgian professional, attending Anima is a must. Talents, students and producers gather to participate in panels, studio and software presentations, speed dates hosted by the festival in partnership with copyright associations such as Sabam, and many other partners.

But more than that, it is the very best place to meet up and discuss upcoming projects with potential co-producers and take the pulse of the buzzing Belgian animation industry, from both Flanders, Brussels and Wallonia alike. A country that boasts hidden gems such as nWave Pictures (Bigfoot Family), Vivi Film and its affiliates Studio Souza, Creature (Ewilan’s Quest) and Dreamwall, among many.

Each year, many Belgian projects are presented at the festival, and as students flock to the studio presentations, one can feel the creativity flowing all around. As this journalist has had the joy to witness, having two cafés within the festival strongly helps creating friendly and professional bonds, many of which led to impressive collaborations.

For more information visit https://animafestival.be/en

Hola Frida!

SHARJAH ANIMATION CONFERENCE (SAC)

A Vision for Engagement and Collaboration

The Sharjah Animation Conference (SAC) is set to launch its new edition from May 1 to 4, 2025, at the Expo Centre in Sharjah (UAE). Under the guidance of Artistic Director Pietro Pinetti and Executive Director Khoula Al Mujaini, in partnership with the Sharjah Book Authority, SAC is set to broaden its scope and strenghten its role in the global animation industry, steadily evolving into a key hub for this sector in the Middle East.

From May 1 to 4 at Sharjah’s Expo Centre, the Sharjah Animation Conference (SAC) 2025 is poised to make waves in the animation industry, with its dedicated focus on Japanese animation, Anime. An exciting addition, reflecting SAC’s commitment to intertwining educational content with essential industry insights, providing a unique platform for attendees to explore the artistic development and commercial evolution of animation. Esteemed studios such as TOEI Animation EU, Comixwave, and Polygon Pictures will play pivotal roles in contributing to this vibrant discussion. Artistic Director Pietro Pinetti shared SAC’s vision and goals for this third edition, stating, “SAC 2025 is designed to offer a structured environment where industry professionals can engage in discussions, showcase their work, and explore new collaborations. This year’s program reflects both the historical and contemporary aspects of animation, with a focus on international exchange and regional industry development.” In an effort to enhance the experience, SAC will introduce an interactive exhibition component, allowing participants to immerse themselves in the creative processes that drive the animation industry, as well as providing an extensive program filled with workshops, insightful talks, screenings, and exhibitions led by award-winning experts and internationally acclaimed artists.

“This year’s program reflects both the historical and contemporary aspects of animation, with a focus on international exchange and regional industry development.”

Workshop - SAC 2024

Pietro Pinetti, Artistic Director

Industry Roundtable: A Forum for Dialogue

In addition to the exhibitions, SAC 2025 will also gather prominent professionals from production and distribution sectors – including representatives from major companies such as Warner Bros., ZDF, YTV, and Shahid/MBC – in a television industry roundtable, addressing current trends in animation and broadcasting, creating a collaborative platform for dialogue among broadcasters, producers, and other key stakeholders in the industry.

Enriching the Experience Through Competitions and Culture

The conference will also host two dynamic competitions designed to inspire innovation and showcase the region’s creative talent. Firms like Studio Bozzetto, Movimenti, Zero Gravity, BlueSpirit, ZANAD, SAMAKA, Zeez, Mako Kids, and Spacetoon are expected to participate actively, helping to forge a robust professional network that will enhance the conference’s collaborative spirit.

Continuing the tradition of past editions, SAC will feature captivating performances by the Florence Pops Orchestra, conducted by Carlo Chiarotti, bringing to life iconic animation soundtracks from beloved animations and enriching the

About Sharjah Animation Conference (SAC)

The Sharjah Animation Conference is a pioneering five-day event celebrating the creativity and innovation of the animation industry. As the first event of its kind in the region, SAC unites animation enthusiasts, professionals, and content creators from around the world in a dynamic and engaging atmosphere. Established by the Sharjah Book Authority in collaboration with Italy’s Bergamo Animation Days (BAD), SAC represents a groundbreaking initiative aimed at fostering creativity, inspiring professionalism, and serving as a vital nexus for collaboration and exchange across various disciplines within the animation realm. With its commitment to nurturing talent and promoting the animation industry, the Sharjah Animation Conference is on track to become a cornerstone event for professionals and enthusiasts alike, paving the way for future advancements in the vibrant world of animation.

For any further information, visit: https://www.sharjahanimation.com/

event’s cultural atmosphere.

Executive Director Khoula Al Mujaini remarked that “Sharjah has established itself as a center for cultural and creative initiatives, and SAC plays a role in expanding opportunities for professionals in animation. By bringing together international and regional industry figures, the event facilitates knowledge exchange and supports the growth of the sector in the Middle East in Sharjah, the cultural capital of the UAE.”

With a range of panels, discussions, and networking opportunities, SAC 2025 aims to provide a professional setting for industry engagement while continuing to contribute to the development of animation in the region.

Khoula Al Mujaini, Executive Director

Photo from SAC 2024

ANNECY INTERNATIONAL ANIMATION FILM FESTIVAL AND MIFA

Celebrating Animation: A Glimpse into Annecy 2025

The Annecy International Animation Festival is set to return in 2025 with an exciting lineup that promises to honor Hungarian animation, explore the vibrant realm of music videos, and celebrate Mifa’s 40th anniversary, marking four decades of fostering creativity and collaboration.

Running from June 8 to 14, 2025, the Annecy International Animation Festival promises to deliver an unparalleled experience: not just a celebration of animation, but a vital gathering for sharing ideas, fostering innovation, and shaping the future of the animation industry for both seasoned professionals and curious newcomers.

A Tribute to Hungarian Animation

In a captivating highlight for this edition, the festival will delve into the rich history and creativity of Hungarian animation. Following previous explorations of animations from various countries, 2025 will turn the spotlight onto Hungary, a nation renowned for its vibrant animation culture. Notably, the festival will feature the extraordinary works of acclaimed director Marcell Jankovics, whose films, such as Johnny

Corncob (1973) and Son of the White Mare (1981), have garnered international recognition. These acclaimed pieces offer a glimpse into the illustrious legacy of Hungarian animation and the extensive catalog produced by Pannonia Films, established in 1951.

The last few decades have seen a remarkable resurgence in Hungarian animation, with an impressive array of student films and independent projects gaining acclaim on international platforms. Notable films such as Milk Teeth by Tibor Banocki (2007), Rabbit and Deer by Peter Vacz (2013), and Symphony No. 42 by Réka Bucsi (2013) mark the emergence of a new wave of talent. Recent successes from filmmakers like Flora Anna Buda, Balázs Turai, Nadja Andrasev, and Áron Gauder further validate the dynamism and uniqueness of Hungary’s animation scene. The Hungarian

2024 Opening Ceremony

Masterclass with Wes Anderson

National Film Institute’s efforts in digitising and restoring classic works will ensure that this rich history is celebrated at Annecy 2025, allowing audiences to engage with the country’s animation masterpieces in pristine quality.

Another significant feature of the Annecy 2025 festival is the tribute to visionary filmmaker Michel Gondry, whose work has redefined the landscape of music videos. His inventive use of animation techniques and storytelling aesthetics has made a lasting impact and transformed the medium, as exemplified in films like Eternal Sunshine of the Spotless Mind (2024).

The festival will include a journey into Gondry’s creative process, exploring the nexus between animation and music video artistry and celebrating how these two forms of media can intertwine to generate innovative narratives and experiences. Moreover, a special ceremony will present him with the Cristal d’Honneur, recognising his exceptional contributions to the field of animation.

celebrating 40 Years of Innovation

From June 10 to 13, the Mifa (Marché International du Film d’Animation) will lead the celebration of its 40th anniversary. Over the years, the event has evolved into an indispensable platform for industry professionals, acting as a catalyst for projects, co-productions, financing, partnerships, sales, and international careers.

The celebration will include over 150 events held at the Impérial Palace, featuring the renowned Mifa Conferences and Pitch sessions, which encourage discussions about the industry’s future amidst significant changes. This year’s edition will also introduce a new session focused on animated documentaries, demonstrating the festival’s commitment to diversifying its offerings.

Moreover, the Campus Mifa, in its third edition, will provide an essential space for nurturing emerging talents. With restored formats such as the Student Pitch for animation school students and hands-on workshops, the initiative aims to equip the next generation of animators with vital skills and insights into the industry.

2024 Cristal for Feature Film Memoir of a Snail, by Adam Elliot

MIFA,

Open-air Screening on the Pâquier

BOLOGNA CHILDREN’S BOOK FAIR

TV/Film Rights Centre and Games Business Centre. What’s New in Bologna

For over 60 years, the Bologna Children’s Book Fair (BCBF), welcoming over 1,500 exhibitors and 31,000 professionals annually, has been a leading event in the children’s publishing industry, a dynamic business hub and a creative workshop where the past, present, and future converge. Recognising the growing intersection between publishing and audiovisual media, BCBF launched last year the TV/Film Rights Centre, a dedicated business area serving as a bridge between audiovisual producers and the publishing world.

The TV/Film Rights Centre is back for its 2nd edition at the BCBF 2025 (March 31st – April 3rd), offering audiovisual producers a streamlined gateway into the publishing world. Designed to simplify the path from page to screen, the Centre provides a dedicated space where attendees can live a whole new business experience.

Bridging the Gap between Publishing and the Audiovisual Industry

The Centre fosters meaningful connections with publishers, gaming companies, literary agents, and licensing professionals. By registering at this unique Business Area, media producers will be able to participate in matchmaking activities and have a dedicated table in a strategic business space for meetings, assistance, and refreshments. Moreover, they may also be included in the Property Guide – dedicated to book properties suitable for TV or film adaptation, and audiovisual IPs of interest to publishers – or be part of the Licensing Portfolio Reviews, a platform connecting companies and producers with talented illustrators and designers. The TV/Film Rights Centre also includes the possibility to participate, along with key industry players, at the International Kids Licensing Days, the BCBF official transmedia conference program: three days of in-depth conversations on the key topics of the industry, from licensing

From Gaming to Media Content. Who will be in Bologna this year

Many industry players have already confirmed their participation in these two highly specialized areas of the Fair. Among them, Paramount, Storymix, Skyship

Entertainment, Ulvenfilm, Dyno Wish, The Bright Agency, Aux Mode, Windgetchariot, Teidees and many more for the TV/Film Right Centre. Feenix Group, Funtomata, Playnook, Gamebook Studio, Story Toys, Savannah, Dalbitbooks, Wine & River and many others will attend the Games Business Centre.

* Info updated on February 18.

In these pages, photos from BLTF/Kids 2024

to publishing, from audiovisual media to gaming. In particular, the panels will focus on the growing influence of gaming, with an emphasis on its synergy with licensing and publishing, as well as the achievements of licensing giants such as Mattel and Moomin, in celebration of their anniversaries. Moreover, the discussions will delve into the interactions between publishing and illustration, extending beyond books.

The Games Business Centre

The Games Business Centre is also set to return at BCBF 2025. Born from the collaboration between the two leading fairs of publishing, the Bologna Children’s Book Fair and the Frankfurter Buchmesse (FBM), the Games Business Centre expands opportunities for book-to-screen adaptations by integrating the copyright market with the gaming industry. Acting as a true bridge between publishing and the video game industry, the Games Business Centre offers unprecedented opportunities for networking and strategic development - a meeting point for publishers, video game developers, TV and film producers, as well as licensing experts from around the world. Located at the heart of the Fair, it is the right place for industry professionals to explore new collaborations and transform compelling stories into unique and immersive gaming experiences.

The TV/Film Rights Centre and the Games Business Centre

represent a unique and unmissable opportunity to bring new transmedia narratives to life, strengthening the bond between ever-evolving content industries.

VIVO ANIMATION

Elevating Animation Education to New Heights

by Serena Previderè

VIVO Animation School provides highquality education, focusing on professional training and fostering creativity. The school offers courses in Italian, specifically tailored for an Italian audience, with plans to expand to English courses to attract international talent while maintaining its local student base.

VIVO’s main goal is to train professional animators for cinema, TV series, and commercials. The school offers comprehensive training designed to equip students with the skills necessary for a successful career in animation, while also nurturing their creativity and imagination. Classes are held online over a period of three months, with sessions taking place twice a week, accommodating both full-time and part-time students.

The school is designed for both beginners with no prior experience and those looking to enhance their existing skills. With tailored courses and expert guidance, it provides a learning path for everyone, whether they are just starting out or seeking to advance their expertise. Each session, in fact, includes theoretical instruction as well as practical reviews of students’ work. One of the unique features of VIVO is

the access to original characters designed by the school, equipped with supporting tools, providing students with a versatile platform for their animation projects.

Instructors at VIVO are industry professionals actively engaged in the field, experienced animators currently employed in renowned studios such as Sony Imageworks, ILM, Illumination, Disney, and others. The school is committed to maintaining the same level of quality seen in theatres, ensuring that students develop a competitive portfolio that will aid in their employment prospects. With a maximum of 5 students per class, VIVO encourages effective communication among participants and foster meaningful interaction with the instructor.

Potential students must undergo an online interview, which serves to familiarize the school with the candidate and provide an opportunity to ask any questions about the programs. Those with prior experience in 3D animation can also submit their reels for assessment. The academic board will evaluate their skills and determine whether they qualify for a course beyond the introductory level, as well as recommend the most suitable course.

In conclusion, VIVO Animation School stands as a prominent and innovative institution for individuals seeking to elevate their animation expertise. With a commitment to quality, industry-experienced instructors, and a focus on professional training, the school provides a valuable opportunity for aspiring animators to pursue their passion and develop their careers.

For further information, visit www.vivoanimationschool.com/

Left to right: Silvia Capitta, Simone Brundisini, Alessandro Mattei, the three school founders

What Makes The European Animation Journal Unique and why to Follow Us!

Why The European Animation Journal is different and its added values:

• It is the first publication to deal vertically with the rich world of European animation, as no one else has done in the past.

• It has an extensive network of partner events and a rich database of industry professionals worldwide.

• It aims to give a global exposure to the European industry, helping to bridge it with the rest of the world.

• Its content is curated by a European team of journalists, giving voice to the protagonists of animation community.

• All news and insights are delivered through its media ecosystem, from website to newsletter, from social pages to digital/paper magazine.

• The world of animation is brought into contact with ancillary and related worlds such as publishing, licensing and toys.

The next events to follow!

Cartoon Movie

Re-Act Animation Lab

Bologna Children’s Book Fair

Get Animated

Cartoon Next

Sharjah Animation Conference

Anifilm

FMX Film & Media Exchange

Animation Production Days

ITFS

Marché du Film

Festival de Cannes

Annecy International Animation Film Festival

MIFA

Bordeaux, France

Gorizia, Italy/Slovenia

Bologna, Italy

Birmingham, UK

Marseille, France

Sharjah, Un. Arab Emirates

Liberec, Czech Republic

Stuttgart, Germany

Stuttgart, Germany

Stuttgart, Germany

Cannes, France

Cannes, France

Annecy, France

Annecy, France

March 4 - 6

March

March

April

May 1 - 4

May 6 - 11

May 6 - 9

May 6 - 8

May 6 - 11

May 13 - 21

May 13 - 24

June 8 - 14

June 10 - 13

www.cartoon-media.eu/movie/ www.filmreact.eu

www.bolognachildrensbookfair.com www.getanimated.uk/2025 www.cartoon-media.eu/next/ www.sharjahanimation.com www.anifilm.cz/en fmx.de/en/home animationproductiondays.de itfs.de/en/home www.marchedufilm.com www.festival-cannes.com www.annecyfestival.com/en www.annecyfestival.com/en

The next issue of The European Animation Journal will be released this Summer at the occasion of the Annecy International Animation Film Festival and Market! Write to info@brands-media.com to learn more how to promote your productions, submit your editorial proposals, invite us to become media partner of your event, or simply keep following us!