In September 2022, you may have seen the news of Hadis Najafi, who died after being struck by gunfire during the Iranian protests. The death of the 22-year old Azerbaijani Turk woman was widely reported around the world, and following her death she has been “turned into a symbol and rallying point for the protests after her death”, and is seen as a symbol of Azerbaijani resistance and ethnic struggle.

This event in turn, led to the fledgling Azerbaijani animation studio, ANIMAFILM Studio, producing and dedicating their short film Hadis to the memory of Hadis Najafi, and all those fighting against gender, ethnic and cultural discrimination in Iran.

Hadis © ANIMAFILM Studio

The short film has already garnered early festival success, having been selected for competition at this year’s Annecy animation festival, which is not only an honour for the studio, but is seen as an important achievement for the Azerbaijani film industry as a whole.

At the helm of the film (and also of ANIMAFILM Studio) are Nazrin Aghamaliyeva (Director) and Rashid Aghamaliyev (Producer), who we spoke to about the film’s production and the landscape of Azerbaijani animation.

Rashid Aghamaliyev, Producer (left) and Nazrin Aghamaliyeva, Director (right). © ANIMAFILM Studio

Before we discuss the film, could you both tell us a little about how you met and came to work together, and what led you to set up your own studio?

Nazrin: We first met in Baku at the ANIMAFILM International Animation Festival. Over time, we became close friends and eventually got married. From the beginning, we shared a passion for filmmaking. However, working together as a filmmaker couple is both amazing and challenging at the same time.

Rashid: We started making animation organically when we needed animated trailers for our ANIMAFILM festival. Making the trailers was so satisfying that we decided to start an animation studio. Hadis is our debut animated film. However, even before that, I had extensive experience in the film industry. For example, I worked as a production assistant on a feature stop-motion animated film called Even Mice Belong in Heaven (2021) and as an assistant director for a feature documentary titled Saz: The Key of Trust (2018). In 2019, I directed my own short documentary, Dialogues with Zuleyha (2019). All this experience gave me enough confidence to launch our own studio.

The film describes itself as a dedication ‘to the memory of 22-year-old Azerbaijani Turk Hadis Najafi,’ but aside from Hadis’ heritage, what compelled you to tell this story, and who did the initial idea for this film come from?

Nazrin: The idea to make a film about Hadis Najafi belongs to the Azerbaijan Cultural Society of Northern California, the organization that funded the film and also offered me a scholarship to study animation in FAMU (Czech Republic). We were deeply moved by the story of Hadis Najafi and agreed to make this film. For research, I conducted interviews with Azerbaijani Turks who lived under the dictatorial regime in Iran. Their personal stories were invaluable in shaping our narrative.

Rashid: Nazrin co-wrote the screenplay with talented dramaturg Ismail Iman, who contributed great ideas to the story, such as Hadis’s brooch being stolen by a crow. Masud Panachi, a consultant for the film, who himself was born in Iran and has made more than 60 animated films in Azerbaijan and Germany, offered valuable advice on storyboarding and directing.

Hadis © ANIMAFILM Studio

Judging by the timeline of events, from Hadis’ death in September 2022 to your submission of the film to Annecy in February 2023, it is remarkable that you have assembled a team, gained support, and produced the film in a little over 4 months. Could you give us a breakdown of how you achieved this and any problems you encountered?

Nazrin: I still find it unbelievable that we were able to make this film in such a short timeframe. We were fortunate to have the financial support of ASCN, but also our team, who were passionate about the film’s theme and produced amazing results. However, we did encounter difficulties in finding voice actors. I wanted to find an Azerbaijani voice actress from Iran because I needed a specific accent. It was a miracle when we found Zohre, who had just arrived in Prague from Iran one month ago, where she had participated in the protests herself. She also had a powerful story of her own. Initially, I thought of keeping her name secret for her safety, as she could be arrested in Iran for participating in our film. But she wanted to be credited in the project. I am happy that we found her, as she represented Hadis’ soul perfectly. She is one of the strongest and most amazing Azerbaijani women I have ever met.

Rashid: We started in November 2022 and exported the DCP in April 2023. The trick is that, according to Annecy’s regulations, the festival can consider a work-in-progress version. So, we took advantage of this. But honestly, it was super hard to deliver a WIP version in time and make sure that it was advanced enough to be judged. I would love to give credit to our lead animator, Andrea Szelesová, and editor, Jorge Sánchez Calderón. I don’t think we could have made it in time without their hard work and dedication.

What are your hopes for the film, and what would you ultimately like the film to achieve?

Nazrin: In the film, the main character not only represents Hadis Najafi’s bravery but also symbolizes the struggles of Azerbaijani Turks in Iran. We want the whole world to know that the Azerbaijani minority in Iran faces systematic discrimination.

Rashid: I absolutely agree with Nazrin. While Iran is infamous for its authoritarian regime, death penalties, religious extremism, and unjust treatment of women, it is often overlooked that minorities in Iran also face discrimination. There are around 30 million Azerbaijani Turks living in Iran. Like many other minorities in Iran, such as Baluchis, Kurds, and Turkmen, Azerbaijani Turks face severe racism. Our film is an attempt to spread awareness about the unjust treatment that face Azerbaijani Turks in Iran. Participating in the Annecy festival is already a big step towards spreading our message. The next goal is to offer our film to the international audience through festivals, television, and VOD platforms.

Hadis © ANIMAFILM Studio

Our readers at Skwigly may not have a deep knowledge of the Azerbaijan animation landscape, so could you give us your thoughts on its current shape and where it is heading? Also, could you tell us how the industry helped you access funding or support partners to complete Hadis?

Rashid: After the rich Soviet Azerbaijan period, the animation industry struggled with a lack of funding and talent. The presidential decree establishing ARKA (the Cinema Agency of the Republic of Azerbaijan) on April 20, 2022, truly marks the beginning of a new era not only for Azerbaijani animation but also for Azerbaijani cinema in general. In 2022, we also established the NGO Azerbaijan Animation Association with the goal of contributing to the industry. We believe that very soon the world will hear more about Azerbaijan!

I should also mention that Hadis is a co-production of Azerbaijan, the USA, and the Czech Republic. I produced this film through a company in the Czech Republic. It makes me proud because this country has given me so much in terms of my personal and professional development.

Rashid, aside from producing this film and heading up ANIMAFILM Studio, you are a key figure within the Azerbaijan animation industry, and founder of ANIMAFILM animation festival. Can you tell our readers a little about the festival, and how you find the time for everything!

Rashid: We established the ANIMAFILM festival in 2018, and this year we will celebrate its 6th edition. We are a small festival with big ambitions to become an important player in the Caucasus region and Eastern Europe, but we do accept films from all around the world! This year’s theme will be dedicated to women’s rights, and we will organize a pitching competition for local animation artists. I guess the secret to our productivity is that we do all these projects together with Nazrin.

Hadis © ANIMAFILM Studio

Can you tell me what’s next for both of you and ANIMAFILM Studio? What projects do you currently have in development?

Nazrin: As a filmmaker, I am passionate about addressing topics that are relevant to women. We are currently working on a short animated documentary (anidoc) that explores women’s health issues called vaginismus.

Rashid: Together with Masud Panahi, we are also developing a short film for children called Nargis. After the recent Karabakh war, Azerbaijan’s territories are highly contaminated with landmines. We aim to address this issue in a creative manner and create a film that will be relevant not only for Azerbaijani children but also for all children affected by war.

Hadis will be screening as part of the Short Films in Competition – Perspectives 1  at Annecy on 13th, 14th, 15th and 16th June 2023. For more information about that film, visit: animafilm.studio/hadis

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How to create animations that don’t hurt the environment? Where to search for low-emission solutions? And how to include concerns about our surroundings into business production schedule? For these and other questions young creators submitting their projects for this year’s ANIMARKT Stop Motion Forum competition section must find the answers. New mandatory green criterion for project’s rating can be decisive factor for its victory. Submissions via online forms can be sent in only until the end of May.

“We are aware how big of a challenge for the environment are actions tied to film production, that’s why we look for solutions that would allow us to minimize this negative impact. This is where the idea for inclusion of green production criterion in pitching session came from. With this, we want to reward ideas that are future of the animation” – explains Agnieszka Kowalewska-Skowron, director of the forum. She adds that the new element can impact the ranking of the entire project.

This year, same as in years before, projects can be submitted to ANIMARKT Pitching in two formats. The first one covers short projects in development having at least first draft of the script and lasting no more than 25 minutes. The second one is dedicated to the projects of feature films or TV series or specials at different stages of realization. As usual, necessary condition in both cases is 80% of animation being planned for creation in stop motion technique. New criterion is mandatory plan for sustainable production of the film. This element is going to stand for 10% of entire project’s evaluation.

From all submitted applications jury is going to choose 10 projects in each format.

In Autumn creators of the best projects are going to compete for awards, thanks to which they are going to get closer to making their ideas come true. Organizers are waiting for submissions in Pitching sections only until 31^st of May. Results are going to be announced on 31^st of July.

Audience members during Animarkt 2022 Pitching session

Pitching that is competition section of ANIMARKT Stop Motion Forum – gives extraordinary opportunity to present a project in front of group of experts from international animation industry, gaining partners and receiving awards that are going to support the creators during production process and open door to international career in front of them.

ANIMARKT Stop Motion Forum is going to take place between 4th and 8th of October in Łódź. In the programme, besides the competition part of pitchings and workshops, masterclasses and discussion panels are also going to take place. The event is also going to be full of meetings focused on establishing connections in the industry and recruitment sessions to international animation studios.

More about the event on www.animarkt.pl.

Link to submission form Pitching: bit.ly/3L5h1qh

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In 2022, a collective of international film festivals and distribution companies launched Keep Festive, an initiative that stands against any sort of sexual harassment and that helps festivals organizers to prevent any type of discrimination, from sexism to sexual harassment, to ensure that these events remain fun.

The main idea of Keep Festive is to host a certain number of activities that will help in creating: a toolbox for festival organizers and attendees that will help to prevent any kind of sexual abuse; a code of conduct that members can follow; a training program for the team and volunteers to make their guests feel more comfortable and safe.

Keep Festive members:

Tricky Women (Austria), Ottawa International Animation Festival (Canada), Kaboom Animation Festival (The Netherlands), Go Short – International Short Film Festival Nijmegen), Anifilm (Czech Republic), Animafest Zagreb (Croatia), Annecy International Animation Festival (France), Fest Anča (Slovakia), Anibar (Kosovo), Turku Animated Film Festival (Finland), Fantoche International Animation Film Festival (Switzerland), LINOLEUM Contemporary Animation and Media Art Festival (Ukraine), Viborg International Animation Festival (Denmark), Animest (Romania), Animateka (Slovenia), Olympia International Film Festival for Children and Young People (Greece), Miyu Distribution (France).

The first official Keep Festive lecture was held at the Animateka festival in December 2022. The talk, led by a psychologist, Matic Munc, covers a wide range of topics related to sexual behaviour and has now been released on YouTube (watch below).

As Keep Festive continues to work on the creation of a toolbox for international festivals and their attendees, the collective is pleased to announce an upcoming talk in Vienna as part of the Tricky Women festival.

On March 10th, Meike Lauggas will speak about #we_do! an organization that provides contact and counselling for filmmakers in case of abuse of power and unequal treatment, discrimination, sexual assault and violations of labour law – anonymous, free of charge and confidential for everyone in the Austrian film and television industry. In addition to counselling and anonymous documentation of cases, various preventive measures are developed and offered to contribute to structural change and improvement.

More information about this talk can be found here: online.trickywomen.at/p/23_Sup_Pro_Best_Practice

For further information about the Keep Festive mandate and events, please contact us at contact@keepfestive.org

The logo design has been created by the Kiblind Agency.

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The Animasyros International Animation Festival invites creators from around the world to submit their films by June 30th, 2023. The largest festival of its kind in Greece and one of the largest in Europe will take place from the 26th of September to the 1st of October 2023 in Syros Island. 

(Read our coverage of last year’s edition here.)

The artistic program of ANIMASYROS 2023 includes 7 competition sections, special tributes, training sessions, events, new local and international collaborations as well as the Agora, the industry event which has emerged as a reference point for the industry of the East Mediterranean region. 

Syros Island, home to the festival

The main focus of this year’s festival, entitled Anima Ancients, is dedicated to Animation and Ancient Greece aiming to highlight the different ways in which the contemporary animation scene has reinterpreted, negotiated or been inspired by this long historical period.

Furthermore, ANIMASYROS 2023, recognizing the important position of the animation industry of the Iberian Peninsula and Latin America, presents a tribute to these countries, entitled La Animaciόn Iberoamericana, which includes feature films for children and adults, while also hosting short film programs curated by partner festivals from Spain and Latin America. 

This year’s educational workshops inspired from Ancient Greece are aimed to familiarize children, young professionals, adolescents with disabilities as well as the elderly with the basic animation techniques as well as call them to experience new ones, such as “sand animation”. 

Moreover, the Agora continues its development as one of the most vibrant parts of the Festival by building international collaborations within the framework of the Pitching Forum while presentations, roundtables, panel-discussions, workshops, masterclasses and networking meetings will offer the opportunity to professionals as well as animation lovers from all over the world to promote their work, expand their network, meet with established professionals, get in touch with the international community and discover what’s on in the field. The Agora of ANIMASYROS 2023 will focus, amongst others, on female creativity in animated documentary films while masterclasses and talks by internationally acclaimed Spanish producers will also take place. 

Universities will also be present at this year’s program through strategic collaborations with the University of the Aegean, Technical University of Crete and Cyprus University of Technology while, for the first time, the Agora will host speed dating sessions between creators, internationally acclaimed producers and representatives of institutions of the audiovisual field. These networking activities will enable scriptwriters and directors to collaborate, develop a strong creative universe or pitch their ideas to the biggest producers of the international industry.

Joanna Quinn and Les Mills speaking at AnimaSyros 2022

Greek animation continues to have a leading position throughout the Festival and, in this context, pre-festival activities focused on Greek creators starting from summer and culminating at Syros will take place.

Visual identity

The visual identity of ANIMASYROS 2023 was designed by the award-winning animation and motion design studio Odd Bleat founded in 2015 by Yannis Zoumakis and Manos Gerogiannis. Odd Bleat has undertaken commercial projects for Dior, Ebay, Google, Revolut, Dow Jones as well as many cultural projects through their long-term collaboration with the Stavros Niarchos Foundation and the Stavros Niarchos Foundation Cultural Center. Focusing mainly on the creation of advertising videos, Odd Bleat has been distinguished in competitions, such as the Greek Visual Communication Design Awards (EBGE), Ermis Awards, Muse Awards and Vega Digital Awards.

Talking about their inspiration, the creators, amongst others, mention: “We aimed to focus on Hellenicity, the summer character and the creativity of ANIMASYROS. Two arches that refer to the typical Cycladic architecture and the two hills of Hermoupolis function as a canvas within other visual elements. We can discern two faces; the first one seems to be holding a camera through which the second one, looking like an ancient Greek goddess bust sculpture, is projected […]. This composition reflects the director’s gaze and film directing in general, as well as the projection, thus paying homage to the protagonists of the festival, the films. Between the faces, we can also see an ancient Greek column, which makes a point on this year’s theme of the festival. There are three arches at the ancient column’s base symbolizing the three arched doors of the Apollon Municipal Theater in Hermoupolis, home and heart of the Festival.”

Call for entries

Entries for all competition sections of ANIMASYROS 2023 are submitted exclusively through the ANIMASYROS page at the FilmFreeway platform: filmfreeway.com/AnimaSyrosInternationalAnimationFestivalAgora-949575

Deadline for submissions is June 30, 2023. 

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Stardance Animation Festival has announced its first in-person screening event from 3rd to 5th and 10th to 12th March 2023, with 9 screenings at 2 cinemas across London, including Genesis Cinema and Picturehouse (Stratford).

The screening lineup is carefully curated to reflect the diverse culture of Europe and Asia as well as the charm of different style of animation films. From the ground-breaking cyberpunk classic Akira to the Irish Folklore inspired Wolfwalkers, there is something on offer for animation lovers of all age groups.

Other films include British stop motion puppet studio Mackinnon and Saunders’ Fantastic Mr Fox, world renowned Ghibli Studio’s first international co-production The Red Turtle, the French-Iranian adult animated biographical drama Persepolis, and much more.

Started online in 2021 during the COVID-19 pandemic, Stardance has screened high-quality animation films of different styles, including Oscar-nominated Best Animation Feature Song of the Sea by Cartoon Saloon and the Golden-Bear nominated Best Film Have a Nice Day.

This year marks the first in-person edition of Stardance, which enables animation fans, families and professionals to come together and celebrate the diversity of animation as well as Asian and European culture, which is at the core of Stardance’s philosophy.

Tickets are now available and can be purchased at Genesis Cinema and Stratford East Picturehouse.

Full Lineup

At Genesis Cinema

Ticket can be purchased here: genesiscinema.co.uk/GenesisCinema.dll/WhatsOn?pg=4&sp=0

• Cowboy Bebop: The Movie (2001)
• Seoul Station (2016)
• Persepolis (2007)

At Stratford East Picturehouse

Ticket can be purchased here: picturehouses.com/event-details/0000000111/stardance-animation-festival

• Akira (1988)
• Kingsglaive: Final Fantasy (2016)
• The Red Turtle (2016)
• Fantastic Mr Fox (2009)
• The Big Bad Fox and Other Tales (2017)
• Wolfwalkers (2020)

About Stardance Animation Festival

Presented by Valley Moon and YiEvent, Stardance is a film festival designated to celebrate the different styles of animations from Europe and Asia and strives for a better understanding of the diversity of culture embodied in the films. Debuted as an online festival in 2021 due to COVID-19 pandemic, Stardance is being hosted in person for the first time in 2023. www.stardance-saf.com

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KKI programme includes:

• pitchings
• 1:1 meetings
• conference day with masterclasses, panel discussions and workshops
• script and pitching consultations
• accompanying programmes: Producers LINK, Young Talents, and Kids Kino Lab
• networking activities

Kids Kino Industry, international co-production forum, is part of the Kids Kino International Film Festival (in cinemas on 30 September – 8 October, online on 12-29 October).

ABOUT KKI

Kids Kino Industry (KKI) is an international co-production forum for films and series aimed at young audiences.

The forum was established seven years ago and it has since grown to become one of the most important events of this type in Eastern and Central Europe attended by more than 300 guests. The three-day agenda includes pitching presentations, 1:1 meetings, and a number of masterclasses, case studies, consultations, workshops, panels, and networking opportunities.

Kids Kino Industry is an excellent opportunity for producers and filmmakers to promote their projects and to find potential business partners.

KKI is an industry part of the Kids Kino International Film Festival. Both events are organised under the banner of the New Horizons Association (New Horizons Film Festival, Polish Days, American Film Festival).

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The YACF, which was managed by the BFI and funded by the UK Government via the Department for Digital, Culture, Media & Sport (DCMS), supported the development and production of new, unique and distinctive, UK-made content, on public service broadcasters and platforms, for young audiences in the UK. Final awards also announced – see details below.

The evaluation report – created by external consultancy Bigger Picture Research – outlines how the YACF demonstrated social and economic value. The Fund proved an effective lever in delivering high quality public service content for young audiences across different genres and techniques, contributing to a more plural landscape in the industry and directly encouraged additional investment for projects, targeting this age group. The Fund helped to address key deficiencies identified by Ofcom’s Children’s Content Review, including the lack of original, high-quality programmes for older children across all genres; the limited range of programmes that help children understand the world; the limited range of original, high-quality programmes that enable children to see their lives on screen. It also addressed a lack of animated content for older children and teenagers, which had been reported by Animation UK.

Key findings of the evaluation included:

• The Fund effectively delivered on its aims and was found to be efficient, economic and fair.
• The YACF supported 61 brand new productions for young audiences in the UK. The programmes that have transmitted to date have enjoyed ratings success, secured a total of 36 national and international prestigious industry award nominations – with a total of 14 winners – and 13 of those shows have been recommissioned.
• It supported the development of 160 new projects, of which just over 9% have since been commissioned for broadcast to date (higher than the average 5% industry standard).
• The minimum Gross Value Added* (GVA) from awarded projects is estimated at £319.6M between 2019 and 2027 from a YACF investment of just over £40M (which with other funding sources contributed to production activity worth c.£100 million), and programmes with international sales have a potential forecast between £23.7 and £40.3M over the next 15 years.
• *GVA was estimated after removing broadcaster licence fees, which were already ring-fenced for spend on new young audiences’ content. The GVA figure does not include development activity or spill over impacts from tourism and merchandising.
• Audience research has revealed an appetite for and a robust appreciation of programmes that reflect the lives of young audiences in the UK – 83% of young people surveyed thought YACF supported shows looked well-made and 75% said they would like to see more shows like them.
• 71% of development and production spend was located outside of London and the South East, on programmes reflecting life and telling stories from all around the UK.  10% of production awards and 7% of development awards supported new content in indigenous languages (Scottish Gaelic, Irish Gaelic and Welsh).
• All production projects achieved the minimum requirement of meeting criteria of at least two BFI Diversity Standards, and every development project met at least one of the Standards, whilst Inclusion Targets for the involvement of new voices in projects were met in full.
• All the UK’s main commercial public service broadcasters and indigenous language channels were involved in funded projects, boosting plurality in the young audiences’ content sector.
• 85% of participating production companies have given examples of the positive impact their YACF award has had on business growth and commercial sustainability, new IP development, reputation building and talent development.
• To date, an estimated 6,976 roles for UK cast and crew were created by projects backed by YACF production and development funding, equating to 185,087 job days
• Commitment to in-work training opportunities plus mandatory contributions to the Skills Investment Fund has helped develop new and existing talent in the sector.
• 87% of YACF-supported production projects and 74% of development projects involved at least one type of innovation in either their content, production methods or distribution, discoverability and engagement techniques.[1]
• Every YACF-supported project met at least two additionality arguments, most commonly that the usual sources of finance had already contributed to their limits and therefore YACF awards were essential to completing financing packages. [2]

We were proud to deliver the Young Audiences Content Fund pilot, and the evaluation demonstrates how successfully the team – expertly headed up by Jackie Edwards – delivered to the Fund’s ambitions and priorities. The Fund leaves a legacy of excellent, award-winning programming that showcases UK creativity both at home and internationally, as well as having a hugely positive impact on our young audiences.

Ben Roberts, BFI CEO

The evaluation has evidenced the transformational effect of the Young Audience Content Fund on a failing sector and has shown the positive economic, social, and cultural impact that targeted resource can have in delivering much needed public service television for children and teens.  The Fund has stimulated commissioning of beautiful new content across all genres and for all young audiences, representing young lives from all across the UK. Moreover, these programmes have been much appreciated by the audiences they were made for.  The Fund has underlined the need for focussed intervention to support content that specifically resonates and reflects, nourishes and supports, entertains, educates and inspires our young audiences – they deserve nothing less.

Jackie Edwards, Head of the Young Audiences Content Fund

Detailing the Fund’s high level of industry engagement, underlined by the 576 applications it received, the report confirms that with a total spend of £44.1m, the YACF supported 61 new productions, equating to 287 hours of high-quality, UK commissioned content. As well as converting 9% of its 160 development projects into broadcast commissions, the YACF also saw 13 shows recommissioned across three years.

The report states: “The YACF pilot provided proof of concept that highly targeted contestable funding, administered with rigour within a clear framework of strategic priorities, is capable of delivering social and economic value as intended.”

The YACF has backed critically acclaimed and award-winning series such as COP26: In Your Hands (Sky Kids), Don’t Hug Me I’m Scared (Channel 4), Big Boys (Channel 4), The World According To Grampa (Milkshake!), Teen First Dates (E4), Generation Genome (KMTV), Ted’s Top Ten (CITV), Makeaway Takeaway (CITV), Mimi’s World (Channel 5’s Milkshake!), Meet The Experts (Milkshake!), Go Green With the Grimwades (Milkshake!) and Tell Me Everything (ITVX), as well as projects in indigenous languages such as Run (BBC ALBA), Lachlan Boy at the Top (BBC ALBA) and Sol — a film on grief created for the Celtic language channels ITG4 (Irish), BBC ALBA (Scottish Gaelic) and S4C (Welsh).

This year, final awards included Dance School (w/t), a new 8×30’ coming-of-age drama series from Duck Soup Films for Channel 4, and two shows for Milkshake!; Tweedy and Fluff, a stop-motion animated comedy, and MixMups, an animated pre-school series featuring a joyful on screen representation of disability to feature made by a team with lived experience of disability.

Re-commissions have included a second series of the award winning The World According to Grandpa, a second series of Meet The Experts for Channel 5’s Milkshake!, and a second series of Makeaway Takeaway for CITV.

The Fund was also hugely helpful to the sector more broadly, with an estimated 6,976 roles for UK cast and crew created by YACF supported production and development awards, equating to 185,087 job days. A commitment to in-work training opportunities plus contributions to the Skills Investment Fund helped develop new and existing talent in the sector, whilst 85% of participating companies gave examples of the positive impact their award had on business growth and commercial sustainability, new IP development, reputation building and talent development.

The release of the independent evaluation is today accompanied by a final announcement of brand new projects which have benefited from the Fund’s support during the pilot, including a recommission of drama Bex for S4C, an engaging and entertaining drama format which explores relatable topics such as mental health, a companion show to Generation Genome, Generation Why for KMTV, which will explore philosophy, critical thinking and ethics for teens, and Christy Bella – Weaving Time for BBC ALBA, a 15-minute Gaelic documentary following the experiences of a 9-year-old first-time weaver.

Development awards have supported a broad range of projects to extend representation and growing the range of genres, themes and ideas relevant to and for UK audiences. These include:

Animation

Moon and the Dolphin – a 30-minute animated special set in the 1920s based on a story by Michael Morpurgo. The film tells the tale of how a boy of ten (Moon) with Down’s syndrome who is bullied and ostracised by the inhabitants of a remote fishing village saves an orphaned dolphin who becomes his friend and companion. The Lighthouse Keeper will be played by Liam Neeson, who has also come on board as an Executive Producer.

Scripted

Ella & Sir Whoopsalot – set in a real-life North East castle, Ella and Sir Whoopsalot is an imagination-grabbing comedy series centred around the friendship and adventures of Ella Chambers and her best friend, Sir Whoopsalot – a one thousand-year-old knight! Ella is a vivacious, disabled, eight-year-old girl with an insatiable appetite for adventure.

(Dis)Harmony – a dark comedy-drama, showcasing the backstabbing and bad behaviour of an Edinburgh-based Youth Orchestra.

How to Be – adapted by Adapted Pictures and writer Alex Clarke who has autism, based on How to be Autistic, an autobiography by Charlotte Amelia Poe.

Sitters – based in Newport from emerging writer Darragh Mortell, the show will reflect a young Welsh community that is still lacking on television, with a specific Welsh sense of humour.

Planet Jeevie – Planet Jeevie follows best friends Jas and Stevie as they juggle global success in the metaverse with an equally tough problem – year 7 geography. Negotiating with Silicon Valley investors isn’t easy when your parents keep landing you with screen time bans. Funny and fresh, with a focus on girls in STEM, this supported two new voices from a female led company in Yorkshire.

The Yemi in Me – pre-teen Bola is supported through their struggles with their gender identity by hero and imaginary friend, Nigerian pop star Yemi. The writers are new voices in television.

Idris’ Life – a sitcom following the journey of 13-year-old Idris, a first generation Lebanese British Muslim boy with autism, and his everyday life at home and school during the mid ‘90s in Hounslow, West London.

Factual

Protest – one hour documentary special teaching a new generation of activists about the Greenham Common protest.

Asking for a Friend – a game changing, radically inclusive, sex positive approach, this powerful series talks about sex with teens.

The report is published in full HERE.

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Click the image to download the She Drew That Salary Rates Report

In May 2022 She Drew That shared the Animation& VFX Union rates guide and found that their community did not see salaries within that guide that reflected their own. In response to this She Drew That created a survey to establish what people earned and their work role, seniority and industry sector to compare with the Animation & VFX Union recommended salary rates.

She Drew That has since created a report from the survey findings. This report captures a snapshot of salary data reported by 171 animation professionals based in the UK, with a majority of freelance animators responding, ranging from recent graduates to senior professionals with over thirty years of experience. Due to the small sample size, there is a need to interpret the results with caution, but the report does succeed in providing a snapshot of the current salary of animation professionals and provides some interesting insights.

The report shows the survey’s findings, draws conclusions from these findings, as well as provides recommendations for the industry and points for further discussion.

Animation freelancer day rates and Animation professionals annual salary. Click the image to download the full report.

She Drew That is a community focusing on the promotion, support and development of women in the UK animation industry. Through their resources, they intend to demystify the industry and create more access to jobs at every level.

She Drew That believes their salary report is an important resource for the UK animation industry, as it begins a conversation about salaries and how we can strive for better pay.

In the coming weeks, She Drew That will be expanding on their findings, on their Instagram account as well as releasing a more in depth chat about the report on their podcast.

Please join the discussion on their Instagram @shedrewthat and listen along and send in questions to their podcast ‘She Drew ThatPodcast’.

For a full outline of their findings, download the Animation Salary Sales Report

The post What Are UK Animation Professionals Getting Paid? She Drew That Release Findings from Their 2022 Salary Survey appeared first on Skwigly Animation Magazine.

For the first time in its history, the Annecy International Animation Film Festival will open on Sunday evening, with its traditional Opening Ceremony held in the Bonlieu Scène nationale’s Grande salle. There will even be a few screenings in the afternoon.

Therefore, Annecy 2023 will be held from 11th to 17th June.

Mickaël Marin, CEO of CITIA, puts his decision down to global animation’s tremendous growth: “Each year, the number of festivalgoers is higher, the content is increasingly varied and comes from all walks of life, subsequently we find ourselves too restricted by the Festival’s historical format. Bringing the opening day forward should enable us to improve everyone’s experience and put the Opening Ceremony in the spotlight to increase its prestige in the week’s overall programming.”

­­ ­In recent years, the programming has become increasingly dense. By moving the Opening Ceremony to Sunday, we are re-establishing the agenda so that Monday becomes a fully-fledged Festival day. Also, a few screenings will enable festivalgoers to begin discovering the programme on Sunday. It’s only December yet we already know that the programme will satisfy the most critical audiences. Quality and diversity have already made the cut, both with the major studios and the independent studios alike.

Marcel Jean, Artistic Director

And as Guillermo del Toro has announced, Mexican animation will be in the spotlight!

THE MIFA IS ALSO EVOLVING!

To respond to emerging challenges, the International Animation Film Market is restructuring itself for professionals and young talents around 3 offers and 3 areas, one of which is new!

• Stands and pavilions in the Exhibition Area.
• Industry Content (conferences, discussion panels, and meetings) at the Impérial Palace and at La Volière.
• Talents Content (training, recruitment, etc.) in a new dedicated area: Le Campus.
  This one in particular will be hosting the Mifa Campus, which will no longer be held on one day but from Tuesday to Friday like the rest of the Mifa.

See you from 13th to 16th June for the Mifa 2023!

The post Annecy 2023 Set to Extend Festival One Extra Day | Now Starting Sunday 11th June appeared first on Skwigly Animation Magazine.

Oswald the Lucky Rabbit returns to the studio that bears his creator’s name – Walt Disney Animation Studios – with an all-new animated short, over 94 years since Disney’s last Oswald cartoon. Created by Disney Animation’s hand-drawn animation team to help celebrate the start of Disney 100 Years of Wonder that marks 100th anniversary of The Walt Disney Company, the short, appropriately titled “Oswald The Lucky Rabbit,” is directed by famed animator Eric Goldberg (“How To Stay At Home (Starring Goofy),” “Pocahontas,” “Fantasia/2000”) and produced by Emmy Award®-winning producer Dorothy McKim (“Prep & Landing,” “Get A Horse!,” “Meet The Robinsons”) and available on Walt Disney Animation Studios’ You Tube Channel.

“On the eve of Disney’s 100th anniversary, it was such a joy to create the first new Oswald short from our studio since 1928,” says McKim. “Our hand-drawn animation team – including our hand-drawn legends Mark Henn, Randy Haycock and Eric Goldberg, as well our wonderful team of 2D apprentices, had a ball animating in the style of Oswald’s era.”

“Oswald is such a plucky scamp. We wanted to bring Oswald back, and in the short, he literally returns to his original home, the movie screen,” says Goldberg. “We wanted to have Oswald do all of the ‘squash-and-stretch,’ ‘rubber hose’-animation style, celebrating that first generation of Walt Disney’s artists.”

Oswald the Lucky Rabbit is considered Walt Disney’s first breakout animated star, and widely considered one of the first characters in animation history to feature a unique personality. Walt Disney introduced Oswald to moviegoers in 1927 with the short “Trolley Troubles.” 26 Oswald short films were created by Walt Disney and his team, with the final Disney shorts starring the character releasing in late summer 1928, the same year Walt lost creative control over his beloved rabbit. In 2006, Disney CEO Bob Iger made an unprecedented deal with NBC/Universal, that included permitting sportscaster Al Michaels to contract with NBC in exchange for the return of Oswald to his original home. Since then, Oswald has appeared in video games and merchandise, an animated short, and in Disney theme parks globally.

In conjunction with the animated short, Disney is also today launching an Oswald the Lucky Rabbit Snapchat lens globally that allows users to channel Oswald using AR technology.

The post Oswald the Lucky Rabbit Stars In An New Short to Celebrate Disney 100 Years of Wonder appeared first on Skwigly Animation Magazine.

Strange World follows a family of historically great explorers, the Cades. The film focuses on three generations of men in the family. Jaeger Clade mistakenly abandoned his son, Searcher, after his lust for adventure sees him transported to the titular Strange World. Searcher himself feels a certain distance from his son, Ethan, whose interests and personality highlight the generational differences between the two. After the entire family are thrown into the pink-tinted Strange World populated by exotic animals and unknown threats, the three generations of fathers and sons are forced to find some common ground.

The Oscar-winning collaboration of director Don Hall and producer Roy Conli returns after their success on Big Hero 6. Penning the script is Qui Nguyen who also has previous with Don Hall following their work on Raya and the Last Dragon. Fittingly for the themes of the film, Strange World keeps it within the established Disney family.

Interviewer: Ryan Gaur
Guest: Roy Conli
Presented by Steve Henderson
Produced by Steve Henderson and Ben Mitchell
Music: Ben Mitchell

The post Animation One-To-Ones #17 – Roy Conli (Strange World) appeared first on Skwigly Animation Magazine.

The Record (directed by Jonathan Laskar, Switzerland)

The Warsaw Animation Film Festival has come to an end after presenting 57 short films, including 33 competing in the International Competition, 9 of them being Polish. We also invited our audiences to special Halloween screenings of Animated Horrors and presented Ukrainian films from the selection of Linoleum Festival. The jury awarded prizes and honourable mentions in three categories. Moreover, Platige Image funded its Platige Award, and we got to know the laureates of the Audience Award. The award-winning productions directed by filmmakers from China, Slovenia, France, Switzerland and Poland delighted not only with the diversity of themes, but also with their innovative approach to the art of animation.

The jury composed of: Ewa Sobolewska, Izumi Yoshida and Alexandre Siqueira presented prizes in the following categories: Grand Prix Student Competition, Grand Prix International Competition and Special Mentions. The Polish Filmmakers Association, this year’s institutional partner of the festival recognized the Best Polish Film, while the Platige Image jury selected their favourite production.

Special Mentions went to three animations. The first of them was Before Her Body Left (directed by Yuxin Yang, China). The jury distinguished its “poetic depiction of the search for identity”. The film protagonist is a transsexual woman who looks at her reflection in the mirror. Her strikingly surreal dream illustrates a struggle between her “self” and the need to express herself.

The second honourable mention was granted to Granny’s sexual life (directed by Urška Djukić, Émilie Pigeard, Slovenia and France) for “showing the violent side of the world through a relevant animation technique”. The film depicts four elderly women who, provoked by the liberated clothing style of one of their granddaughters, reflect on their memories of the old days when they were young themselves. Women tell how different the relationship between men and women was at the time.

The third honourable mention was given to Tal Kantor for Letter to a Pig. The picture got recognition for “sensitivity and courage in confronting history”. The film depicts a Holocaust survivor who, after the war, writes a letter of thanks to the pig that saved his life. As the filmmaker reminded at the beginning of the film, in Judaism the pig is seen as a dirty and unclean animal. The picture evocatively deals with the theme of collective trauma, revenge, evil and compassion.

The Grand Prix Student Competition was awarded for “creating a world balancing melancholy and humour in a captivating animation technique”. The award went to Do not feed the pigeons (directed by Antonin Niclass, UK).

The Grand Prix International Competition (the most important prize of the festival) went to the Swiss picture The record (directed by Jonathan Laskar). The jury noted “a story full of magic in a perfect, enclosed, visual and musical form”. The author presented the history of the antiques dealer. We meet him when a stranger traveller offers him a magical vinyl record that “reads minds and plays back lost memories”. The antiquarian becomes almost obsessed with the object and can’t stop listening to it. He goes back in his memories until the most painful of them is recalled: the moment when he was separated from his mother at the Swiss border during World War II. That’s where the film ends.

As many as two awards – Platige Image and the Polish Filmmakers Association for Best Polish Film – went to the makers of the animation entitled Slow light (directed by Kijek/Adamski, Poland and Portugal). The protagonist of this film is a man who is born blind. One day he regains his sight, but what he sees turns out to be an image from the past. His eyeballs are so thick that light penetrates seven years through them. Therefore, the hero will never be able to live in the present.

The Audience Award was given ex-aequo to two films this year: Zoon (directed by Jonatan Schwenk, Germany) and In Harmony (directed by Markus Svendsen Øvre, UK). The first image is a six-minute miniature, set in a dark swamp at the bottom of a nocturnal forest, where a group of shiny axolotls play their lustful games. The second film is set in a world where the only form of communication is sounds generated by musical instruments or through the body, making it difficult to make contact. The film’s protagonist is a young man who, as he walks through a lusciously green and moss-covered landscape, tries to play his rhythmic melodies to create a loving bond.

The 4th Warsaw Animated Film Festival screenings took place from 26 to 31 October in Warsaw cinemas: Elektronik and Amondo, as well as in the Ursynow Cultural Center “Alternatywy”. The event was brought to life by Polish-British award winning animation director Tessa Moult-Milewska and experienced film curator Ewelina Leszczyńska through the Ex Anima Foundation supported by Platige Image studio. This year, the Association of Polish Filmmakers was also an institutional partner of the festival.

The post The Record Scoops Top Prize at 4th Warsaw Animation Film Festival appeared first on Skwigly Animation Magazine.

An intensive two days were filled with a wide range of magnificent projects, which were searching for potential partners in the live audiences and via virtual platforms. “Most of all, it was amazing to observe the student teams that presented their work to audiences with great courage. Proof of this support is that the audience award was given to a project from the Rising Stars section,” said Marta Jallageas, Managing Director of the CEE Animation Forum. It was also clearly demonstrated that the world of animation has a substantial female presence in pitching projects, with a high ratio of 36 women to 27 men.

An important part of the programme was the panel discussion with representatives of national television broadcasters, during which the audience was introduced to Petr Farkaš (CT, Czech Republic), Halka Marčeková (RTVS, Slovakia), Audronė Šepetė (LRT, Lithuania), Tiivi Tuur (ERR, Estonia), Zane Valeniece (LTV, Latvia), and Kresimir Zubcic (HRT, Croatia). With a united voice, those broadcasters who were present agreed that support for local productions is a priority for them when purchasing animation projects, despite the current adverse financial situation.

CEE Animation is an active player in the animation industry and regularly opens up themes that weigh on film professionals. During the closed meeting between representatives of TVs and CEE Animation, potential steps to help animation creation in the Central and Eastern European region were discussed. CEE Animation tries to stimulate the conditions under which projects can materialise bring those works into being. The meeting of the representatives of television broadcasters from the CEE region also opened up the question of possible co-ordination of co-operation with regard to support for domestic productions.

LIST OF WINNERS

AUDIENCE AWARD
I´ll Be There When You Wake Up
d. Nina Chubinishvili, p. Willem de Kooning Academie, Netherlands

FEATURE FILMS CATEGORY
Jury: Lubica Orechovská (Pubres), Richard Lutterbeck (TrickStudio Lutterbeck), Valentin Rebondy (Cinema Public Films)

WINNER: The Helpers

1. Betina Bożek, p. Grzegorz Skorupski, Animoon, Poland

Jury statement: We found the project to be very courageous and challenging in terms of telling the story by selecting different visual styles and genres. It´s fresh and new. It comes with a universal topic – how much love can surprise us at any time and literally brings so much colours into our previous “waffle” dry world. It also illustrates how much determination these costs. During the presentation we were given a very clear picture about the intention of the creative and production team.

SPECIAL MENTION: Sorya

1. Denis Do, p. Sébastien Onomo, Marion Boffelli, Special Touch Studios, France

Jury statement: We like this project for its precious and authentic connection between its core topic, story, place and its director. We grew attached to the strong female character, a young girl named Sorya, becoming an independent woman, just like her homeland Cambodia is quickly changing into an open and modern society. The plot is full of energy and is also visually strong, which immediately gets you hooked. And it is a great musical adventure!

CATEGORY SERIES / TV SPECIALS
Jury: Kristel Tõldsepp (A Film), Michelle Hoekstra (lemming film), Hisko Hulsing

WINNER: Bug City

1. Jøran Wærdahl, p. Kjersti Greger, Klipp og Lim, Norway

Jury statement: We were impressed by the unique style and tone of this project. It seems a very brave move to let the story take place in a dark and gloomy world, completely inhabited by insects. However, we are convinced that the combination ofdrama and dark humor will end up being very entertaining.

SPECIAL MENTION: Lemon and Berry

1. Ilenia Cotardo, Piotr Ficner, p. Anna Mroczek, WJT / Likaon, Poland

Jury statement: The project has relatable characters, rich visuals and is well-suited for the target audience. The presentation was well-prepared and convincing.

CATEGORY SHORT FILMS

Jury: Alexandre Siqueira (BAP – Animation Studios), Milo Cremer Eindhoven (Submarine), Bastien Martin (Camera, etc)

WINNER: Supersilly

1. Veronica Martiradonna, p. Ron Dyens, Sacrebleu Productions, France

Jury statement: Supersilly showcases a promising and daring union of story and style. The animation excites, capturing spontaneity and an organic feel in its movement. But, more importantly, the project offers a singular voice that needs to be heard.

SPECIAL MENTION: Funfair

1. Éva Darabos, p. József Fülöp, Orsolya Sipos, SALTO Films, Hungary

Jury statement: Éva Darabos has built a world that we are keen to explore further, having charmed us with its grotesque and humorous style.

CATEGORY RISING STARS

Jury: Eleanor Coleman (Indie Sales), Luca Tóth, Ivan Zuber (Laïdak FIlms)

WINNER: The Spell

1. Dora Pejić Bach, p. University of Ljubljana, Academy of Fine Arts and Design – ALUO, Slovenia

WINNER: The Chicken´s Calling

1. Rebecca Osterberg, p. Hochschule Wismar, Germany

Jury statement: For the first time in the history of the CEE Animation Forum, there will be 2 winners who will share the prize. Why? Because we are convinced that these very different projects both stood out and deserve the top recognition. They are both well developed, radically different and most importantly very authentic and doable. We are so looking forward to seeing these films completed.

CEE ANIMATION WORKSHOP – 2023 scholarship award

The Girl With Occupied Eyes
d. André Carrilho, p. Hemi Fortes, Blablabla Media, Portugal

CICLIC AWARD – 35,000 EUR
Funfair
d. Éva Darabos, p. József Fülöp, Orsolya Sipos, SALTO Films, Hungary

TVPAINT AWARD – professional licence
M-0
d. Vivien Csigó, p. Moholy-Nagy University of Art and Design Budapest, Hungary

CARTOON FORUM – direct access 2023 award
9 Million Colors
d. Bára Anna Stejskalová, p. Jakub Kostal, Bionaut, Czech Republic

ANIMARKT STOP MOTION FORUM – direct access 2023 award
Bug City
d. Jøran Wærdahl, p. Kjersti Greger, Klipp og Lim, Norway

Bruno
d. Danas Bereznickas, p. Inesa Ivanova, MB Danas Bereznickas, Lithuania

KIDS KINO INDUSTRY – direct access 2023 award
Billy & the Boingo Band
d. & p. Shabnam Rezaei, Big Bad Boo Studios, Austria

CEE Animation is financially supported by the Creative Europe – MEDIA Programme of the European Union, the International Visegrad Fund, and organised in co-operation with Eurimages. It is also co-funded by state funds and foundations and professional organisations from Croatia (Hulahop), Czech Republic (APA, Audiovisual Producers´ Association), Poland (SPPA, Polish Animation Producers Association), Slovakia (APAF, Slovak Association of Animated Film Producers) and Slovenia (DSAF, Slovene Animated Film Association).

The post CEE Animation Forum 2022 Announces Its Winners appeared first on Skwigly Animation Magazine.

Joko (Izabela Plucińska)

“This year’s edition was unique, because for the first time we had two categories of pitching. In recent years, in the stop-motion animation industry, we have seen a tendency to improve cooperation between producers, directors, teams and technical crews. Thanks to this, we can see such diversity and the ability to tackle many topics” – Agnieszka Kowalewska-Skowron, founder of the forum explains and adds that this year’s edition was attended by a record number of participants. And because of the combination of ANIMARKT with the StopMoLab program, creators from the farthest corners of the world were able to meet producers and representatives of the most important animation studios.

This year, for the first time, applications for ANIMARKT Pitching accepted two formats: short projects in development and projects of feature films or series or special programs.

Embroidered Body (Alejandra Jaramillo)

15 short projects competed for PLN 60,000 the in kind contribution as a coproduction funded by the Audiovisual Technology Center in Wrocław, industry accreditation for MIFA 2023, residency in Argentine Cordoba funded by APA Lab, industry consultations from Animond or Dragonframe software 5. Radiator IP Sales Distribution will provide the selected project with festival and international distribution service and consultancy. CEE Animation Forum guarantees qualification to the Out of competition pitching in 2023.

The best projects of feature films and series, which competed for the first time during the ANIMARKT Stop Motion Forum, could count on qualification for the Kids Kino Industry 2023, industry accreditation for MIFA 2023 in Annecy, inclusion in the Animond catalogue or Dragonframe 5 software.

The awards bring the creators closer to the production of their films. The selection of this year’s winners was not the easiest, not only because the level of pitching projects competing for awards was exceptionally high, but also due to the expansion of the category to series and feature films.

Paulina Zacharek, founder of ANIMARKT Stop Motion Forum

List of awarded short projects

• 60 0000 PLN – the in kind contribution as a coproduction sponsored by the Audiovisual Technology Center – to Lina Kalcheva for Dawn Chorus
• The Industry accreditation for MIFA 2023 in Annecy – to Alejandra Jaramillo for Embroidered Body and Claudia Munksgaard-Palmqvist for Visualization of a Cut
• APA Lab Award residency – to Juan Camilo Fonnegra for Monstruo Come Palmeras
• Animond Award – marketing, audience and financing consultation went to Alejandra Jaramillo for Embroidered Body
• Radiator IP Sales Distribution Award – festival and international distribution service and consultancy – to Izabela Plucińska for Joko
• CEE Animation Forum Award qualification to the Out of competition pitching in 2023 – to Carina Zidan for Houston?

Dawn Chorus (Lina Kalcheva)

List of awarded feature films & TV series

• Kids Kino Industry Award qualification to the Kids Kino Industry in 2023 – to Gabriela Villalobos & Sebastian Bisbal for Sissi & Ceasar
• The Industry accreditation for MIFA 2023 in Annecy won Gabriela Villalobos & Sebastian Bisbal for Sissi & Ceasar and Petr Vodicka for Babu The Night City
• CEE Animation Forum Award qualification to the Out of competition pitching in 2023 went to Vincente Mallols for The Inner Life

Sissi & Ceasar (Gabriela Villalobos & Sebastian Bisbal)

The audience award, Dragonframe software, went to the animations Dr Hau, directed by Joanna Jasińska-Koronkiewicz and Embroidered Body directed by Alejandra Jaramillo.

The post Animarkt Stop Motion Projects Awarded at 2022 Edition, with Record Number of Participants appeared first on Skwigly Animation Magazine.

With only 10 days remaining of the I’M FINE! Project, which tackles mental health and burnout in the animation industry, not only are you able to watch all 13 short films (and a Q&A) online for free now, but you can also access all 12 interviews from the series: 4 mini-podcasts, 4 videos and 4 articles.

The project focuses on the ways to maintain mental health and stay motivated and productive in a world that changes every minute, and is a reflection on the emotional burnout from the best independent animation creators. The interviews feature said artists who share their experiences of going through emotional burnout.

Free Online Film Programme

Following the successful offline screenings at Chichester Film Festival (UK), Linoleum Animation Festival (Ukraine), and Bolton Film Festival (UK) over the past month, the full programme of short films are now available online for free via the Megogo platform (no registration required).

The film programme includes:

BULLET LIST OF FILMS, DIR, DATE AND COUNTRY AND Q&A

WATCH FILMS FOR FREE HERE >>

Video Interviews

As part of the project, Skwigly’s Ben Mitchell conducted a number of conversations with the filmmakers, and posed important questions about emotional & creative burnout and how they deal with it within their filmmaking process. These video and audio Interviews are available below:

Video 1: Meet the Filmmakers

Video 2: Does Animation Have a Therapeutic Value?

Video 3: Do deadlines have a positive or negative impact on how to approach a creative project

Video 4: Animator Burn Out: What self-maintenance did you undergo to move through it?

Podcast Interviews

If you prefer to digest these subjects in audio form, we have also created 4 mini-podcasts where we interview each of the animation filmmakers about how they deal with creative burnout and their mental health.

I’M FINE! Podcast Minisode 1: Will Anderson, Anna Mantzaris & Margarida Madeira

Interview Articles

Finally, we wrap up our project series with 4 article Interviews with: DIRECTOR NAMES

Drawn Undrew Draw – Angel Wu Interview | I’M FINE! – UK/Ukraine Season

AM I ORIGHT – Yen Liang Chen Interview | I’M FINE! – UK/Ukraine Season

Conversations with a Whale – Anna Samo Interview | I’M FINE! – UK/Ukraine Season

Hi! How are You? – Gaïa Grandin-Mendzylewski Interview | I’M FINE! – UK/Ukraine Season

I’M FINE! is a project by the LINOLEUM Contemporary Animation and Media Art Festival and Skwigly Animation Magazine. It is implemented with the support of the British Council within the framework of the UK/Ukraine Season of Culture.

The post All Interviews and Films from I’M FINE! Project Now Online, as Project Nears End appeared first on Skwigly Animation Magazine.

This screening is part of the 26th Made in Prague Festival organised by Czech Centre London.

BOOK NOW

Plus…

Historia Naturae

A eight-part animated portrait of various species using medieval prints and live creatures to illustrate animal evolution.
Jan Švankmajer, Czechoslovakia 1967‘, 9´

Dimensions of Dialogue

In this short masterpiece on various forms of communication, Švankmajer illustrates via dazzling animated metaphors and without a single word, three dialogues, the eternal, the passionate and the exhausing.
Jan Švankmajer, Czechoslovakia 1983, 14´

Intro by Gareth Evans

Gareth Evans is a London-based curator, writer, editor, film and event producer and Whitechapel Gallery’s Adjunct Moving Image Curator. He hosts the LRB Screen at Home programme and curates for Forum of the Future Porto, Estuary, First Light, Flipside and Swedenborg Film Festivals.He commissioned and co-produced the essay film Patience (After Sebald, Artevents) by Grant Gee, World without end (Jem Cohen, Estuary 2016) and Things(Ben Rivers, FVU). He executive-produced Erase and Forget (Andrea Luka Zimmerman), Unseen (Dryden Goodwin), By Our Selves (AndrewKotting) and In Time: An Archive Life (Lasse Johansson). He has conceived and curated numerous film and event seasons across the UK including Utopia 2016 (Somerset House), Place (Aldeburgh Music), ‘John Berger: Here Is Where We Meet’, ‘All Power to the Imagination! 1968 & its legacies’, and the first series devoted to Armenian cinema, Gypsy films, J.G.Ballard and Paul Celan. He edited the international moving image magazine Vertigo and now co-edits for House Sparrow Press, publishing original titles by John Berger and Anne Michaels. He has written many catalogue/monograph essays and articles on artists, film-makers and writers.

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Ciné Lumière teams up with the Association Française du Cinéma d’Animation to celebrate the 21st Fête du Cinéma d’Animation.

Adult and younger enthusiasts of the animation art in all its forms can enjoy the best animated films of the recent years along with ultimate classics returning to the big screen.

Discover how and why French animation has become one of the most recognised in the world with Mickaël Royer’s film French Animation, this Other Cinema or the visually delightful The Crossing, written by Marie Desplechin and Florence Miailhe, which won the Best Feature Film at the Annecy International Animated Film Festival last year.

The party wouldn’t be complete without some family classics such as Michel Ocelot’s Kirikou & the Sorceress, Goscinny’s Lucky Luke, Daisy Town or Laguionie’s A Monkey’s Tale returning to the big screen.

As part of the programme there will be:

• Exclusive releases such as The Crossing and a selection of Shorts Funny Encounters!
• Family classics Kirikou & the Sorceress, Fantastic Planet, A Monkey’s Tale & Lucky Luke, Daisy Town
• Special Events such as the screening of The Breadwinner preceded by a poetry reading in partnership with the NFTS curated by Jaymini Mistry an MA Student in Film Studies, Programming and Curating
• A screening of Dilili in Paris
• Halloween special Little Phantom by Joann Sfar
• And a screening of documentary French Animation, this other Cinema, looking into how and why French animation got its reputation in the industry. The documentary will be followed by 1932 short animation The Idea

Click here to see what’s on, when, and ticket information >>

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