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18 hours ago
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UK Filmmaker Joanna Quinn Dedicates Annecy Honor To Gaza Animator Haneen Koraz
UK filmmaker Joanna Quinn paid tribute to Gaza animator Haneen Koraz as she received the Annecy International Animation Film Festival's Honorary Cristal at its opening ceremony on Sunday evening. The Bafta-winning and three-time Oscar-nominated The Canterbury Tales and Affairs of the Art director praised Koraz's work in the Gaza Strip spearheading women-run animation workshops for children. More from Deadline UK Comedian Dawn French Apologizes For "Clumsy Tone In One-Sided Gaza Video" Goodfellas Racks Up Sales On Annecy-Bound 'Little Amélie', 'Arco' & 'Angel's Egg' 'Wallace & Gromit' Studio Aardman Partners With France's Foliascope On Cross-Border Stop-Motion Training Program 'One day, she'll be stood here, holding one of these, hint, hint,' she continued, referring to her Cristal award. 'Wouldn't it be wonderful if the kids could come here and watch their films.' Quinn's was speaking amid growing international criticism of Israel's military campaign in the Palestinian territory – aimed at annihilating Islamist militant group Hamas in response to its October 7, 2023 attacks and retrieving Israeli hostages – which has left more than 54,000 people dead and the population on the brink of starvation. Speaking to Deadline afterwards at the opening night party, Quinn revealed she has just launched an initiative entitled 'To Gaza, With Love: A Global Anijam', inviting animators and artists from around the world to create 10 to 30-second animated messages of love and support to the Palestinian people. The contributions will be collected in an online interactive map, which Quinn hopes to premiere via livestream in August with the works then touring animation festivals around the world. Sunday night's ceremony also recalled late Gaza artist and photojournalist Fatima Hassouna due to the presence of Iranian-French director Sepideh Farsi in the main feature film jury during alongside composer Pablo Pico (Sirocco and the Kingdom of the Winds) and György Ráduly, Director of the Film Archive at the National Film Institute Hungary Hungary Following animated feature The Siren, which opened the Berlinale in 2023, Farsi turned to documentary to capture Hassouna's life in her film Put Your Soul On Your Hand And Walk. The film recently played in the ACID line-up in Cannes, having been announced for the parallel section just 24 hours before the young woman was killed in an Israeli airstrike on her home. On a far lighter note, Quinn recalled her first trip to Annecy in 1987 with short Girls Night Out. The work which introduced her signature figure, Welsh housewife Beryl, on a trip to see a male stripper, won the Special Jury Prize. 'I remember 1987 so well. My film was right at the end of the festival. I spent the whole festival looking at people having fun through misty windows, thinking how do I get in? Anyway, I'm in now,' she recalled. Quinn also gave a special mention to her life partner, producer and writer Les Mills. 'Animation is a team effort, so I want to say a big thank you to Les, my partner because we're a team,' she said. Since 1987, Quinn has continued to garner acclaim with subsequent credits including Bafta-winning and Oscar-nominated children's 30-minute film Famous Fred (1997/98), adapted from Posy Simmonds' book about a kitten who becomes a famous singer; Dreams and Desires: Family, which reprised Beryl and won Annecy's Special Jury Prize, and Oscar and Bafta-nominated Affairs of the Art, also featuring Beryl. Commenting on the short compilation of extracts from her films which played prior to her receiving her award, Quinn said ruefully to laughter: 'Animation is so sad – that was my entire life and it only took, what? a minute? And it takes so long.' Breaking with tradition, Annecy opened with five animated short this year rather than a single feature film this year. Canadian Oscar-nominated, stop-motion directorial duo Chris Lavis and Maciek Szczerbowski, who work under the banner of Clyde Henry Productions, opened the program with charming rags to riches fable The Girl Who Cried Pearls. The pair revealed they had finished the film just six days prior to unveiling it in Annecy. 'We've been here before and it's aways been a super good time, but we've never had the joy to show you a premiere for a film, which we finished on Monday, six days ago,' said Szczerbowski. Further titles in the line-up include 9 Million Colours, an underwater tale of unexpected friendship between a predatory shrimp and vulnerable blind fish, by Czech director Bára Anna Stejskalová; Shinya Ohira's Star Wars: Visions – 'Black', from Japanese anime studio david production, produced by Lucasfilm for Disney+, and French directors Marjorie Caup and Olivier Héraud's Carcassonne-Acapulco about a flight which takes an absurd turn. Bulgarian Oscar-nominated director Theodore Ushev, who won Annecy's Best Short Award in 2020 for he Physics of Sorrow, also returned with timely political allegory Life with an Idiot, adapted from a collection of short stories written by dissident Soviet writer Victor Erofeyev. 'If you follow an imbecile, the chance you'll become an imbecile is very high; if you admire an idiot, your risk of becoming an idiot is very high,' said Ushev. He then apologised to the festival's Artistic Director Marcel Jean, before declaring,'F**k Putin, F**k Trump and F**k Netanyahu' with the audience in the 1000-capacity Grande Salle of the festival's main Bonlieu Theatre venue erupting into applause. Annecy gets into its stride on Monday with sneak peaks of Marvel Animation's Eyes Of Wakanda and Sony Pictures Animation's Goat as well as the world premiere of Andy Serkis' Animal Farm and Competition screenings for Olivia And The Invisible Earthquake, Dandelion's Odyssey, Arco, Little Amélie And The Character Of Rain and The Magnificent Life. Best of Deadline Tony Awards: Every Best Musical Winner Since 1949 Tony Awards: Every Best Play Winner Since 1947 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More
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19 hours ago
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Xilam Group Heads Back to Annecy Festival with Growing Film and Series Slate
Upcoming Feature "Lucy Lost" to be Spotlighted in 'Work In Progress' Selection Additional Activity for New Original Series "Submarine Jim", "Piggy Builders" and "Turbo Twins" PARIS, June 09, 2025--(BUSINESS WIRE)--Regulatory News: Xilam Animation (Paris:XIL), Academy Award®-nominated French animation studio, is returning to Annecy International Animation Film Festival – taking place on 8th - 14th June 2025 – with a wave of activity across its latest features and series. Upcoming ambitious family feature Lucy Lost is part of Annecy's official 'Work In Progress' sessions, which offer first looks at features and series in production, with Xilam's Founder and CEO Marc du Pontavice participating alongside key creatives including director and co-writer Olivier Clert (Klaus, Little Prince). Xilam is also showcasing new original titles across its burgeoning slate during the festival, including Submarine Jim, Piggy Builders and Turbo Twins. Xilam's raft of Annecy activity follows the recently announced partnership with commercial French broadcaster TF1 to develop Turbo Twins, a new comedy action CG animation series for kids aged 6-10 years old. Marc du Pontavice, Founder and CEO at Xilam Animation, said: "As we return to one of the key events in our calendar, our line-up for Annecy once again offers something for everyone in the family – from epic film adventures to vibrant comedy series. We look forward to unveiling a first glimpse into our moving and powerful film Lucy Lost, and to also presenting our diverse slate of new kids' series, which blends both original ideas as well as beloved IPs. Our flourishing development and production pipeline is testament to the leading creativity of our talent, and also to the strength of our relationships with key European broadcasters, such as France Télévisions, TF1, BBC, Super RTL and ZDF." Full details of Xilam's activity in Annecy includes: LUCY LOST >> Work-In Progress Session, 2:30pm on Tuesday 10th June (Salle Pierre Lamy) Upcoming epic family feature film Lucy Lost, based on award-winning author and previous British Children's Laureate Michael Morpurgo's 2014 novel Listen to the Moon, is screening as part of Annecy's Work In Progress sessions with an exclusive first look at the film. Produced by Xilam Films, the session will bring together creatives including Marc du Pontavice, CEO and Founder at Xilam, director Olivier Clert, artistic director Joyse Colson, first assistant Lucie Giros and Head of Posing Juliette Laurent. Goodfellas Animation is handling international sales, with Le Pacte distributing the feature theatrically in France and French broadcasters Canal+ and Cine+ have the pay-TV rights Synopsis: Despite her family's love and affection, Lucy has always felt like an outsider. Her extraordinary gifts and striking white hair set her apart, stirring hostility and distrust in her village. With the help of Milly – a little girl only she can see – Lucy embarks on a daring adventure to unravel the mystery of her powers and finally find where she belongs. SUBMARINE JIM >> First Episodes Now Available Xilam is bringing new adventure comedy Submarine Jim to Annecy, with the first episodes of the 2D animated series now available to view. European broadcasters France Télévisions (France) and Super RTL (France) are already on board the series, which delves into the tale of a naive, young dolphin named Jim, who when tasked with steering the world's first-ever submarine on wheels, leads a motley crew of underwater friends on a whirlwind journey across land and sea. PIGGY BUILDERS >> Premiering in Upcoming Trimester Originally commissioned by France Télévisions (France), BBC (UK) and ZDF (Germany), Piggy Builders follows Cornelia, Cesar and Charlie, charismatic siblings with curly tails, as they embark on their passion for construction, every day. They share a deep love for building, problem solving and their wonderful community in Fine Forest. There's one more thing they have in common: they all have a lot to learn about working together. When they manage to work as a team, the impossible becomes possible! The series is set to be completed by the end of the year, with its premiere set for the upcoming trimester. TURBO TWINS >> Development Agreement with TF1 Xilam has recently inked a partnership with commercial French broadcaster TF1 to develop new comedy action CG animation series Turbo Twins. First pitched by Xilam Group at Cartoon Forum 2022, the series is aimed at kids aged 6-10 years old and will air in TF1's leading children's slot TFOU. The series is set in Karston Speedway Summer Camp – the ultimate summer showdown for the fastest K.A.R. racers. The stakes have never been higher: for the winners, it's a place at the Nationals. For the losers, it's elimination and they go home with nothing. But for our incredible teen duo, the Turbo Twins, losing is clearly not an option. And when high-octane racing meets summer camp life, buckle up! Think workouts that turn into laugh-offs; home-made contraptions and tactics that run out of control, and rivalries that burn just as hot in the canteen as they do on the tarmac – it's never going to be an easy ride! About Xilam A major player in animation, Xilam is an integrated studio founded in 1999 that creates, produces and distributes original programmes in more than 190 countries for both children and adult audiences. Xilam content is broadcast on television, and is also available on SVoD platforms including Netflix, Disney+, Amazon and AVoD streaming platforms including YouTube and Facebook. With its creativity and capacity for innovation recognised worldwide, its unique expertise in CGI, as well as editorial and commercial expertise at the cutting edge of its industry, Xilam is positioned as a key player of the market. Each year, Xilam builds real successes and capitalises on its powerful historical brands including Oggy and the Cockroaches, Zig & Sharko and Chicky, as well as new properties such as Oggy Oggy for a preschool audience, Mr Magoo and Karate Sheep, and Academy Award® nominated adult feature film I Lost My Body. Additionally, Xilam is serving as the animation studio for Zack Snyder's animated series Twilight of the Gods, launched worldwide on 19 September 2024 by Netflix, and also produces Chip 'n' Dale: Park Life, alongside the forthcoming horror comedy The Doomies, for Disney+. Xilam's expanding and strong catalogue now consists of over 2,800 episodes and three feature films. Xilam employs more than 400 individuals, across its studios in Paris, Angoulême in France and Ho Chi Minh in Vietnam. Xilam was ranked France's leading animation studio for the 2018-2023 period in a report by the French National Centre for Cinema and Animation (CNC). Xilam is listed on Euronext Paris Compartment C - PEA - SRD long Eligibility. ISIN: FR0004034072, Symbol: XIL For more information, visit: View source version on Contacts Marc du Pontavice – Chairman and CEOCécile Haimet - CFOPhone: +33 1 40 18 72 00 The DDA Groupxilam@ Charlotte Newcombe – Phone +44 7726 901 129 Image Sept Agencyxilam@ Karine Allouis (Media Relations) – Phone +33 1 53 70 74 81Laurent Poinsot (Investor Relations) – Phone +33 1 53 70 74 77 Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
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20 hours ago
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‘Olivia & the Clouds' Director Tomás Pichardo Espaillat on the Wild Collaborative Animation Process of His Annecy Player: ‘It Was Chaotic and Crazy'
Through the thoughts and memories of its cast, Annecy __ player 'Olivia & the Clouds' leaps across multiple animation and live-action formats. This film — only the third animated feature produced in the Dominican Republic, according to its director Tomás Pichardo Espaillat — is made from paper, film, scratched animation cels, stop motion, 2D digital animation, rotoscoping, cut-outs and more. The story itself is about a quartet of people — Olivia, Barbara, Mauricio and Ramón — all connected by past and present relationships with each other, the film's different methods representing the emotional distance between them. More from Variety Brazil's 'Nimuendajú' Makes Annecy Debut As Director Tania Anaya Underlines Ongoing Fight for Indigenous Peoples' Freedom Andy Serkis' 'Animal Farm' Reveals First Footage: Seth Rogen, Kieran Culkin and Gaten Matarazzo Voice Power-Hungry Pigs in Animated George Orwell Adaptation (EXCLUSIVE) Stop-Motion Animation 'Tales From the Magic Garden' Sells to Multiple Territories (EXCLUSIVE) Director Pichardo comes from a background of live-action film, video and fine arts. 'Olivia & the Clouds,' both in its style and its story, draws upon that breadth of experience. Upon the film's screening at this year's festival, Variety spoke to the director about his mixed-media approach, the landscape of Dominican animation and learning to animate on the job. What sparked the idea for 'Olivia & the Clouds'? Was it always intended to be animated across different mediums? As for the story, it was a few short films that never happened, where, with time, I realized, 'Oh, these characters connect with one another,' and then I started creating a path between them. It was a long process from the idea to the end of production — about 10 years. Most of it happened because, coming from the Dominican Republic, we have a very small animation industry and small animation community, and during the first years, it was even smaller. You could count the number of professional animators on one or two hands. So there were not a lot of opportunities to get projects like this done. But as time progressed, there were more opportunities. In terms of the different styles and techniques, we quickly realized at the beginning that most of the animators that we had didn't have the same background or the same education in animation. We understood that that wouldn't work for us to make a feature that was just one method. What we tried to bring was each animator working in their own style, and it fit really well with the points of view of the characters. In terms of the idea and how the project came to be, I came from making short films. Most of those short films were a way for me to learn a new technique, as we didn't have an animation school at that time. I also did freelance for TED-Ed. They have this segment on YouTube where they put a lot of animations, and I was taking each project as a way to learn one specific technique, something new. I took advantage of that in the sense of using it as my school. So if they gave me creative freedom, I'd think, 'I wanna do something as a cutout animation.' Or I'd do one in stop motion. So I was learning in that sense, too. How did you figure out where to place these different animation styles within that story? I was always taking all my short films and, even if they were very different, I tried to put them together as an edit for myself. So I was playing a lot with remixing my own work. But it's also because most of the people working on the film were former students of mine. I knew them well — how they work. So for some animators I gave them the script with a full animatic and everything and said, 'this is what you're going to be animating.' And with others, they would be dealing with more abstract animation or playing around with feelings, and I would just give them a word or one expression. One sequence, the bachata sequence at the bar, was made by six animators, and all of them were working apart from each other. So I was giving them different ideas and asking them not to see what the others were doing. Then I received all this material; it was chaotic and crazy. Speaking of material, one fascinating thing was the different textures you were using, like the cutouts that looked like they were made from invoices. Cardboard is something that I've been using quite a lot — not in my films, but I come from fine arts, so I did a lot of pieces made out of cardboard, sculptures and all that. As for the invoices, that's because some of the elements of the story are from my past or the people around me. And when I was building Ramón as a character — my father is an engineer by trade — he was always making sketches on invoices, on any kind of paper he could get, making all these doodles. So I figured, 'what if I take all these invoices and all these elements and all these letters and everything and make them into this person?' So I was taking all these different textures, seeing what they could bring to the story or maybe remind me of something from the past. You mentioned how much the Dominican animation scene had changed, even during your time working on the film. What about the industry was reflected in the production of the film? We had many challenges and so many things happening. For example, being in the Dominican Republic, we are very influenced by American culture and the films and animation they produce. So the concept of animation here is traditional Disney animation and Pixar, 3D animation. Making things outside of that is very rare, and sometimes they don't understand it when you try to explain it to them. For example, when I was trying to get funds for 'Olivia & the Clouds,' for the sequence shot on Super 8 that had animation elements on top of it, we had to ask permission to record at this specific street in this area. They were like, 'Isn't this an animation? What are you doing?' We also had the head of the film commission change during the project. The new one is half-Dominican, half-Russian, so she grew up watching a lot of different Soviet animation. She understood quite well that animation has all these ways of being made. And she incorporated a lot of programs and funding into the film industry, and that helped quite a lot, everything growing and evolving at the same time. With that concept, when we released the film, we made an exhibition at the contemporary museum in the country. What we did was deconstruct the entire film, and we did an exhibition for an entire month. It was that whole idea of new people being able to understand how to make animation, but also all these different processes. Do you think these mixed techniques are a mode you'd want to work in again, or do you imagine you'll focus more on one? It depends. In my short films, I do like to play with different techniques, but I sometimes try to understand what the concept needs from the animation. 'Olivia' had that idea of different points of view of the same memory, so it worked for me to have varying styles. And now I'm writing a new project in collaboration with one of the animators from 'Olivia.' She's the one who did all the clay animation, like the sequence of the couple kissing and the scene turning abstract. The story that we're working on has a lot more natural and more 'crafty' elements: more charcoal, pastel colors, textiles, more hand-drawn, as that's what the story is asking for. I think mixing media will never leave me, because it has been in my entire filmography and short films as well, but it changes depending on the story and what it means. Best of Variety 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Animated Program — Can Netflix Score Big With 'Arcane,' 'Devil May Cry' and the Final Season of 'Big Mouth?'
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20 hours ago
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Bread Zombies, Operatic Tapeworms, Nuclear Fallout and Storm Trooper Trauma Feature in our 10 Shorts Not to Miss at Annecy 2025
Despite its constant growth and status as the animation industry's most important animation event for studios, filmmakers, students and fans, the Annecy International Animation Film Festival remains, at its core, one of the world's greatest platforms for animated short films. Below, we take a closer look at 10 animated shorts competing at this year's festival that attendees won't want to miss. We're not saying these are the best 10 shorts; we'll leave that to the judges, but we believe each offers something unique that anyone fortunate enough to attend this year's event may appreciate. More from Variety Anime-Inspired 'Miraculous' Spinoff 'Miraculous Stellar Force' Acquired by Disney With a 2025 Special and 2027 Series Launch Planned (EXCLUSIVE) 'Spidey and his Amazing Friends,' 'Dragon Striker' and 'Sam Witch' Headline Disney Branded TV's Annecy Slate (EXCLUSIVE) 'Olivia & the Clouds' Director Tomás Pichardo Espaillat on the Wild Collaborative Animation Process of His Annecy Player: 'It Was Chaotic and Crazy' '9 Million Colours,' Bára Anna (Czech Republic, Norway, Germany) Bára Anna's '9 Million Colours' is a vibrant and brilliantly lit 15-minute stop-motion musical that explores the unlikely bond between Fran, a multi-colored mantis shrimp, and Milva, a blind deep-sea fish. Set in a surreal underwater world, the film delves into themes of perception, difference and acceptance. Without dialogue, it relies on expressive animation and an evocative score by Floex to convey its narrative. The film's distinctive blend of puppetry and stop-motion animation crafts a whimsical yet poignant tale that will resonate with audiences of any age. A Cartoon Springboard standout as a project, the finished film's inclusion in this year's festival underscores its artistic merit and emotional depth. 'Atomik Tour,' Bruno Collet (Czech Republic, France) In 'Atomik Tour,' Bruno Collet merges social media documentary realism with surreal stop-motion as a Cold War tour guide leads us through an abandoned nuclear site via a video streaming app. With dark humor and eerie nostalgia, Collet critiques both the absurdity and the tragedy of nuclear history while occasionally shocking the audience with psychological thrills. His miniature sets brim with unsettling detail, and the uncanny monotone characters deliver deadpan lines that hit with precision. It's a timely and quietly powerful film that exposes how we commemorate, or forget, collective trauma. 'Bread Will Walk,' Alex Boya (Canada) 'Bread Will Walk' is as strange as it is magnetic. Iconic Canadian filmmaker Alex Boya delivers an intoxicatingly grotesque piece of hand-drawn surrealism, featuring walking loaves of bread and melting anatomies. It's equal parts body horror, cannibalism and existential comedy, steeped in absurdist traditions. Boya's signature drawing style, fluid and twitching, brings his warped vision to life. This short, voiced entirely by Canadian actor Jay Baruchel, dares viewers to keep looking as its characters morph and are forced towards unenviable decisions. 'Carcassonne-Acapulco,' Marjorie Caup, Olivier Héraud (France) A brightly colored stop-motion short with a vintage and hyper-stylized aesthetic, 'Carcassonne-Acapulco' unspools aboard flight 7836. Cutesy felt sets and characters, and a charming ukulele soundtrack, set up viewers for a surprise when the crew faces an unexpected knock on the cockpit door mid-flight, prompting a tense and comedic dilemma as otherwise casual pilots debate whether to allow the knocker in. The film's meticulous puppet animation and witty storytelling have already garnered significant acclaim, earning it a spot at the Unifrance Short Film Awards. 'The Girl Who Cried Pearls,' Chris Lavis, Maciek Szczerbowski (Canada) Chris Lavis and Maciek Szczerbowski's 'The Girl Who Cried Pearls' is a haunting fable that delves into sorrow, love and the corrupting power of greed. Premiering as one of the opening-night shorts at this year's festival, this Canadian title showcases the duo's signature handcrafted puppetry and surreal storytelling. With a poignant score by Patrick Watson, the film immerses viewers in a melancholic tale where a girl's tears transform into pearls, leading to unforeseen consequences. Produced by the National Film Board of Canada, this short is one in a long line of standout titles that benefit from one of the world's most prolific and supportive public filmmaking programs. 'Life With an Idiot,' Theodore Ushev (France) Inspired by Victor Erofeyev's novella, 'Life With an Idiot' is a tour de force of political expression and raw emotion. Theodore Ushev, whose 2019 short 'The Physics of Sorrow' made our must-watch list at Annecy 2020, adapts the story into a stark, expressionistic film filled with jagged edits and visceral brushstrokes. In the film, a protagonist accused of not working hard enough is forced to live with an idiot as punishment. Pulled from an asylum, the nearly deaf roommate can only utter a single syllable: 'Ech.' Domestic chaos leads to societal critique backed by an aggressive sound design and stark aesthetic. Ushev's latest, produced by French powerhouse Miyu Productions, demands attention and leaves a mark. 'My Wonderful Life,' Calleen Koh (Singapore) Koh's 'My Wonderful Life' is a sharply observed satire of modern society as experienced by an overworked and underappreciated mother of two. Through a charmingly off-kilter blend of 2D aesthetics, the film follows a protagonist who, after catching a highly contagious virus, must abandon her work as a personal assistant to a demanding boss and her duties at home with a useless husband and two needy kids. When her hospital stay is set to end, she begins a series of over-the-top self-mutilations to avoid returning to her unappreciative dependents, but grows to miss and appreciate the joy that they bring into her life. 'Star Wars: Visions – Black,' Shinya Ohira (Japan) One of the most experimental entries in the Star Wars: Visions anthology, 'Black' by Shinya Ohira reimagines the galaxy through a gritty, impressionistic lens. Known for his frenetic animation and abstract storytelling, Ohira delivers a visually explosive meditation on conflict and identity. Far from traditional fan service, this short dives into the psychological toll of warfare and the ambiguity of heroism. It's Star Wars stripped to its philosophical bones, raw, kinetic and unforgettable. An upbeat and frenzied jazz soundtrack fuels the most visually stunning interpretation of the Death Star's destruction that we've ever seen. 'Sulaimani,' Vinnie Ann Bose (France) In 'Sulaimani,' Vinnie Ann Bose crafts a delicate, introspective narrative centered on a restaurant meal and cup of spiced tea, and the memories those dishes evoke in two Malaysian women living in Paris, although for vastly different reasons. Through textured stop-motion animation for present-day scenes and colorful hand-drawn sequences for flashbacks, the film captures the diaspora experience with warmth and nuance. As stories of love, loss and migration unfold over small bites and careful sips, Bose paints a portrait of identity steeped in sensory memory. Intimate and powerful, 'Sulaimani' is a heartfelt ode to cultural reflection and belonging. 'Tapeworm Alexis & the Opera Diva,' Thaïs Odermatt (Switzerland) In one of the festival's most delightfully bizarre entries, Thaïs Odermatt introduces us to a tapeworm named Alexis who accompanies the legendary opera diva Maria Callas across her rise to Prima Assoluta. 'Tapeworm Alexis & the Opera Diva' is a brilliant absurdist comedy, blending crude humor with unexpectedly tender moments and ruminations on contemporary themes. With vibrant, squiggly animation that relies heavily on archival imagery and a riotous sense of rhythm, Odermatt delivers a short that is both a parody and a love letter to one of opera and pop culture's greatest 20th century icons. It's grotesque, hilarious and strangely endearing. Best of Variety 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Animated Program — Can Netflix Score Big With 'Arcane,' 'Devil May Cry' and the Final Season of 'Big Mouth?'
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20 hours ago
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Immersive Domes, Checkered-Eared Rabbits and a New Platform: Hungary to Showcase 111 Years of Animation as Annecy Country of Honor
At the 2025 Annecy International Animation Film Festival, Hungary is not merely participating, it is being celebrated as the fest's official country of honor. Hungary arrives in the French lakeside town in full force, with an impressive mix of of history, innovation and emerging talent that spans 111 years of animation legacy. Under the guidance of Ildiko Takacs, director of the Hungarian Tribute program, the country is presenting more than 80 works, a new immersive screening format and a vibrant presence throughout the city of Annecy. More from Variety Animation and Heart: The Directors of Gkids Pick-Up 'Little Amélie' Reflect on Collaborative Spirit in Bringing 'The Character of Rain' to Screen Annecy Contender 'Death Does Not Exist' by Félix Dufour-Laperrière Gets Political: 'There's Urgency to Redistribute Wealth' Guillermo del Toro-Backed El Taller del Chucho, Fasten Films, Martfilms Team on 'Sira and the Secret of the Park,' From Adrià García, Ángeles Cruz (EXCLUSIVE) 'This is a super recognition,' Takacs told Variety ahead of this year's festival. 'It's not just about the past. It's about where we are and where we're going. We're a small country with a difficult language, but animation and moving images have always been a way for us to communicate with the world.' A Symbolic Anniversary Hungary's animation industry officially celebrated its 110th anniversary last year, a milestone marked by growing global recognition. However, the timing of this Annecy tribute lands it on the country's 111th year in animation, a number that, while unconventional, holds its own charm. 'We are very happy with this 111,' Takacs said with a smile. 'The idea started taking shape over a year ago. But preparations really began in October. It was a short runway to prepare something of this magnitude, but we made it.' Hungary's tribute at Annecy is a comprehensive celebration: restored classics, student works, experimental shorts and contemporary features, all curated by animation specialists Anna Ida Orosz and Réka Bucsi from the Hungarian National Film Institute. 'We wanted to create something that would not only showcase what we have done but also foster ongoing collaboration,' Takacs emphasized. 'That's why we chose to feature works from across generations and styles.' The Dome: Immersive and Experimental One of the most ambitious elements of the tribute is the debut of the Hungarian Dome, Annecy's first-ever geodesic dome screening venue. Installed at Place François de Menthon, the Dome presents specially adapted immersive content, combining state-of-the-art projection with narrative experimentation. 'I'm very curious to see how people will react,' said Takacs. 'The Dome is new, bold and very different. The Annecy team has been incredibly supportive of this experimental journey. We're grateful they believed in the concept.' Among the Dome presentations is a VR documentary titled '10 Hours Missing,' which blends real-world testimonies with immersive storytelling. 'It's the kind of brave, boundary-pushing work that reflects what Hungarian animation stands for,' said Takacs On the Streets and in the Soul In addition to the formal screenings, Hungary's presence is also being felt quite literally on the streets of Annecy. An ambitious street art exhibition called 'Hunimation Hits the Streets,' created by Daniel Huszár, is transforming public spaces into animated wonderlands. Iconic characters such as The Rabbit With Checkered Ears – sure to be a hit with Annecy festivalgoers – and figures from 'Cat City' and 'Les Contes Populaires Hongrois' will emerge from alleyways, cafés and hotel façades, interacting playfully with the architecture. 'I always dreamed of seeing our own animation characters out in the world after Disney on Ice in Budapest years ago,' Takacs recalled. 'And now it's happening. When I saw the Checkered-Eared Rabbit downtown, I got goosebumps.' Past, Present and Future of Hungarian Animation From the outside, Hungary's animation scene might appear eclectic, but that's precisely its strength. Unlike many countries that become known for specific stylistic traditions, Hungarian animation is defined by its diversity. 'I'm so happy you said that,' Takacs said when asked about Hungary's lack of a single identifiable style. 'People often ask me to define Hungarian animation, but it's not easy. There's no mold. We do everything: 2D, stop motion, CG, experimental. It's part of who we are.' This diversity is evident in the wide-ranging official selection at Annecy: Péter Vácz's 'Dog Ear' in competition, Gábor Ulrich's 'Capriccio' in Off-Limits, Anna Tőkés's 'The Last Drop' in the graduation category and the series 'Kippkopp and Tipptopp' by Tama Mikori demonstrate a strong diversity of styles, stories and intended audiences. Training the Next Generation A key factor behind Hungary's creative breadth is the country's strong emphasis on education. Institutions like MOME (Moholy-Nagy University of Art and Design) have long been breeding grounds for animation talent, and new programs at Budapest Metropolitan University and Esterházy Károly University are expanding that reach. 'There's a whole bus of students arriving, [to Annecy]' Takacs said. 'They're coming to learn, connect and be inspired. We're even documenting their journey to Annecy for a future film.' Graduation projects are supported not only by their schools but also by the National Film Institute, giving young animators a financial and institutional boost early in their careers. 'We want these students to feel empowered to try new things,' Takacs added. 'That's why we're also organizing panels like 'Paycheck vs Prestige,' to talk honestly about what it means to build a career in animation.' A Hub for Global Co-Productions Hungary has become a go-to destination for animation services, thanks in large part to its generous 30% tax rebate. The rebate applies to traditional animation as well as cinematic trailers and gaming content. 'We've been a strong service provider,' Takacs said. 'Studios like DIGIC Pictures, Ionart Studios and Puppetworks are doing incredible work for international clients. And the rebate system is efficient, you don't have to wait years to see your money.' Still, Takacs stresses that the future lies not just in providing services, but in originating world-class original stories. Building a Lasting Platform Annecy's Hungary tribute also marks the launch of the first English-language platform dedicated to promoting Hungarian animation. Supported by the National Film Institute and curated by Friss Hús Budapest, the site showcases 75 works from 24 studios. And while the Annecy tribute is the centerpiece, it's only part of a broader long-term vision. 'We want this to have a lasting effect, not just one week in June. That's why we've involved educators, producers, curators and policymakers. The collaboration has been incredible.' For Takacs and her team, Annecy 2025 is both a milestone and a launchpad. 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