Latest news with #OliviaAndTheInvisibleEarthquake
Yahoo
8 hours ago
- Entertainment
- Yahoo
Laying the Foundation: How Catalonia Is Building a Global Animation Powerhouse
In 2023, Spanish animation stunned the world when 'Robot Dreams,' a melancholic tale of friendship and loss directed by Pablo Berger, earned an Oscar nomination. Though Berger hails from Madrid, the film was backed by the Barcelona-based Arcadia Motion Pictures, a detail that underscores a larger trend: Catalonia has quietly but steadily transformed into one of Europe's most exciting hubs for animation. Now, in 2025, the Catalan animation industry stands at a pivotal moment. With a wave of exciting new titles like 'Olivia and the Invisible Earthquake,' 'The Light of Aisha' and 'The Treasure of Barracuda,' and a robust ecosystem of institutions and talent behind them, this momentum no longer feels like a fluke; it feels like a movement. More from Variety Xilam and TF1 Team Up on Animated Series 'Turbo Twins' Ahead of Annecy, MIFA Dandelooo Cinéma Pre-Sells 'Born in the Jungle' to Several Key Territories (EXCLUSIVE) Australia's Pixel Zoo Animation Studios Launches L.A.-Based Original IP Unit Pixel Labs (EXCLUSIVE) Ahead of this year's Annecy Animation Festival, Variety spoke with the producers who are making waves in the region to better understand what's behind this creative boom and what challenges remain. Their insights reveal a sector rich in talent, grounded in community, and reaching for global influence. Public Support: The Cornerstone of Catalonia's Animation Boom Nearly everyone in the industry agrees: without consistent public investment, Catalan animation would not be where it is today. 'One of the key factors has been the strong public support for animated features from institutions like ICEC and ICAA,' says filmmaker and producer Alba Sotorra, referring to the Catalan government's film-TV agency and the Spanish film agency. She is currently developing the eco-fable 'Pink Punk Delta,' which will be presented at this year's MIFA Feature Pitches at Annecy. 'Their funding has made it possible for producers to take creative risks and develop ambitious projects'. Mikel Mas, producer of Annecy competition player 'Olivia and the Invisible Earthquake' – the first ever Catalan stop-motion feature – concurs. 'There's been a real push from the administration. ICEC, especially, has made a strong commitment to animation, both in series and feature films. That's what's made this moment possible.' This public investment isn't just symbolic. The creation of a dedicated animation funding line in 2017 allowed ICEC to finance hours of animated content each year, strengthening an industry that had once struggled to sustain itself. Education and Talent Development: A Pipeline of Excellence Talent has never been in short supply in Catalonia, but now, thanks to its educational infrastructure, it is more visible and employable than ever. Sotorra highlights the region's world-class institutions: 'Catalonia is home to some of the most respected schools in Spain and Europe, L'Idem, La Salle and master's programs at ESCAC and Pompeu Fabra. These schools are constantly training great professionals who feed directly into the local industry'. Marta Alonso, executive producer at Teidees and co-producer of the upcoming series 'Under the Sofa,' which the company will be sharing with distributors at this year's Annecy MIFA amrket, sees this as a core pillar of industry growth. 'There's always been talent, but now that talent is more visible because it's being nurtured. If we give people the opportunity to work and grow, the whole sector benefits'. Adding to this are grassroots institutions like Pepe School Land, which focuses on training with open-source software like Blender, lowering barriers to entry and encouraging diverse voices to join the field. International Co-Productions: A Strategic Imperative In today's global animation economy, few independent projects can be produced within a single territory. For Catalan producers, international co-productions are not only an advantage but a necessity. Peekaboo Animation's Iván Agenjo, who will be at this year's MIFA with his company's 2D series projects 'My Little Heroes,' 'WAW Resort' and 'BFFS!,' among other ambitious proposals, breaks it down: 'It's almost impossible to finance a project exclusively with funds from Catalonia or Spain. We always look for international partners, it's part of our DNA.' For Anna Shchur of Siesta Entertainment, whose current project 'Black Moth' is animated in Armenia with creative leadership in the U.S., this strategy is about quality and survival. 'Producing entirely in Catalonia is possible, but it's much more expensive. Co-producing gives us access to different markets, funding systems and talent pipelines.' Siesta will be showing off 'Black Moth' and its 2D kids' series 'Biggie and the Magic Bag' at this year's MIFA. However, co-production also comes with its own complexities. Alonso compares finding the right partner to 'finding the right person to marry… when it works, it's a miracle. When it doesn't, it's a nightmare.' Despite the challenges, these partnerships are crucial for accessing foreign markets. As Shchur notes, 'If you want to distribute in Canada or France, you often need to produce there. Co-production opens that door.' Grounded Storytelling with Global Appeal What truly sets Catalan films apart from the pack is not big-budget aesthetics or groundbreaking technological advances; it's a motivated base of talented and uniquely experienced artists using their craft to tell stories rooted in lived experience and featuring cultural authenticity. 'We have a creative mix that's very special here,' says Sotorra. 'Many animated films are made by directors who come from documentary or live-action backgrounds. They bring a different sensibility, grounded stories, emotional depth.' Mas sees this as a defining strength of 'Olivia,' which deals with childhood homelessness through stop-motion. 'The film speaks to a social issue, but in a way that's accessible to children. That balance, between the heavy and the hopeful, is what makes it powerful'. Agenjo notes that projects must walk a fine line: 'They can be rooted in local culture, but they have to resonate internationally. That's how we attract partners and distributors abroad.' Even commercial projects are incorporating more meaningful themes. Shchur's 'Black Moth' focuses on female empowerment and music as a means of identity-building. 'It's high-quality, and the narrative is strong,' she says. 'It's not just content, it's storytelling with purpose'. Distribution: The Lingering Weak Link For all its strengths, Catalan animation still faces significant hurdles in distribution, especially at home. 'It's actually harder to distribute in Spain than it is abroad,' Shchur admits. Alonso notes a discrepancy in support during and after production has wrapped: 'We need money not just to make the films, but to get them out into the world. Distribution is where we're lagging behind countries like France'. Mas adds that public broadcasters like RTVE and TV3 could be doing more: 'These are public institutions, they should be helping get culturally valuable films in front of more people. When a commercial film like 'Tadeo Jones' ('Tad the Lost Explorer') premieres, it's everywhere. Our films should get that kind of push, too.' There is hope, however. Initiatives like Eurimages and select E.U. distribution grants are beginning to make an impact. But as Mas argues, 'There's a double standard in animation. People expect us to get into Cannes and win awards, but also sell popcorn like Hollywood. We need to recognize both cultural and commercial success.' Looking Ahead With several major projects rolling out in 2025, including 'The Light of Aisha,' 'The Treasure of Barracuda,' and 'Hanna's Forgotten Christmas,' Catalan animation is poised to extend its winning streak. But sustaining this momentum will require more than creative excellence. It demands sustained public investment, better distribution strategies and a continued focus on international collaboration. 'If we maintain the key pillars: public funding, high-level education, international reach and authorial voice, Catalan animation can become a global reference for auteur animation,' says Sotorra. In short, Catalonia's animation industry isn't experiencing a bubble, but the laying of a foundation. And if nurtured properly, Catalonia may soon become one of the world's leading centers for animated storytelling. Best of Variety 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?' What's Coming to Netflix in June 2025
Yahoo
8 hours ago
- Entertainment
- Yahoo
‘Olivia and the Invisible Earthquake' Director Irene Iborra on Helping Kids Understand Big Feelings and Life Changes in a ‘Luminous, Gentle Way'
As the 2025 Annecy International Animation Film Festival approaches, anticipation builds for the world premiere of 'Olivia and the Invisible Earthquake,' a poignant stop-motion feature directed by Spanish filmmaker Irene Iborra that charmed at the French festival with a Work in Progress presentation last year. Adapted from Maite Carranza's novel 'La Vie est un film,' the stop-motion feature – the first ever from Catalonia – follows 12-year-old Olivia, who, after her family is evicted, convinces her younger brother that their hardships are part of a movie they are starring in. This imaginative coping mechanism sets the stage for a luminous drama that explores themes of resilience, solidarity, and the power of storytelling in the face of adversity. More from Variety Laying the Foundation: How Catalonia Is Building a Global Animation Powerhouse Xilam and TF1 Team Up on Animated Series 'Turbo Twins' Ahead of Annecy, MIFA Dandelooo Cinéma Pre-Sells 'Born in the Jungle' to Several Key Territories (EXCLUSIVE) Iborra, making her feature directorial debut, brings a handcrafted aesthetic to the film, utilizing animated objects to create a tactile and emotionally resonant world. The film has been praised for its sensitive portrayal of complex social issues, such as housing insecurity and parental depression, making it accessible to both children and adults. Ahead of its Annecy debut, Variety sat down with Iborra to discuss the creative journey behind 'Olivia and the Invisible Earthquake,' the realities of making a stop-motion feature in Spain and the role of animation in addressing real-world issues. Variety: Did you realize you were making the first stop-motion feature film in Catalonia? Irene Iborra: Honestly, no. I didn't realize it was the first feature film in Catalonia until we were already in pre-production. For me, what really mattered was the story and telling it through stop-motion because of the textures and the poetry this technique brings, something you don't find in others. Only later did it dawn on me that it hadn't been done before here. But we already had a community; I'm a teacher in a master's program that's been running for 10 years. So people were already making short stop-motion films. This project felt like a natural evolution. The film is very grounded in Barcelona, even though it explores universal issues like the housing crisis. How did you approach the design of the characters and sets? We wanted to tackle difficult topics in a luminous, gentle way, making them visually pleasant. The characters were designed by Morgan Navarro, a French comic artist. They're stylized, but because their clothes are made from real textures, they feel close to us despite their abstract faces. For example, we used wool for the hair, a texture I had worked with in my short films. I also deliberately avoided the typical round shapes of children's animation. Instead, we went for more defined lines, especially in the noses, to break that mold while still keeping them appealing. The sets are highly realistic, including actual graffiti found around Barcelona. I took photos around the city with Morgan, and the set design team recreated them beautifully. There's a constant tension between stylized puppets and realistic settings, which helps us feel both immersed in the story and aware that it's a crafted world. Also, details like making the characters more saturated in color than the backgrounds were carefully planned to underline our concept that people shape the space around them. The film's portrayal of Olivia's anxiety is powerful. What influenced your depiction of her inner world? I really pushed some boundaries here. Themes like the mother's illness and Olivia's panic are hard to present to kids. So, while the ground opens up and she falls into darkness, what she finds is a more peaceful, inner space. The stress of the fall is balanced with calm lighting and gentle design as she descends. These decisions were made together with the cinematographer, using light to make the environment gradually more serene. In stop-motion shorts, mental health is a frequent topic, so it didn't feel foreign to me. For Olivia, I liked the idea that fear can send us inward, into a personal space filled with metaphors like the whale or the furniture. That's where solutions might lie. We debated a lot about sound design, too; we didn't want to terrify children. I hope I didn't go too far, though we'll see what age range responds best. The little brother is seven, but the film might be more suitable for eight or nine and up. Given that this is a family film, but also a social issue film, how are you approaching distribution? We always saw it as auteur cinema for children. It's an adventure film, fun, emotional, maybe even tear-jerking, but definitely adventurous. We have great distribution partners: Pyramide internationally, Filmax for Spain and strong support from broadcasters like Televisión Española, TV3 (Catalonia) and À Punt (Valencia). Belgian, Swiss and French TV are also on board. Despite the risks, many believed in the film's potential. What were the biggest production challenges, especially making your first feature film in stop-motion? We were passionate but inexperienced. It was my first feature, and [producer] Mikel [Mas]'s first stop-motion film of any length. That led to stressful situations. The budget, while high for a first film, was low for a stop-motion feature, which meant cutting corners. Sometimes we had to sacrifice quality or perfection in favor of practicality. That was hard for everyone, but I'm happy with the balance we struck. The arrival of more experienced French and Belgian producers helped stabilize things. But yes, we had to work under pressure, sometimes making tough calls like telling people, 'This isn't perfect, but it's what we can do with the resources we've got.' Do you think this opens the door for more stop-motion films in Spain? This is only the third stop-motion feature made in Spain, after 'O Apóstolo' and 'Pos eso.' So yes, it's rare. But this film has massively increased the experience level of the teams involved. Whether another project of this scale will happen soon, I don't know; it's not easy to gather five production companies from around the world again. But the talent and know-how are here now. What was the production setup like across so many countries? Initially, each production company had its own space, one for puppets in Barcelona, another for sets in Valencia, some decor and 3D face modeling from Chile, puppet work in France. Eventually, we centralized everything in a huge studio in Sant Martí for shooting. Post-production was spread out – some in Switzerland, France, Belgium – but the physical shoot was all in one place. Are you planning to travel with the film now that it's finished? Absolutely. I've been with this film since 2017, adapting Maite Carranza's novel, and I won't leave it now. I already have festivals lined up, including Annecy. I believe this film needs my presence. It's delicate, it touches on sensitive topics like anxiety and depression. As both executive producer and director, I feel a strong responsibility to support and explain it to audiences around the world. Best of Variety All the Godzilla Movies Ranked Final Oscar Predictions: International Feature – United Kingdom to Win Its First Statuette With 'The Zone of Interest' 'Game of Thrones' Filming Locations in Northern Ireland to Open as Tourist Attractions
Yahoo
8 hours ago
- Entertainment
- Yahoo
Key Catalan Titles at the 2025 Annecy Animation Festival and MIFA Market
For the third year in a row, an animated feature produced by Catalan companies will feature in Annecy's main competition. Following strong showings from the eventual Oscar nominee 'Robot Dreams' in 2023 and 'Rock Bottom' in 2024, the region's first-ever stop-motion feature 'Olivia and the Invisible Earthquake' will premiere in 2025. 'Olivia' isn't the only Catalan title looking to make waves at Annecy this year. Below, we take a closer look at some of the hottest upcoming Catalan productions set to impress at Annecy and its accompanying MIFA Market. More from Variety 'Olivia and the Invisible Earthquake' Director Irene Iborra on Helping Kids Understand Big Feelings and Life Changes in a 'Luminous, Gentle Way' Laying the Foundation: How Catalonia Is Building a Global Animation Powerhouse Xilam and TF1 Team Up on Animated Series 'Turbo Twins' Ahead of Annecy, MIFA 'Olivia and the Invisible Earthquake' Director: Irene Iborra Production: Cornelius Films, Citoplasmas, Panique!, Bigaro Films Spanish Distributor/Sales Agent: Filmax / Pyramide Films Screening: Premiere on June 9, 10:30, Grande Salle The jewel in this year's Catalan crown at Annecy, 'Olivia and the Invisible Earthquake' is the first-ever stop-motion feature produced in Catalonia and only the third from Spain. Playing in the festival's main competition, this heartfelt and socially conscious family feature follows young Olivia as she navigates a world that suddenly seems out of sync when her single-parent, middle-class family is evicted from their Barcelona apartment. Using imaginative and colorful visual metaphors, the film touches on childhood anxiety and resilience in a manner with which audiences of all ages can empathize. The collaborative production brings together studios from Spain, France, Belgium and Chile, marking a cross-cultural effort that enriches its narrative depth. 'Pink Punk Delta' (fka 'The Girl and the Flamingo') Director: Alba Sotorra Production: Alba Sotorra Productions, Artichoke (Slovakia), Pájaro (Chile) Pitch Event: June 12 – MIFA Feature Film Pitching Sessions – June 11, 9:00 and 10:45 Described as a punk feminist road movie in animated form, 'Pink Punk Delta' dives into themes of identity, queerness and rebellion. From Catalan super-producer and prolific filmmaker Alba Sotorra – producer of 2024 Contrechamp player 'Rock Bottom' – this project combines vibrant 2D animation with a raw, uncompromising narrative style. The project is currently in development and already generating buzz. The pitch promises a bold new voice in European adult animation. 'A Dangerous Journey' Director: Lucija Stojevic Production: Noon Films Screening: Ibermedia Next Pitch and networking event – June 11, 17:15 Blending documentary and fiction, this animated feature explores the treacherous paths of migration through the lens of personal testimony. Director Stojevic crafts a haunting visual journey that draws from real-world accounts, aiming to raise awareness with empathy and artistry. 'The Origin of Experience' ('El origen de la experiencia') Director: Zulu González Production: Cornelius Films (Catalonia), Hampa Studio (Spain), The42Film (Mexico), El Taller del Chucho (Mexico), La Corriente del Golfo (Mexico), Midralgar (France) Screening: Ibermedia Next Pitch and networking event – June 11, 17:15 A philosophical exploration of childhood, memory, and perception, this visually striking film mixes abstract storytelling with traditional animation. González's direction promises a cerebral but emotionally resonant work that challenges the conventions of animated cinema. 'Aya in the Desert' Director: Julia Horrillo Plá Producer: Alhena Production Presentation: Women in Animation from Spain – June 12, 10:00 Intended for adult audiences, this feature from first-timer Julia Horrillo Plá follows Awa, a 13-year-old girl fleeing war in the Ivory Coast, who is intercepted on the coast of Cádiz while disguised as a boy. Taken to a sports center, she recalls her perilous journey and separation from her mother. Drawing strength from imagined tales of warrior Akwa Boni, Awa finds resilience and hope as she tries to contact her cousin in Seville and dreams of reuniting with her mother. Currently in development. MIFA MARKET STANDOUTS 'The Treasure of Barracuda' Director: Adrià García Production: Inicia Films, Hampa Studio, Belvision Adapted from the beloved children's book, this colorful pirate adventure is full of charm and life lessons. Aimed at family audiences, it's scheduled for a Spanish theatrical release in October 2025. Helming is García, the rated director of Filmax's admired 'Nocturna,' and 'My Family and the Wolf,' from Didier Brunner's top French animation producer Folivari 'Hanna's Forgotten Christmas' Director: Elena Ruiz Guitart Production: Érase una vez films, Miyagi Films, Veligandu AIE A cozy holiday sequel to 'Hanna and the Monsters,' this warm tale follows young Hanna as she rekindles joy in her town. With its December 2025 release, it's poised to become a seasonal favorite. 'Black Moth' Producers: Format: 26 x 22' | Target Age: 7–12 A female-led superhero eco-adventure series about a girl whose music turns her into an environmental crusader. With themes of inclusivity, sustainability, and empowerment, Season 1 is already fully funded and due in autumn 2025, with Season 2 in development. 'My Little Heroes' Format: 52 x 11' Producers: Peekaboo Animation, Fabrique Fantastique Targeted at kids 4–8 years old, this educational and adventurous comedy series introduces kids to famous figures like Mandela and Mozart in their childhood, blending humor and historical insight. Based on a popular book series, it was honored with the Audience Award for Best Project Pitch at the 2023 CEE Animation Forum. 'Under the Sofa' Producer: Teidees Format: 52 x 7' A whimsical comedy-adventure about discarded household objects making a life together under a family's sofa. Highlighting reuse and the hidden value of forgotten items, this vibrant and cartoony series offers humor with an environmental twist. 'Jasmine & Jambo' Producer: Teidees Format: Feature Based on the successful animated series of the same name, this feature project turns on Jasmine, a curious girl, and Jambo, her loyal elephant friend. They journey through a vibrant jungle, meeting various animals and facing challenges. The film highlights themes of friendship, courage and nature conservation. With stunning visuals and a captivating storyline, it appeals to all ages, emphasizing the bond between humans and animals and the beauty of the natural world. Best of Variety All the Godzilla Movies Ranked Final Oscar Predictions: International Feature – United Kingdom to Win Its First Statuette With 'The Zone of Interest' 'Game of Thrones' Filming Locations in Northern Ireland to Open as Tourist Attractions
