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Home Blog Page 10

Animated Fantasy ‘Dandelion’s Odyssey’ Set as Closing Film of Cannes Critic’s Week

The official feature films selection of the 64th Semaine de la Critique (Critic’s Week), taking place May 14-22 in Cannes, have been announced. While live-action films dominated the long-métrage lineup, one animated breakthrough has been honored with its assignment as Closing Film of the festival. This year’s program will present 11 features (seven in competition and four special screenings), selected from 1,000 submissions.

The so-elevated title is Dandelion’s Odyssey (French title: Planètes), the first animated feature from Japanese director Momoko Seto. This adventurous ecological fable with a sci-fi twist will make its World Premiere at Critic’s Week.

Synopsis: Dendelion, Baraban, Léonto and Taraxa — four dandelion achenes that survive from a series of nuclear explosions destroying Earth — are propelled into the cosmos. After crash-landing on an unknown planet, they set out in search of soil where their species might survive. However, they must face countless obstacles: the elements, fauna, flora, the climate.

Dandelion's Odyssey [Miyu Productions / Ecce Films]

The film is a non-dialog piece in photoreal CGI produced by Miyu Productions (France) and Ecce Films (France), in co-production with Umedia (Belgium), Arte France Cinema, CNRS (France) and Reepost (France/Belgium). Seto directs, and wrote the screenplay with Alain Layrac. Production design is by Nils Dupré. Producers are Emmanuel-Alain Raynal, Pierre Baussaron and Emmanuel Chaumet.

French distribution is through Gebeka Films; Indie Sales is handling worldwide sales.

Dandelion's Odyssey [Miyu Productions / Ecce Films]

Seto (born 1980 in Japan) studied at the Lycée Français of Tokyo before attending the Fine Arts College of Marseille and Le Fresnoy National Studio of Contemporary Arts in France. She began her career making short fiction films and documentaries for the CNRS (National Centre of Scientific Research). She then delved into creating hybrid mix-genre films, such as the award-winning experimental animated shorts Planet Sigma and Planet Z, and her photoreal animated “seafood porn” shorts  including Octopus Love Affair and Prawns Orgy.

See the full list of Critic’s Week 2025 feature film selections at semainedelacritique.com. The short film selections will be announced April 17.

Dandelion's Odyssey [Miyu Productions / Ecce Films]

‘Steel Ball Run JoJo’s Bizarre Adventure’ Anime Series in Production at Warner Bros. Japan

STEEL BALL RUN JoJo’s Bizarre Adventure 1_ImageVisual_EN logo

Warner Bros. Japan LLC has announced that STEEL BALL RUN JoJo’s Bizarre Adventure is officially in production. An announcement trailer, teaser poster and main character visuals have been revealed.

The upcoming series is based on the original spin-off manga from the JoJo’s Bizarre Adventure manga creator Hirohiko Araki. Published in 2004 by Shueisha, the story centers on a fan and comics critics favorite “JoJo,” Johnny Joestar, and his extreme racing companion Gyro Zeppeli.

Manga synopsis from English-language publisher VIZ Media: Riders from around the world gather in the Wild West for the race of the century! Johnny Joestar, a former jockey paralyzed from the waist down, comes to spectate, and momentarily regains the ability to walk while watching a duel fought by Gyro Zeppeli. Desperate to learn more about this power, Johnny joins the race alongside Gyro and embarks on the most epic and bizarre race to ever cross the American frontier!

STEEL BALL RUN JoJo’s Bizarre Adventure 1_ImageVisual_EN logo

The news was revealed at JoJo Day Stage in Japan on Saturday. See more information on the event and the JoJo X Shibuya activations here.

Fans can keep an eye on the series’ official website jojo-portal-anime.com/sbr for updates.

Cardiff Animation Weekender Reveals May Programming

The Cardiff Animation Weekender, presented by Cardiff Animation Festival, will showcase a vibrant, hybrid program of animated nostalgia, cult classics and brand-new gems. Across screenings, talks, workshops and socials, audiences can enjoy films together, get involved in discussions, take time to reconnect, meet new friends, create and have fun.

“Cardiff Animation Weekender is an invitation to reconnect with your younger self. With a program full of stories about growing up, alongside some of the cartoons that raised us, it’s a space to watch films together, laugh, cry and have great chats about them afterwards — with drinks in the dark, in the online chat box, or over a big shared lunch,” said Cardiff Animation Festival Director Lauren Orme. “We’ve designed the Weekender to be a welcoming, inclusive space for everyone — all about fun, community and connection. A chance to tap into your childlike joy by learning something new, getting swept up in stories, and letting yourself be silly. We can’t wait to see you there.”

The program will include:

Wallace & Gromit: The Wrong Trousers
Wallace & Gromit: The Wrong Trousers

The Princess and the Goblin

Feature Film Screenings:

  • Beloved Don Bluth dino classic The Land Before Time.
  • A Feather’s McGraw double bill, Wallace & Gromit: The Wrong Trousers followed by their newest outing Vengeance Most Fowl.
  • Dreamy, surreal coming-of-age story Boys Go To Jupiter.
  • Brand new rotoscope anime feature Ghost Cat Anzu.
  • Cult classic Welsh fantasy Y Dywysoges a’r Bwgan (The Princess and the Goblin) with a rare showing on the big screen – yn Gymraeg!

 

 

QuickDraw Poster

Short Films:

  • Festival Favorites, hand-picked highlights from over a decade of Cardiff Animation events.
  • Oska Bright’s best of the fest, a bold showcase of unique voices, styles and themes.
  • Cardiff Quick Draw Shorts sees teams across the globe take on the impossible goal of making an animated film in a single weekend.

 

 

John R. Dilworth
John R. Dilworth

Talks:

  • Academy Award-nominated animation legend John R. Dilworth comes to Cardiff all the way from New York City to celebrate 25 years of Cartoon Network cult classic Courage the Cowardly Dog, from the unbelievable first pitch to its legacy with today’s generation of animation fans.
  • Chris Shepherd shares his nostalgic debut graphic novel Anfield Road in conversation with Hannah Lau Walker.

 

 

Dog Life Drawing
Dog Life Drawing

Other events:

  • Interactive Workshops, including a hands-on stop-motion animation workshop with animator Helen Piercy, using locally sourced fossils and the magic of traditional animation techniques to make a mini dinosaur film, plus make your own Gromit and Feathers McGraw with expert guidance from Aardman.
  • A brand new event Sketch Showdown! will bring artists head-to-head in an epic on-stage cartoon memory battle.
  • Local art and film group Sinema Colomendy will be hosting a fun and relaxed session of Dog Life Drawing at Corporation Yard.
  • An exhibition of Welsh animators’ work alongside their inspirational treasures.
  • One Bum Cinema Club, possibly the smallest cinema in the world, returns to Chapter.
  • And Cardiff Animation Nights kicks off the Weekender with a launch party at The Underdog bar in Cardiff City Centre.

Every event at the festival will be captioned and BSL interpreted and all online screenings and events will be captioned.

“Nostalgia often blinds us, distorting the past — politicians use it to sell a past that never truly existed. Even if we could go back, we’d see it was never as perfect as they claim. But when it comes to animation, nostalgia offers a rare gift: the ability to see the past as it truly was,” commented Manchester Animation Festival Director and Skwigly Editor/Co-Owner Dr. Steve Henderson. “I have a three-year old, and while watching the shows that will one day be nostalgic for them, I also get to revisit my own childhood favorites. The moment an old episode plays, I’m transported back — sitting in front of a much smaller but bulkier TV, in a home with garish wallpaper and frilly cushions, where the single glazing barely muffles the traffic noise outside. Time moves forward; I’ve grown older, and TVs have grown thinner. But animation remains timeless. It welcomes you back as if no time has passed, allowing you to pick up where you left off and share that magic with a new generation. In this way, animated nostalgia doesn’t distort the past — it brings it to life in full color.”

Day Passes, Weekend Passes and tickets are now on sale on CAF’s website: www.cardiffanimation.com

Cardiff Animation Weekender is funded by Arts Council of Wales and Ffilm Cymru Wales, has received funding and support from Welsh Government via Creative Wales, is supported by investment from Arts & Business Cymru, and is sponsored by University of South Wales, Cloth Cat, Twt Productions, Beryl Productions, Picl Animation and ScreenSkills Animation Skills Fund with contributions from UK animation productions.

Science SARU Teases New ‘Ghost in the Shell’ Anime for 2026

Since uploading to pop culture consciousness in the 1989 manga  by Masamune Shirow, The Ghost in the Shell has inspired audiences and storytellers as an icon of cyberpunk fiction, generating the acclaimed 1995 animated movie by Mamoru Oshii as well as a live-action Hollywood film starring Scarlett Johansson.

Now, Japanese studio Science SARU (Inu-Oh, Keep Your Hands Off Eizouken!) has unveiled the key staff, teaser trailer and key visual for a new anime series adaptation, also titled The Ghost in the Shell. Originally announced in May 2024, the project is set to hit screens in 2026.

The news series marks  the directorial debut of Mokochan (Toma Kimura), known for his work on Dan Da Dan and Scott Pilgrim Takes Off. The script was written by sci-fi author EnJoe Toh (Self-Reference ENGINE, Shadow.net). Character design & executive animation directing are handled by Shuhei Handa (Scott Pilgrim Takes Off, Spriggan).

Ghost in the Shell teaser kv
New series key visual

Kimura / Mokochan was born in 1992 and joined Science SARU in 2015, and studied under director Masaaki Yuasa as an assistant director along with Fuga Yamashiro. He worked as storyboarder and episode director on The Heike Story (2022), The Tatami Time Machine Blues (2022) and  Scott Pilgrim Takes Off (2023); he also storyboarded and directed the opening of SPTO. On Dan Da Dan (S1), he served as assistant director, in addition to storyboarding and directing both an episode and the ending animation.

Born in Sapporo in 1972, Toh made his debut as a writer with 2007’s Self-Reference ENGINE, which went on to win a special citation at the Phillip K. Dick Awards. His writings have won many awards: Harlequin’s Butterfly won the Akutagawa Prize, The Empire of Corpses (co-written with Project Itoh) won the Nihon SF Taisho Special Award, Mojika won the Kawabata Yasunari Prize for Literature and Nihon SF Taisho Prize, and Code Buddha won the Yomiuri Prize for Literature. He handled scripts and SF advising on the animated series Godzilla Singular Point, and he also works as a translator. Some of his translations include Charles Yu’s How to Live Safely in a Science Fictional Universe, Lafcadio Hearn’s Kwaidan (into Japanese) and Ugetsu Monogatari (into modern Japanese).

Handa was born in Fujinomiya, Shizuoka in 1984. Originally an employee at Gainax, he is currently a freelance animator at TRIGGER. After participating in Little Witch Academia (2013, Anime Mirai version), KILL la KILL (2013-2014), One Punch Man (2015), and Space Patrol Luluco (2016), he served as character designer and chief animation director on Little Witch Academia (2017, TV series). He later served as character designer on SPRIGGAN (2022) and Scott Pilgrim Takes Off (2023).

The new teaser video showcases key animation and storyboards, offering a glimpse into the series’ unfolding drama. Also, the second teaser visual, illustrated by Shuhei Handa, features cyborg protagonist Motoko Kusanagi and the AI tank Fuchikoma, and evokes the spirit of Shirow’s original manga cover sketch.

The Ghost in the Shell

“Anime adaptation-wise, this new The Ghost in the Shell marks the fourth version following those by Oshii, Kamiyama and Kise,” said manga creator Masamune Shirow. “Alternatively, if we separate Ghost in the Shell and Innocence, categorize the S.A.C. series into Seasons 1, 2 and Solid State Society, divide Arise into its own series along with The New Movie, and split SAC_2045 into Seasons 1 and 2, this would be the tenth adaptation overall.

“Considering the shift in production staff, one could even consider this the first installment of a second generation. The original manga is quite old, so I ask for your understanding on that point (sorry!). That said, I sincerely hope this will once again be an enjoyable visual experience in some form.”

Shirow began his career in manga and illustration in 1982. He is the original creator of Appleseed (1984, Seishinsha), Dominion (1984, Hakusensha/Seishinsha), The Ghost in the Shell (1989, Kodansha) and Orion (1990, Seishinsha). He provided the original concept for Pandora in the Crimson Shell: Ghost Urn (2012, Kadokawa Shoten) and served as scriptwriter and storyboarder for the anime Black Magic M-66. His art books include the INTRON DEPOT series (1992, Seishinsha), W・TAILS CAT (2012, GOT), and GREASEBERRIES (2014, GOT). He has also worked as an illustrator for novels such as Classical Fantasy Within (written by Soji Shimada, 2008, Kodansha) and The Third [Complete Edition] (2015, Mainichi Shimbun Publishing) in addition to doing design and illustration work on games, and design and plot development work on animations.

‘The King of Kings’ Crowned Top Faith-Based Animated Opening with $19M

Angel is projecting an $19 million weekend box office for its animated epic theatrical release The King of Kings. The Dickens-inspired film follows an imaginative boy who discovers faith through his father’s story of Jesus, and currently has a Rotten Tomatoes PopcornMeter score of 97 and an impressive A+ CinemaScore.

According to The Numbers, the previous top animated faith-based film releases were The Prince of Egypt (DreamWorks Animation) which opened at $14.5M, The Star (Sony Pictures Animation) at $9.8M and Jonah: A VeggieTales Movie (Big Idea Pictures) at $6.2M.

“The Angel Guild picks winners. Angel’s revolutionary idea is simple — listen to what our Angel Guild wants,” said Brandon Purdie, Global Head of Theatrical Distribution & Brand Development at Angel. “The CinemaScore for The King of Kings says it all. The film is one of only 128 films to achieve an A+ CinemaScore, and only the 5th animated film to hold that title that isn’t a Pixar/Disney production. Families want quality films to see together in theaters. This weekend simply reflects what audiences are craving.”

The King of Kings Box Office Estimates

  • Theater count: 3,200
  • Friday Box Office Estimate: $7,010,275
  • Saturday Box Office Estimate: $6,802,329
  • Sunday Box Office Estimate: $5,237,793
  • Weekend Estimated Total: $19,050,397

Synopsis: Inspired by Charles Dickens, The King of Kings features a father telling his son the greatest story ever told, and what begins as a bedtime tale becomes a life-changing journey. Through vivid imagination, the boy walks alongside Jesus, witnessing His miracles, facing His trials, and understanding His ultimate sacrifice. The King of Kings invites us to rediscover the enduring power of hope, love and redemption through the eyes of a child.

The Must-Have List: Memoirs, Moana and Cool Cats of Animation

 

—BOOKS—

Animation Me

Animation Me: An Illustrated Memoir with Pencils, Pixels & Arnie

BAFTA-winning animator, educator & author Tony White delivers a new memoir, retracing his career steps and encounters with some of the greatest names in animation history. From his early apprenticeship with Oscar winner Richard Williams to training under the legends of the Walt Disney and Warner Bros. golden era, the adamant proponent of 2D artistry offers a glimpse at a bygone industry as well as an inspiring life story for aspiring animators.

Drawassic / $18 paperback, $3 ebook

 

 

Iyanu Child of Wonder v4

Iyanu: Child of Wonder Vol. 4

Prepare for the new Cartoon Network/Max animated series launching this month by delving into the African myth-inspired comics by Roye Okupe. Iyanu centers on a teen orphan who discovers she bears supernatural powers to rival the deities of folklore. Continuing the story first printed in 2021, Vol. 4 sees Iyanu face her destiny to save all Yorubaland with help from “Team Chosen.”

Dark Horse & YouNeek Studios / $20 PB, $12 EB

 

 

Mr. In-Between

Mr. In-Between: My Life in the Middle of the Animation Revolution

Relive the great transition from Bugs Bunny to Buzz Lightyear in this first-person recollection from computer graphics pioneer Bill Kroyer. Readers will follow Kroyer to Hollywood as studios learn to apply the principles of traditional animation in the brave new CGI world. This memoir also explores the evolution of digital tools, snapshots of brilliant artists, encounters with celebrities and an international studio tour.

CRC Press / $160 HB, $60 PB, $60 EB

 

 

Adventure Time

Adventure Time #1

Shmowzow! Nearly a decade after the first comics wound down, Oni Press is bringing Pendleton Ward’s colorful world back to the paneled page in an all-new series. Acclaimed cartoonist & animator Nick Winn and former Adventure Time writer/boarder Derek Ballard take the lead in writing and illustrating, with a smorgasbord of cover variants and contributions by artists including Eisner winner Caroline Cash, Asia Simone, Jorge Monlongo and Brenda Hicke.

Oni Press / $5 / April 9

 

 


 

 

—DISCS—

Moana 2

Moana 2

Disney’s latest billion-dollar splash comes home with a sea of bonus material, including BTS featurettes on developing the film, recording the voices and creating the songs, plus a full-length sing-along, deleted scenes and song selection.

Disney / $35 DVD, $41 BD, $66 4K 

 

 

Memoir of a Snail

Memoir of a Snail

Oscar-winning Aussie animator Adam Elliot’s heartfelt outcast comedy-drama comes bundled with a Q&A with Elliot and voice star Jacki Weaver, interview with voice star Sarah Snook and featurettes on the Making-of, BTS and the magic of stop motion. A double feature set with his prior feature, Mary & Max, arrives the same day.

IFC Films / $26 BD 

 

 

Ghost Cat Anzu

Ghost Cat Anzu

Get whiskered away on a whimsical, fun and funny adventure in this innovative rotoscoped French-Japanese production about a precocious girl, her guardian cat-spirit and some supernatural shenanigans!

GKIDS & Shout! Factory / $14 BD

 

 

The Bloody Lady

The Bloody Lady

Dubbed a “jewel” of Slovak animation by the NFI, Viktor Kubal’s minimalist, fairy-tale take on the story of 17th century murderess Elizabeth Báthory (1980) gets a loving Blu-ray release alongside the director’s 1976 feature Jurko the Highwayman and 20+ restored shorts (1944-1989).

Arbelos Films / $40 BD

 

 


 

 

—MERCH—

Mondo toys Finn and Jake

With the new comics series dropping, we’re hyped for all things Ooo, so it’s the perfect time for Mondo to drop a totally rad Jake and Finn Figure Set (MSRP Regular $135, Exclusive $145). From concept design by Alex Pelayre with sculpt by Brandon Gash and paint by Mara Anchet,  the set celebrates Adventure Time‘s 15th anniversary with two figures (8.3″ & 5″) with stands, accessories and interchangeable limbs and faces. The packaging features art by Jordan Christianson and photography by LordBobasaurus.

MondoShop.com 

Tech Reviews: Maxon’s Redshift ’25, RizomUV & Plasticity

Maxon’s Redshift 2025

Maxon has released Redshift 2025.3, which offers some really cool tool improvements and enhancements. For those unfamiliar with Redshift, it is a GPU-accelerated render engine that became part of Maxon’s tool suite back in 2019. It’s a PBR (physically-based renderer) that uses biased rendering to optimize what it needs to render. It’s also scalable across multiple GPUs. It provides real-time progressive rendering, which helps for lighting and look development because it immediately starts to show results; as you make changes, and the longer you let it cook, the more detailed the image becomes. Furthermore, it’s essentially 3D software agnostic — Redshift is available for Cinema4D (Maxon’s flagship 3D software), Houdini, 3dsMax, Maya, Katana and Blender.

For this latest release, there is an emphasis on non-photorealistic rendering — some people call it “Toon Rendering.” Some key enhancements include pen and pencil modes to provide a hand-drawn look to the edges, and another is contour tone-mapping, where you can assign patterns or gradients to the outlines for more subtle control of how those outlines are rendered. And with backface contours, you can reveal, and treat differently, the lines that would be hidden behind the model, creating a blueprint or oscilloscope-type look.

Substance materials were already supported, but starting with 2025.3, the scale of the materials will maintain accuracy, even over objects of different sizes. There’s a new Material Switch node that allows you to quickly randomize material parameters with scenes that have many instances of the same object, but you want variation. If you are a Houdini user, you can render USD scenes from the Redshift command line. And for Maya users, Redshift supports the native Standard Surface shader.

Under the hood, Redshift 2025.3 contains some advances in the engine itself. For instance, you have Brute Force caustics for rendering light patterns through translucent surfaces — think of the squiggles you see at the bottom of the swimming pool. There is a Volume Depth AOV pass that is meant to work with VDB volumes such as plumes of smoke and clouds — this is an additional pass rendered for use in compositing later. And Redshift now uses OIDN (Open Image Denoise) denoising, which is a GPU-accelerated, machine-learning-driven algorithm to remove noise from the render but preserving image detail. This is critical in quickly rendering progressive renders, because the final image, depending on the noise and time thresholds you set, can be very noisy — and rendering without noise can be very time-consuming. So implementing the OIDN denoiser is a great addition. And it’s present across all platforms.

I’ve found Redshift gives really nice results, and if you have some rendering machines with beefy GPU cards, you can turn things around quickly. A general GPU word of warning: To take full advantage of the GPUs, the scene has to fit in the RAM on the cards — so get some thick cards or just be cognizant of making your scenes RAM-economical.

Website: maxon.net/en/redshift

Price: $264 (per year)

 

RizumUV
RizomUV

RizomUV

Rizom-Lab released a significant upgrade to RizomUV last summer, the largest update since 2018. And you wonder what could possibly be needed to make UVing easier? The answer is anything that makes UVing easier is a welcome addition. So let’s dive in.

The new version brings a total user interface overhaul. This stems from feedback about how cluttered the interface used to be. In earlier versions, all the tools were present in a vast array of buttons and fields, which can be overwhelming. The new UI collapses those tools into a more contextual situation, so the functions you need for the task at hand are the ones that are exposed. This is helped by a reorganization of the top buttons, so they follow an order of operations per the usual UV workflow — select/cut seams, unfold, pack. Each one of those steps has a properties button that will activate a panel of tools that you need. Not only does this reduce clutter and focus the user on the task at hand but it increases the real estate for working areas.

To further enhance the organization of the UVs, there is a tagging system for UV islands, so you can quickly identify what UV areas are associated with which part of the 3D model, or what kinds of materials the island represents. This will be important for working with hotspots and trim sheets.

This tagged system also applies to trim sheets. So, those unfamiliar with trim sheets in games or mobile 3D apps have to really optimize your memory. One way is to pack a bunch of different textures into one image. All those textures can then be distributed over many objects with that one image. The trim sheets are a way to indicate how that image is divided over the objects. RizomUV has many intelligent tools for distributing your UV islands within the trim sheets that you have set up. But you can manually distribute the islands if that’s your druthers. Or, if you are organized, you can tag the islands (by material, say) and also tag the trim sheet — and you can distribute based on matching tags. These smart methods of putting UV islands into a trim sheet is called “hotspotting” and is new to RizomUV.

Once you get your trim sheets, you can save them as a vector-based SVG image that can be brought back into Rizom to use for other objects. Or it can save the sheets as a color image so you can import them into your painting program and see where the trim sheets are against the UV layout.

For the brainy technical directors out there, Rizom has set up a live link via Python scripts, which allows you to establish an active connection between the 3D software with Python support (which is basically all of them) and Rizom.

Almost all of these are updates in RizomUV — so keep in mind that you still have the fantastic UV tools for cutting seams, unwrapping and organizing UVs that were always there. The indie license is about $15 a month — but it’s not a subscription. You pay over the year, and after the year, you own a perpetual license.

Website: www.rizomuv.com

Price: 14.90 euros ($15.5) per month, 149.9 euros ($155) per year

 

Plasticity
Plasticity

Plasticity: CAD for Artists

Back in 2023, I listed a program called Plasticity as one of the best that year, but for the life of me, I can’t explain why I have not since written a full review. So, I’ll make up for it now!

Plasticity is a NURBS-based modeler, which in the VFX industry has been supplanted by poly-based modeling for some time now. But when we step outside of our myopic bubble, we find that NURBS is still alive and well in other industries, like CAD design, engineering, manufacturing, architecture, etc. Basically, all industries other than VFX, animation and games.

Plasticity is new to the world, coming from beta in 2022 and released in mid-2023. It brings the power of NURBs but incorporates poly-modeling workflows that are familiar to our industry. So the transition is less abrupt than if you were jumping into Rhino3D, Solidworks or Fusion 360. That said, the Parasolid and xNURB algorithms found in the “higher-end” CAD programs are the same ones in the studio version of Plasticity, at a far better cost.

The interface is pared down to just the tools you need, with pop-ups that walk you through certain tasks. An example is using a curve to cut through an object. You select the curve, click C and the pop-up tells you to select the object you want to cut. And once done, you click “OK” or “Enter” or right click to apply the procedure. This keeps the workspace clean — and informative. Additionally, Plasticity is really responsive. Even when your model gets complex, the UX remains spry.

The workflow does take a little getting used to, but I think people migrating from CAD programs will find it familiar — and for people coming from VFX, gaming and animation, the learning curve isn’t dauntingly steep. I got into the flow of the UI within a half hour.

I’m definitely going to play around with this more because I love the results, and frankly, the ease of getting those results. Fillets, chamfers and Booleans are super clean and adjustable. Once you get the hang of it, it’s straightforward to blast out complex shapes. I would, however, like to see more exporting options like Alembic or FBX files. Since Plasticity is more geared toward design and manufacturing, the interconnectivity with visual effects isn’t the smoothest. But there are steps being taken to fix that. There is already a Blender add-on specifically designed to get models from Plasticity into the Blender environment.

The price point for entry is quite low. $150 for the indie package and $300 for the studio package. The purchase is a perpetual license — with yearly maintenance fees. So, you pay the cost, and you have it forever, unless you want the latest fancy tools, at which point you’d have to pay for a license upgrade. At these prices, if you are making models for money, you should be able to keep your license up to date.

Website: plasticity.xyz

Price: $150 (indie); $300 (studio)

 

Exclusive: Michel Gondry to Debut Animated Sequel ‘Maya, Give Me Another Title’ at Annecy

Maya Give Me Another Title [Partizan Films]

During an interview for our upcoming super-sized 350th issue, Oscar-winning director Michel Gondry (Eternal Sunshine of the Spotless Mind) revealed to Animation Magazine that he will be among the international luminaries attending this year’s Annecy International Animation Film Festival this summer (June 8-14 | annecyfestival.com) to present his stop-motion cut-out movie Maya, Give Me a Title — and to premiere the sequel, Maya, Give Me Another Title.

The second film will again be a collaboration between Gondry and his daughter, Maya, who provided the original concepts which have been brought to life in animated and live-action shorts

“The idea for the project all started when I bought a smartphone and realized that it had some functions that could create some simple animation, so I developed this technique as a way of communicating with my daughter who was six back then, and is 10 years old now,” Gondry explains. “She would give me titles and ideas for these cartoons and we would play this game together. We started playing this game in 2017, but the project took shape when I was working in Los Angeles, and everyone had to stay home because of COVID. Maya and my wife were in Paris and Brittany then. So I bought this very cheap paper from CVS, which worked really well, because it was kind of faded and it was perfect for the characters’ skin tone!”

Maya, Give Me a Title was released in French theaters in October by The Jokers Films before making its international premiere at the 75th Berlin International Film Festival in February, where it was awarded the Generation Kplus Crystal Bear for Best Film. The film made its North American premiere at the New York International Children’s Film Festival, and has been acquired by Paris-based Indie Sales for international distribution.

Michel Gondry

“I am so pleased that our early audiences have been so responsive to the movie. It was such a simple idea for Maya to give these titles, and try to fit the ideas within each word of the title, and then it lead to some absurd and complicated ideas,” says Gondry. “Maya was the main character most of the time, but I also tried to incorporate her mom, me and grandparents and her friends in the shorts. It was actually really fun to do. Sometimes I look at the backgrounds, and I notice that they are quite details, although it wasn’t necessary, so I’m kind of proud of that!”

Gondry also shared a few more tidbits about the second film: “We are planning to have the premiere of the sequel Maya, Give Me Another Title at Annecy. The second part also features nine or 10 segments. It’s very similar to the first film, but some segments are a bit different. For example, when Maya was in third grade, I went to her classroom and asked all the students to create their own characters and pick their favorite backdrop. A lot of them picked a magic castle. It was really fun because the different personalities of all her classmates came through!”

Maya, Give Me a Title is produced by Gondry’s longtime collaborator Georges Bermann at Partizan Films. The first Maya movie is narrated by César winning actor Pierre Niney (Yves Saint Laurent, The Count of Monte Cristo). The sequel will be narrated by actress-comedian Blanche Gardin (Problemos, WorkinGirls).

Maya, Give Me Another Title will open in France on June 18.

You can read our interview with Gondry, which includes the award-winning director’s thoughts on the state of animation in 2025, the threat of AI and more details about his collaborations with his young daughter in the next issue of Animation Magazine (Issue No. 350 / Annecy Special), which arrives in June.

DeAPlaneta Ent. Gathers Industry Leaders for 25th Anniversary Celebration

DeAPlaneta Entertainment celebrated its 25th anniversary with a special gala that took place Wednesday night at the Real Teatro de Retiro in Madrid, where the company brought together its team and the partners and collaborators that have accompanied it throughout this quarter century of leadership in the entertainment sector.

Among the personalities attending the gala were Carlos Fernández, Executive Vice President of Grupo Planeta, and the actors Eva Soriano, Natalia Verbeke, Malcolm Treviño-Sitté and Unax Ugalde, as well as representatives of the main television channels and streaming platforms, film exhibition chains, toy manufacturers and licensees, companies in the children’s entertainment sector and prominent journalists from the cultural world.

Hosted by journalist Matías Prats Chacón, the party began by recalling the milestones in the history of DeAPlaneta Entertainment, which has distributed in theaters Oscar-winning films such as The Pianist and The King’s Speech, and recent hits such as Civil War, Longlegs and Conclave, and whose catalog also includes more than 1,500 episodes of children’s entertainment series translated into more than 30 languages, with acclaimed productions such as MiloMiraculous Ladybug and classics such as Dogtanian and the Three Muskehounds and Maya the Bee.

“In these 25 years we have always been on the audience’s side, developing powerful and universal stories,” said Ignacio Segura de Lassaletta, CEO of DeAPlaneta Entertainment, in his welcome speech highlighting the company’s commitment to quality, innovative and attractive entertainment for all kinds of audiences, which has become a sign of the company’s identity. He also elaborated on the phase of growth and evolution in which DeAPlaneta Entertainment currently finds itself, both in terms of its activity as a fiction production company, initiated in 2021, and in the exploration of interactive formats, videogames and Fast TV platforms. “Entertainment is in our DNA,” he concluded.

Maya the Bee 50th Anniversary [Studio 100 International]

During the gala celebration of its 25th anniversary, which included some funny moments starring iconic company characters such as Jigsaw, Milo and Ladybug, projects and titles that will be released in the coming years were unveiled. Diego Ibáñez Belaustegui, Chief Brand Officer of DeAPlaneta Kids & Family, recalled that, in addition to DeAPlaneta Entertainment’s 25th anniversary, 2025 also marks the 50th anniversary of the creation of Maya the Bee, an icon of family animation and one of the classic IPs that give the company’s portfolio an intergenerational character. He also highlighted the importance of the long-lasting relationships that have been established with international partners, which have led to the licensing and co-production of successful brands, such as Miraculous Ladybug, or the upcoming Karters.

Ibáñez Belaustegui was also proud of Milo, a DeAPlaneta Entertainment production that is already preparing its third season, and whose great global reception he hopes to repeat with the adaptation of the publishing phenomenon Magic Lilly and with the transmedia universe created from the Wonderpals NFT collection, which will be launched in 2026.

Yolanda del Val, Director of DeAPlaneta Fiction, hinted at the commercial and quality vocation of the titles to be distributed in 2025, which include the action film Cold Storage, starring Liam Neeson and Joe Keery, and the underwater thriller Deep Water, as well as films with strong awards season potential, such as Nuremberg, with an imposing Russell Crowe playing Hermann Göring accompanied by Rami Malek and Michael Shannon, and the long-awaited second part of The Physician, one of DeAPlaneta’s biggest hits. Del Val also teased some 2026 releases, including Guy Ritchie’s new film Wife & Dog with Benedict Cumberbatch, Rosamund Pike and Sir Anthony Hopkins in the cast. Mutiny, a fast-paced action film with Jason Statham. And The Wizard of the Kremlin, directed by Olivier Assayas and starring Jude Law as Vladimir Putin.

After this glimpse into the company’s immediate future, Ignacio Segura de Lassaletta brought the gala to a close by asking the entire DeAPlaneta Entertainment team to take the stage to toast “to another 25 years of doing what we really love, telling stories that move audiences, touch their hearts and invite us to dream. Because the most important thing, always, are those stories that we share with each other, that move and inspire us.”

deaplanetaentertainment.com

Lingokids Launches Ad-Free Streaming Hub ‘Theater’

Lingokids, the No. 1 interactive app for kids ages 2-8, has debuted a new streaming hub for U.S. users designed to provide educational and entertaining content to young viewers. Dubbed Theater, the free to access feature offers a curated, 100% ad-free video experience and provides families with a library of over 300 engaging videos tailored to support early childhood learning and development.

With many parents today concerned about the safety and educational value of their child’s screen time, Theater aims to provide a valuable developmental tool to be integrated into a balanced and healthy approach to early childhood education. Unlike traditional streaming platforms that children can often navigate outside of, Theater is incorporated into an app dedicated to safe content. Plus, the Lingokids app is an educator-designed environment, ensuring age-appropriate and enriching screen time.

Featured content formats that align with Lingokids’ Playlearning™ approach include:

  • Animated stories, songs, and puppetry that introduce key early learning concepts in a fun and engaging way.
  • Activity-based videos such as drawing, dance, yoga, and interactive storytelling that encourage creativity and self-expression.
  • Educational video series developed to reinforce cognitive, social, and emotional skills.
  • Inspiring content from well-known celebrities, including Bill Nye the Science Guy, actress Melissa Joan Hart, comedian Howie Mandel, pro wrestler Brie Garcia and pro surfer Bethany Hamilton.

Lingokids’ app is used by more than 160 million families, offering more than 2,000 interactive activities including games, quizzes, digital books, songs and videos. Learn more at lingokids.com.

Animayo Gran Canaria Plans a Deluxe 20th Anniversary Edition in Las Palmas

Animayo, the International Festival of Animation, Visual Effects, and Video Games — the first and only festival in Spain officially designated as an “Oscar Qualifying Festival” by the Academy of Motion Picture Arts and Sciences for the animated short film category, and since 2022, also the only one of its kind to qualify the best Best Animated Short Film from a Spanish-Speaking Country —has unveiled a preview of its upcoming 20th edition. The festival will take place in Las Palmas de Gran Canaria from May 7-10, and its online program will extend through September 2025.

The announcement was made during a press conference held on Wednesday morning at the headquarters of the Cabildo of Gran Canaria, with the participation of Antonio Morales, President of the Cabildo of Gran Canaria; Carolina Darias, Mayor of Las Palmas de Gran Canaria; and Fernando Fernández, General Director of the Fundación La Caja de Canarias — main sponsors and partners of the festival. Alongside them, filmmaker Damián Perea, director and producer of Animayo, presented an overview of the new edition.

“Animayo places our island on the international map of animation cinema, with a trajectory of continuous expansion and global recognition,” said Morales. “A festival that, since its inception, has been unique in both the Canary Islands and worldwide — born in Gran Canaria, developed entirely by a Canarian team, and projecting the island’s name internationally through its global venues. The Cabildo of Gran Canaria has always understood Animayo as a key platform for showcasing the potential of this film industry, which supports the projection of our creative talent and contributes to the diversification of our economy. This year, as in the past, studios such as Gigglebug and Platige Image will attend Animayo 2025 and plan to establish operations in Gran Canaria after evaluating the advantages of our territory and human capital, which they know well after attending the festival for 10 years.”

Gran Canaria is emerging as a strategic hub for talent in the animation, VFX and digital creation industries. The island offers an unmatched combination of factors: a temperate climate year-round, diverse natural landscapes, excellent connectivity with Europe’s main airports, strong institutional support for cultur, and a thriving local scene increasingly aligned with the audiovisual sector.

Closing his remarks, Morales highlighted that “the quality of this festival is evident in the fact that Animayo’s official international competition section has secured one Oscar and four nominations in recent years. The festival’s international prestige is undisputed, and it’s programming consistently features leading professionals and companies. This year, for example, Aubry Mintz, Executive Director of ASIFA-Hollywood — the world’s most prominent animation association  —will serve as president of the Animayo 2025 International Jury. After 20 years, the Cabildo proudly continues to support this festival for its remarkable innovation and its vital role in the future of Gran Canaria’s audiovisual industry. Congratulations to its director, the organizing team, and all attendees.”

 

animayo 20th press conference

Program Highlights

Offering a preview of the upcoming edition, festival director Damián Perea revealed that world-renowned production companies and studios such as Walt Disney Animation Studios, Skydance Animation, Platige, Steamroller Animation, Rodeo FX, Illusorium Studios and Fortiche will be sending delegates. Some of these will also take part in one of the festival’s key components: creating real professional opportunities through “Professional Encounters” that include in-person recruitment sessions (by prior registration). Additionally, the festival will host exclusive media activities such as meet-and-greets with guest speakers, studios, and partner schools, as well as the “Animated Breakfast,” offering the press an up-close opportunity to meet international industry guests.

Animayo Gran Canaria 2025 will feature over 40 top-tier speakers and special guests, including artists, creators, and experts from leading studios, production houses and academic institutions—both national and international. Held at CICCA and Teatro Guiniguada, the program will include: 14 in-person masterclasses (90 minutes each) on topics such as animation, directing, production, character design, VFX and leadership; five practical workshops (240 minutes each) covering storyboard creation, concept art, character design, dubbing and video game development; 15 educational talks; two panel debates; screenings; three auteur presentations; school and talent booths; and 18 hours of recruitment sessions, portfolio reviews and signing events involving more than six companies from the industry.

Distinguished guests will be joining from around the world, including the U.S., Germany, France, Poland, Canada and Spain. Among those highlighted by Perea:

  • Sherry Gunther Shugerman (U.S.A.) – Two-time Emmy winner with seven nominations, a CableACE Award and numerous film festival accolades. An iconic executive producer and director behind landmark television hits like The Simpsons, Family Guy and Rugrats. She has led production divisions at 20th Century Fox, Warner Bros. and Nickelodeon, and was part of the team that launched Cartoon Network. Currently, she is the founder of KazooBadoo, an educational platform for early childhood and primary education already implemented in schools across California.
  • Lorelay Bové (Spain/U.S.A.) – Visual development artist and production designer at Walt Disney Animation Studios, with credits including Zootopia, Big Hero 6, Encanto, Wreck-It Ralph, Raya and the Last Dragon, The Princess and the Frog and Tangled.
  • Vanitha Rangaraju (U.S.A.) – Vice President of Production Operations at Skydance Animation and VFX supervisor/animator, known for her work on major DreamWorks projects including Shrek, Madagascar, Puss in Boots and The Boss Baby.
  • Bruce Anderson (U.S.A.) – Producer and Head of Production at Skydance Animation, whose credits include beloved franchises such as Lilo & Stitch, Tarzan, Pocahontas, Horton Hears a Who!, Ferdinand, Rio, Rio 2 and Spellbound.
  • Aaron Gilman (Canada) – Executive Director at Steamroller Studios, animation director and VFX supervisor involved in major productions such as Avatar, The Avengers, The Hobbit: An Unexpected Journey, Iron Man 3, Godzilla and Pacific Rim: Uprising. He will also present a world premiere during the festival.
  • Terrence Masson (U.S.A.) – Animation producer, VFX supervisor and educator at the School of Visual Arts (SVA) in New York, with over 30 years of experience in landmark film productions including The Empire Strikes Back, Return of the Jedi, Hook, True Lies, South Park, Interview with the Vampire, Titanic and Batman Forever. He is also the original creator of the animation method used in South Park.

More star guests will be joining us to share their knowledge, convey their experiences in an engaging and relatable manner, to educate and inspire new generations. These professionals not only take the stage but also interact with festivalgoers, participating in autograph signings. Among them are:

  • Rémy Terreaux (France), Animation Supervisor at Fortiche Production, known for major projects such as Arcane, whose groundbreaking impact earned it the Emmy Award for Best Animated Series and multiple accolades at the Annie Awards, establishing it as a genre-defining title and a milestone in adult animation.
  • Jordi Solanes, Lead Animator at Fortiche Production, has contributed to numerous productions across Spain and London, leaving his mark on international series and films, including the acclaimed Arcane.
  • Magdalena Rudnicka (Poland), VFX Producer at Platige Image, has worked in production and post-production for clients such as Mattel, Activision, Blizzard, Netflix, DC Comics, Discovery and Warner Bros. Since 2021, she has been part of Platige Image, coordinating visual effects for standout productions such as The Witcher (Seasons 2 & 3), The Witcher: Blood Origin, Shadow & Bone, Time Bandits and the latest cinematic trailer for The Witcher 4 by CD Projekt Red.
  • Yvon Jardel (Canada), Head of Animation Operations and Animation Director at Rodeo FX, brings over 15 years of international experience spanning stylized animation to hyper-realistic creatures. He is one of the industry’s top talents, responsible for bringing to life some of the most complex scenes in Stranger Things, It, Sonic the Hedgehog and Ant-Man. He has led teams at both MPC and Rodeo FX on globally impactful projects. His presence at Animayo embodies the link between creativity and cutting-edge technology in animation.
  • Ángela Iturriza (Spain), storyboard artist and animator with extensive industry experience, is also a professor at U-tad, University of Technology and Digital Art. She has worked in animation departments for renowned studios such as Disney and Warner Bros.
  • Daniel Fernández Casas (Spain), professor at ECIB, Barcelona’s School of Film and Animation, is a distinguished character designer. He was nominated for an Annie Award for Best Character Design in 2024 for Robot Dreams. He is the creative mind behind characters from Despicable Me 4, Klaus, Sing 2, Super Mario Bros: The Movie, Minions: The Rise of Gru, The Secret Life of Pets, The Grinch and Smallfoot.

Animayo will also spotlight iconic “Voices of Cinema” — voice directors and actors who have shaped generations:

  • Carlos Ysbert, the voice behind legendary characters who has connected with audiences of all ages, including Homer Simpson in The Simpsons, Tony Soprano in The Sopranos, Chef Skinner in Ratatouille and Hank Schrader in Breaking Bad.
  • Sara Vivas, widely recognized for her versatility in voicing child characters, has brought to life Bart Simpson in The Simpsons (since 1989), Kyle Broflovski in South Park (1997–present) and Dexter in Dexter’s Laboratory (1996–2003).
  • Isatxa Menjíbar, admired for her vibrant portrayals of young and energetic female characters such as Lisa Simpson in The Simpsons, Rory Gilmore in Gilmore Girls and Angelica Pickles in Rugrats.

Specialized Educational Offer

To explore the careers of the future and achieve the real goal of working in this industry, it is essential that young students, parents, and guardians gain first-hand insight into the top-tier educational pathways available at leading national universities. To this end, Animayo Gran Canaria once again hosts the “Decide Your Future” program, featuring a wide range of talks spanning from the most artistic to the most technological disciplines. Educational centers can now register to attend by sending an email to dori@animayo.com.

Participating institutions in this year’s edition include: U-Tad, University Center for Technology and Digital Art (Madrid), U-DIT, University of Design, Innovation, and Technology (Madrid), ECIB, School of Film and Animation of Catalonia (Barcelona), Artediez School (Madrid), School of Visual Arts (Los Angeles), L’Idem Animation School (Barcelona), Trazos Movie School, Higher School of Digital Arts (Madrid), ECAM Studio, School of Cinema and Audiovisual Arts (Madrid), 3Doubles Campus.

In addition to portfolio reviews for young students, the Animayo Talent Scholarships program will once again offer over €600,000 in scholarships to support both online and in-person studies at several of the aforementioned schools and universities for the 2025–2026 academic year. This is a globally open call, with some application periods extending until August 2025 (depending on each institution’s terms), and applications can be submitted online through the Animayo website.

Screenings

Screenings hold a prominent place within the Festival’s programming. As the first and only festival in Spain to be designated a “Qualifying Festival” by the Academy of Motion Picture Arts and Sciences for the Oscars in the category of Best Animated Short Film, and since 2022, the only festival of its kind that qualifies Spanish-language animated works, Animayo offers two direct entries into the Oscar® pre-selection. From May 7-10, the Festival will present five Official Competition Sections at the Teatro Guiniguada, open to both pass holders and the general public.

The selection comprises short films chosen from an annual competition of over 2,000 submissions, including 2D and 3D animation, visual effects, experimental cinema, advertising pieces, animated spots, music videos, video game cinematics, and virtual reality works. These films, originating from countries such as Spain, the United States, Germany, the United Kingdom, Norway, France, Hong Kong, Poland, Argentina, Mexico, Uruguay and Australia, will be screened across the five Official Sections, culminating in the Animayo 2025 Official Awards, as decided by an international jury.

 

animayo 20th

Experiencing Animayo

The Festival experience extends beyond the screenings to the Fan Zone and Animayo Experiences area (CICCA), where attendees can explore talent showcases, hands-on experiences, and interactive games in virtual environments. This year, the space will also host the launch of the latest book by Raúl García, Storyboard Artist’s Manual. A director, producer, and animator with over 40 years of experience, García is a Madrid-born artist based in Los Angeles and a member of the Academy of Motion Picture Arts and Sciences. His accolades include Goya Awards, Oscars, Annie Awards, and numerous internationally recognized works. His published books are considered essential reading by leading animators and directors in the field.

A trailblazer in international animation, García has served as a bridge between European animation and major Hollywood studios. After a decade at Disney, working on classics such as Aladdin and Beauty and the Beast, he set out on his own path as a director and producer. In 2025, he returns to Animayo Gran Canaria to present his new publication and participate in the portfolio reviews, reaffirming his role as a mentor and influential figure for the next generation of creatives. His award-winning experience and independent vision solidify his status as a key player in the global animation landscape.

Additionally, two graphic novels will be unveiled by their respective creators: Take Care of Ángela by digital illustrator and content creator Ivart (Iván Pineros), and Red Hurts Less by digital illustrator, content creator and author Gema Vadillo.

 

For All Audiences

True to its inclusive spirit, Animayo Gran Canaria once again places the spotlight on the youngest members of the family. As Festival Director Perea affirms, “Animayo is a festival that teaches how to watch, how to create, and how to think critically. We aim to nurture a future audience from an early age — among whom we are sure the talents of tomorrow are already emerging.”

The “My First Festival” event (a special program for family audiences) will be held again this year on Saturday, May 10, at Teatro Guiniguada, with free admission until venue capacity is reached. Aimed at children aged five and up, as well as youth and adults, this screening allows attendees to vote for the best animated short film of the edition from a curated selection of international animated shorts. These works promote core social values such as solidarity, friendship, respect for tradition, the pursuit of dreams and joy through creativity.

The 20th edition of Animayo Gran Canaria launches its programming with the unveiling of the winning poster of the Animayo 2025 International Poster Contest — a celebration of the fusion between art and technology, once again driving limitless talent forward. The selected artwork, titled “A Journey into the Unknown,” was created by 19-year-old Ukrainian artist Kateryna Cheromukhina, currently living as a refugee in Warsaw, Poland, since the onset of the war in Ukraine.

According to Cheromukhina, the characters in the poster came to her in a dream and captivated her so deeply that she felt compelled to draw them — aspiring to create an image that looked like a frame from an animated film. “I deliberately drew the characters from behind so that viewers could feel like part of the scene and imagine their own story,” she explained. Cheromukhinais currently a first-year student at the Polish-Japanese Academy of Information Technology, studying Graphic Design and Multimedia Arts.

This year’s international poster contest received a total of 893 submissions from artists representing 77 countries, including Spain, Mexico, Turkey, Ukraine, Taiwan, Russia, Iran, Belarus, Japan, China, Germany, Cuba, India, Italy, the United Kingdom, and Poland, among others. Popular techniques used in the entries included traditional illustration, digital illustration, collage, photomontage, graphic minimalism and 3D design.

Available in both in-person and online formats, Animayo, based in Gran Canaria (Spain), expands its reach through its “Animayo Itinerant” version, bringing its program to cities and countries including Los Angeles, Madrid, Barcelona, Lanzarote, Portugal, the Czech Republic, Brussels, Chicago, Mumbai, Prague, Colombia, Belgrade and Korea, among others.

Animayo Gran Canaria continues to thrive thanks to the strong support of its sponsors, including the Cabildo of Gran Canaria through the Presidency Department, the Society for the Promotion of the City of Las Palmas de Gran Canaria, the Department of Tourism, Industry and Commerce of the Government of the Canary Islands through Promotur and from the Canary Islands Institute for Cultural Development (ICDC), Gran Canaria Tourism, the La Caja de Canarias Foundation, and the Government of the Canary Islands. Their backing, along with the collaboration of production companies, studios, schools, universities, and numerous private companies, is essential in advancing the film industry and promoting access to audiovisual and technological culture and education for all audiences.

‘The King of Kings’ Breaks Animated Biblical B.O. Record, ‘Minecraft’ Passes $200M

Angel has announced that its new animated feature The King of Kings has generated over $14.6 million in pre-sales. Those numbers place the Dickens-meets-New Testament tale as the biggest opening weekend for an animated biblical film, a title previously held by DreamWorks’ The Prince of Egypt.

The King of Kings is set to open this Friday in more than 3,200 locations nationwide, which Angel says is the widest opening for an animated biblical film in history.

“Just like The Prince of Egypt drew families to theaters, our Angel Guild has supported this film through presales and strong word-of-mouth since it entered the Angel ecosystem,” said Brandon Purdie, Global Head of Theatrical Distribution & Brand Development at Angel. “Charles Dickens had a tradition of sharing this story with his family and we hope that The King of Kings will become a part of the Easter tradition for families around the globe.”

Directed by Seong-Ho Jang and featuring an all-star voice cast — including Kenneth Branagh as Charles Dickens, Uma Thurman as Catherine Dickens, Pierce Brosnan as Pontius Pilate, Mark Hamill as King Herod, Forest Whitaker as Peter, Ben Kingsley as High Priest Caiaphas and Oscar Isaac as Jesus Christ — The King of Kings is inspired by Charles Dickens, and follows a father and son as they embark on an imaginative journey through the life of Jesus, delivering a fresh and heartfelt take on the greatest story ever told.

Angel Studios is boosting the launch with their “Kids Go Free” campaign, which allows families to receive up to one free children’s ticket with the purchase of a qualifying adult ticket by visiting Angel.com/kidsgofree and using the code KIDSGOFREE. The initiative is powered by Angel Studios’ pay-it-forward community, and has already pre-sold more than 1 million tickets ahead of release.

In other box office news, Warner Bros./Legendary Pictures’ sandbox video game adventure A Minecraft Movie crossed $200 million in its first week with Thursday’s teak ($7.1M), according to Deadline.

The pic’s quickly building launch isn’t far behind 2023’s big Easter blockbuster, The Super Mario Bros. Movie (Illumination / Nintendo  / Universal), which hit $200M in just five days from its Wednesday launch through the holiday weekend and reigned for a time as the highest-grossing animated feature of all time.

A Minecraft Movie is expected to take in an additional $65M this weekend and to remain at No. 1 on the domestic charts.

Directed by Jared Hess (Napoleon Dynamite, Thelma the Unicorn) and based on the world’s bestselling video game from Mojang Studios, A Minecraft Movie stars Jack Black and Jason Momoa.

‘Hola Frida!’ Directors on Painting Their Animated Portrait of a Very Young Artist

Parents who would like to introduce their children to the life and times of the beloved Mexican artist Frida Kahlo (1907-1954) can look forward to a new animated feature titled Hola Frida! (a.k.a. Frida, c’est moi!). Produced by Haut et Court (France), Tobo Media (Canada) and Du Coup Animation (Canada), the 80-minute feature is directed by Karine Vézina and André Kadi. The film, which is distributed by French outfit Dandelooo Cinema, was the opening film of the 2025 New York International Children’s Film Festival, and is making its way around the world throughout the year.

We recently had the chance to chat with the film’s directors about their colorful and imaginative new take on the childhood of this important figure in the art world:

 

André Kadi
André Kadi

Animation Magazine: Congratulations on the success of your wonderful new movie. Can you tell us a bit about the origins of this project?

André Kadi: After working on two feature films about the incredible journey of a young Syrian girl fleeing war (Dounia), we wanted to tell another inspiring story from a child’s perspective, featuring a little girl with an extraordinary journey. This led to Frida Kahlo, who had an exceptional life, and it was very inspiring for us to talk about her youth.

Karine Vézina
Karine Vézina

Karine Vézina: I was responsible for compositing on the two Dounia feature films. I hesitated when André asked me to co-direct the film because Frida has always been a role model and a source of inspiration for me. I was afraid our approach might be seen as just another commercial exploitation of her image, but we decided to dive in, promising ourselves to pay tribute to her as much as possible by respecting and understanding the little girl, and then the woman, that she was.

 

 

What was it about the subject matter that struck you as original and inviting for young viewers?

Kadi: The Frida phenomenon is both troubling and singular. She is both one of the world’s most famous artists (the second-most Googled after Da Vinci) and an icon of feminism and resilience, but little is known about her story, particularly her youth.

Vézina: In her letters, she talks a lot about the period when she had polio at the age of six as a founding period of her personality, but people know very little about the details.

 

Hola Frida! © 2024 Haut et Court, Tobo Media, Du Coup Studio
Artist at Play: Directed by Karine Vézina and André Kadi, ‘Hola Frida!’ offers a vibrant look at the life of Frida Kahlo as a young girl in Coyoacán, Mexico. (The project was originally packaged as a five-part animated series.)

 

Can you discuss the visual style of the project?

Vézina: In the same way that we wanted to portray Aleppo in all its pre-bombing splendor in Dounia and the Princess of Aleppo, the challenge this time was to represent an authentic Mexico City, faithful to what it was at the beginning of the 20th century. We did a lot of research and visited Mexico City and Coyoacán at the beginning of the project to immerse ourselves in its atmosphere and light.

Kadi: We based the visual style on illustrated books by Sophie Faucher (who also co-wrote the film and voiced Matilde in the French version) and illustrated by Cara Carmina (a Mexican artist who grew up in Coyoacán). The style evolved to meet the needs of an animated film, but there were very strong, highly stylized foundations that inspired us to develop a recognizable and original film.

 

 

Where was the animation produced and how many people worked on it?

Kadi: The film was entirely produced in our studio, Du Coup Animation, which I co-own with our artistic production director, Marie-Michelle Laflamme. About 30 artists were involved in the production. We used Toon Boom Harmony for animation and compositing, Adobe Premiere for editing and Photoshop for the backgrounds/scenery.

Vézina: One of the interesting aspects was that everyone was on site. This allowed us to discuss storyboards, sets, backgrounds, animation, compositing, etc. every day, to see the film take shape and for each artist to see the impact of their work.

 

Hola Frida! © 2024 Haut et Court, Tobo Media, Du Coup Studio

 

What was the toughest aspect of creating a movie for younger audiences about this important figure?

Vézina: The immense respect we had for Frida! We really wanted to pay tribute to her and make a film that she would have appreciated. Every detail, each object and background had to be accurate, coherent and authentic.

Kadi: We can’t really talk about challenges, because the production of the film was so enjoyable. Everyone involved, whether at Du Coup, Tobo, Haut et Court or Dandelooo, contributed ideas and insights, and we went through many versions of the script before we had the perfect balance in terms of what we wanted to tell as a story. Each person involved can talk about a detail, a scene, a character he or she had an influence on.

 

 

What kind of audience responses have you received that made a big impression on you?

Kadi: Without a doubt, the film’s reception in Mexico. We presented the Spanish-dubbed version at the Morelia Film Festival on October 25, then, on the 27th at the Cineteca de Mexico and in the courtyard of Casa Azul, in the presence of Frida’s family, and the reception was fabulous. People cried, laughed and loved the film, and we were very, very moved. The film seems to have touched both adults and children alike.

 

 

Hola Frida!

Why do you think Kahlo is such a wonderful role model and interesting character for young viewers to emulate?

Vézina: I could talk for hours about Frida. She’s a character that has fascinated me for over 20 years, both as a woman and as a painter, and while working on the film, each new encounter showed us that many women felt they had a very strong bond with her. Perhaps it’s because her letters allow readers to dive into her private life, sharing her doubts and suffering, but she remains a universal figure.

Kadi: And children too will also be able to identify with this resilient little girl who became a great woman and a greater painter — not because of or despite but with her disabilities and sufferings.

 

 

What do you hope global audiences take away from Hola Frida?

Vézina: Above all, we hope they’ll be touched by this little girl’s story, that they’ll be charmed by the vibrant and wonderful Mexico City and that they’ll sometimes think, when confronted with certain situations, “What would Frida do in this situation?”

Kadi: We also hope that, in a few years, these children will want to discover her paintings and remember the allusions and details in the film that refer to them. We couldn’t show Frida’s paintings directly because they are often too intense or explicit for children, but we planted many small seeds in her imaginary world that hint at what her works would later become.

 

 


 

You can find out more about the film at dandelooo.com/en/portfolio/c-hola-frida.

 

A Villainous Force: Actor Mark Hamill Discusses Voicing King Herod in Angel Studios’ Epic ‘The King of Kings’

While actor Mark Hamill will forever be remembered for his star-making role in George Lucas’ Star Wars and its sequels, animation fans also love him for his impressive body of work as a voice actor in close to 300 animated shows, movies and games over the past few decades. From his iconic performances as The Joker in Warner Bros.’ acclaimed Batman: The Animated Series, Batman Beyond and Justice League and many other projects, to guest voices on iconic TV shows such as The Simpsons, Futurama, SpongeBob SquarePants, Regular Show and Invincible to English dubs of Miyazaki movies such as Laputa: Castle in the Sky, Nausicaa of the Valley of the Wind and the Oscar-winning The Boy and the Heron and last year’s The Wild Robot (as Thorn the bear), Hamill has been an always reliable and memorable voice acting powerhouse in the world of animation.

The talented actor was generous enough to chat with us for a bit about his latest project, as the voice of the despotic King Herod in Angel Studios’ new animated feature The King of Kings, which opens in theaters today (Friday, April 11). Here is what the Emmy-winning actor and three-time Annie nominee shared with us:

Animation Magazine: Thank you so much for taking the time to chat with us about your latest animated role. Can you tell us how you became involved with The King of Kings, which is a new animated take on the story of Jesus Christ, as seen through a little-known story by Charles Dickens?

Mark Hamill: First of all, I have to tell you that I’m a big fan of Animation Magazine. As a kid, I used to watch the Walt Disney shows on TV [Walt Disney Presents, Walt Disney’s Wonderful World of Color]. That was the only place where you could find out about the process of animation and how they created these movies frame by frame. You’d see the camera process, the wardrobe people, that was a revelation to me especially for someone like me who was secretly plotting to get into show business. That was really an education for me.

When it comes to this project, King Herod must be one of the more celebrated villains in history. He is completely lacking in empathy and almost enjoys the cruelty when he issues the edict to slaughter all males under the age of two. He is really a textbook model of a of a villain, but villains don’t really think of themselves as villains. I remember seeing King of Kings with Jeffrey Hunter as Jesus in the early 1960s, which was a huge epic. I think it was over three hours long and I loved every minute of it. Then when I was in college, I saw the 1927 silent version of the movie directed by Cecil B. DeMille with HB Warner as Jesus I was and still am fascinated with silent films and how they deal with the limitations of not having spoken dialog in them.

Mark Hamill received the CinemaCon Icon Award last week (Image; Hollywood Icon Video]

But you know what? Never in a million years, would I be cast as King Herod if this were a live-action movie. I’m just physically wrong for it, but I’m lucky that they cast these projects with their ears and not their eyes. Our casting director Jamie Thomason, who also wrote the script for the movie, offered me the part, and I have a long history with him. At the time, I didn’t know that the story of Jesus was told through the perspective of Charles Dickens sharing the story with his young son. His son Walter is enamored with King Arthur and Knights of the Round Table, so our story is framed in a way that makes it really accessible to young children. Because Walter is six, seven years old, he becomes part of the story as he observes it with his own eyes in real time. I thought that was a very smart approach and makes the movie enormously appealing to kids.

What was your reaction when you saw the final version of the movie? 

I just watched it yesterday and it was such a knockout.  I think they hit it out of the ballpark. With animation, they were able to make it feel like a real epic, with 10,000 people on screen. The music, the production design, the art direction, everything  about was great.   I had no idea… I mean look at this voice cast, are you kidding me? Kenneth Branagh, Pierce Brosnan, Ben Kingsley, Forest Whitaker, Oscar Isaac, Uma Thurman. I’m the only one I haven’t heard of!

The King of Kings will arrive in theaters this Friday, just in time for Easter.

One of the very cool things about your career is that you have something like 300 credits in animated shows, movies and games. What are some of the favorite characters that you’ve played in animation?

You have sort of a soft spot for The Joker, because by doing it successfully, it was a revelation to voiceover people. “That Mark Hamill? You gotta be kidding me!” So, it opened a whole world of character parts that would that were unavailable to me until they heard me as that character. I went to Broadway because I wanted to play character parts. So from the late ’70s to the early ’90s, I did Broadway. When I came back, I remember reading about Batman: The Animated Series. I knew by the caliber of people they were putting together for this show — people like Bruce Timm and Paul Dini  — that this wasn’t going to be like the Saturday morning Super Friends’ Batman.

So, I told my agent, “I really want to play a villain on this show.” I wasn’t really thinking of The Joker—I was considering characters like Two-Face, Ra’s al Ghul or Clayface. There were so many villains that hadn’t been done on the Adam West TV show, which I loved as a kid. This was happening right after the big hullabaloo that happened when the fans reacted negatively to the news that Michael Keaton was cast as Batman. They just couldn’t get their minds around of him as Batman because they saw him as comedic actor in Mr. Mom, blah, blah blah, without even seeing an inch of footage.  So I was getting ready to audition thinking to myself, wait a second, how will the fans feel about Luke Skywalker playing one of the most iconic villains in comic book history: They’re going to lose their minds.

Mark Hamill’s electrifying performance as The Joker in “Batman: The Animated Series” is one of the show’s great highlights.

So, I thought there’s no way I can get this part. They say never go in for a part with a sense of neediness. I thought they just wouldn’t cast me, so I had no performance anxiety and with the attitude that I was just going to do the best I can. I’ll just make them really sorry that they don’t hire me. There was only one little black-and-white drawing of him, and the only note on the top of the audition copy was “Don’t think Nicholson!” I thought well, I can’t do Jack Nicholson anyway, so I had a great time, and just let it rip. Let them just try and find someone who can top that! They’re really going to be sorry they didn’t hire me! Of course that confidence was immediately dispelled when my agent called and said I got the part!

I remember driving to the first recording session warming up in the car and laughing maniacally. Of course, in Los Angeles, a person laughing manically alone in their car is just another Tuesday! When I got to the studio, I told our voice director Andrea Romano, “Listen, I can’t remember what I did for the test!” She said, “Relax!  We have your audition tape!” She played the tape and I did calm down and went ‘Oh yeah!’

That was an important turning point in my career because once you do something well in Los Angeles, they want you to do it over and over and over again. That’s why I immediately got typecast as a megalomaniacal villain. I wasn’t getting offered the heroes anymore: I was now being auditioned for all these other villains. That was tricky because I remember doing Hobgoblin for the 1990s Spider-man series, and at first I laughed in a higher range. I thought oh no, that’s too Joker-y.  So I made this decision to make his laughs more guttural. The main thing is to try and make everything true to what’s in the script and not fall back into the same thing that you’ve done before!

Let’s not forget that Mark Hamill also voiced Skip in Cartoon Network’s beloved “Regular Show.”
Last year, Hamill channeled his inner grizzly for the role of Thorn in Chris Sanders’ Oscar-nominated “The Wild Robot.”

 

Oh, rats. We have so many questions for you, but they’re telling me our time is up! I know you are going to be in the new SpongeBob SquarePants movie (The Search for SquarePants) this December. Can you tell us more about what to expect?

Yes, I’ll be voicing The Flying Dutchman again in that movie. Let me tell you: Being invited to come and visit Bikini Bottom is like someone paying you to go on all the rides in an amusement. I can’t believe how much fun this is. Tom Kenny and I and his wife Jill Talley have been friends of my wife and I for decades. They’re two of the most talented and wonderful people I know. Tom is so much fun to work, and I mean he is SpongeBob. I don’t know what they would have done if they hadn’t found him. He just embodies that sort of  guileless, innocent and cheerful character in every situation. So yes, it has been a busy year for me, The Wild Robot came out last year, now we have The King of Kings, the live-action move The Life of Chuck (which won the Best Audience Prize at Toronto) in June, The Long Walk (a new Stephen King adaptation) in June, and The SpongeBob Movie will be released in December.

See, that’s what happens when you say I want to retire and don’t want to do this anymore.  I just wanted to play in the backyard with my dog. I should have discovered that years ago because the minute I told people I’m done –especially after the Star Wars sequels. I’m dead: II died from an overdose of the Force. Who knew that was even a thing?  So I thought that’s a good good-bye for me. Then Mike Flannagan casts me in The Fall of the House of Usher. That really turned my career around mainly because he thought outside the box. I mean who would think of me as a soulless amoral sociopath? So,  I just can’t tell you how grateful I am to Mike and the producer Trevor Macy. That role made me want to perform again, because you don’t want to do the things that you’ve done before over and over again. It’s always great to be offered the challenge of playing a character unlike anything you’ve played before.

Hamill will reprise his role as the Flying Dutchman in Paramount’s upcoming “The SpongeBob Movie: The Search for SpongePants” this December.

Angel Studios’ The King of Kings will be released in theaters on Friday, April 10.  Directed by Seong-Ho Jang, the film features Mark Hamill as the voice of King Herod, Kenneth Branagh as Charles Dickens, Uma Thurman as Catherine Dickens, Pierce Brosnan as Pontius Pilate, Forest Whitaker as Peter, Ben Kingsley as High Priest Caiaphas and Oscar Isaac as Jesus Christ.

As part of the promo for The King of Kings, Angel has announced a special “Kids Go Free” campaign that allows families to receive up to one free children’s ticket with the purchase of a qualifying adult ticket when they visit Angel.com/kidsgofree and using the code KIDSGOFREE.

‘Ne Zha’ Director Jiaozi’s Hand-Painted Posters to Exhibit at Beijing Film Fest

China’s world box office conqueror will be celebrated with a special exhibition at this year’s 15th Beijing International Film Festival (April 18-26 | bjiff.com). The fest announced that it will showcase 150 posters for Ne Zha 2, the highest-grossing animated film of all time, hand-painted by director Jiaozi (Yang Yu).

Launched in January for the Lunar New Year holidays, the mythological comedy-adventure Ne Zha 2 has earned more than $2 billion in box office in China alone, and played across North America from February 14, outperforming many other Chinese big screen imports. The pic is the 5th highest-grossing movie of all time, having overtaken Star Wars: The Force Awakens with $2.127B to date. Distributor Enlight Media has recently sold the Coco Cartoon production across Europe.

“The Beijing International Film Festival has always been committed to building a bridge between filmmakers and audiences,” organizers shared in a statement. “The Ne Zha 2 hand-painted poster exhibition is a gift from the 15th Beijing International Film Festival to the Chinese animation film industry and the majority of movie fans.”

The exhibition at Central Station in Beijing’s Langyuan Station cultural and creative park will also feature a merch shop with picture books, plush dolls, key chains and more.

[Source: The Hollywood Reporter]

Oni Press Offers First Look at ‘Adventure Time’ #2 with Art by Asia Simone

Eisner and Harvey Award-winning publisher Oni Press and Warner Bros. Discovery Global Consumer Products (WBDGCP) are showing off the first look inside Adventure Time #2, featuring the next chapter of the monthly story arc “Best of Buds” from cartoonist and animator Nick Winn (Bloody Mary) and artist Asia Simone (Marvel’s Moon Girl and Devil Dinosaur: Wreck and Roll) — the next in the new comics series’ rotating cast of interior artists — and featuring a brand-new back-up story by 2024 LA Times Book Prize Finalist Derek Ballard (Cartoonshow).

The new adventures for Finn and Jake in the Land of Ooo continue May 7!

Synopsis: It’s POETRY TIME! Finn and Jake may be looking for the Enchiridion, but that doesn’t mean they can’t help out a citizen in need! So when they stumble upon Henry Alexander, poet extraordinaire, trying to win the heart back of his lost lady love, the duo springs into action!

Joined by the never-ending pie-throwing robot N.E.P.T.R and Finn’s totally not-a-crush (stop making it weird, Jake) Flame Princess, can our melodic, mellifluous, magnificent musicians help Henry craft the sickest rhymes and most epic love poetry of all time? If music is the food of love, dear friends…

The new ongoing comics line features a rotating cast of awesomely algebraic artists and writers including animator Nick Winn (Bloody Mary), 2024 Eisner Award winner Caroline Cash (PeePee PooPoo), Asia Simone (Moon Girl and Devil Dinosaur: Wreck and Roll), Jorge Monlongo (Over the Garden Wall: Hallow Town), Brenda Hickey (My Little Pony), Kenzie Bugg (Tuca & Bertie), Beck Kubrick (Coby, Alone) and former Adventure Time animated series writer/storyboard artist and 2024 LA Times Book Prize Finalist Derek Ballard (Cartoonshow).

This second issue is complemented by new covers from Winn, Simone, Shelli Paroline & Braden Lamb (Midas) and Michael Deforge (Birds of Maine), as well as a sketch cover in “Jake Yellow”!

Adventure Time #2 hits Final Order Cut-Off (FOC) on April 14; on shelves May 7 ($4.99, 32 pages).

‘Dandelion’ Director Zhengwu Gu Discusses the Inspirations Behind the Award-Winning Ringling Short

First completed in 2023, Zhengwu Gu and Ling Zhao’s animated short Dandelion is set in a cold dystopian world in which a coal-burning robot first discovers a dandelion. The beautiful CG-animated short. The project was a popular selection at over 40 festivals worldwide last year and won prizes at the DaVinci International Film Festival and Beaufort International Film Festival, and took home the Best of Ringling, Computer Animation Gold Award 2023.

Gu, who recently graduated from Ringling College of Art and Design, answered a few of our questions about his short:

 

Animation Magazine: Can you tell us a little bit about how you started working on Dandelion at Ringling?

Zhengqu Gu (left) and Ling Zhao [c/o subjects]
Zhengqu Gu (left) and Ling Zhao
Zhengwu Gu: Dandelion began at Ringling College of Art and Design during an early concept pitch session. I initially shared a sketch of a robot holding a glowing object in his furnace-like chest. At that point, I hadn’t decided what the object was — only that it needed to feel fragile and meaningful.

During a brainstorming session with my creative partner and co-director, Ling Zhao, she suggested, “What if it’s a glowing dandelion?” That simple idea immediately clicked with both of us. It gave the image a poetic and symbolic depth that perfectly aligned with our vision. Encouraged by the strong reactions from our classmates and mentors, we decided to bring this world and story to life.

 

What were the inspirations for your work?

My greatest inspiration comes from personal experience and how I interpret the world around me. I believe that’s the essence of art — it reflects a person’s journey. Even when I try not to project myself directly onto a character, part of me always finds its way in —especially in the robot protagonist.

From the start, I didn’t treat this project as just an animated film — it was a deeply personal expression through animation. That mindset took me from my hometown of Nanjing, China, all the way to Ringling College in Sarasota, Florida. Living in Florida during the pandemic, far from home, shaped how I viewed the world. The tropical climate and lush environment — so different from Nanjing — felt vivid, even fierce, but harmonious. When searching for inspiration, I often walked along the beach. The sea breeze helped my thoughts drift freely, as if the answers were floating in the air.

Despite the geographical and cultural differences, I realized people everywhere share similar hopes and longings. From the beginning, I wanted to explore the story to its most universal essence and explore themes like human will, societal structures and personal aspiration. The dandelion represents ideals; the robot represents human nature. The film balances idealism and realism — beginning in curiosity and repression and ending in sorrow and courage. That, to me, is the spirit of Dandelion.

 

 

How many people worked on it, and how long did it take to make?

The core team behind the film was just the two of us — my partner Ling Zhao and myself, Zhengwu Gu. We co-directed the film and handled the entire production, from concept design to post-production. In addition, we had a small but incredible support team of about a dozen friends, mentors and a music production group who helped us refine the work. The project took roughly one year to complete.

 

Dandelion

 

How did you arrive at the striking visual style of the short?

The visual style of Dandelion is intentionally darker and more intense than most animated films. We wanted to create a heavy, sharp atmosphere — something that evokes a constant sense of pressure and looming threat. To achieve this, we used realistic textures — metal, stone, smoke — and rendered them in darker tones to preserve the mood. We leaned into strong visual contrasts: between light and shadow, large-scale industrial backdrops and intimate emotional moments. The floating factories and desolate mines stand in stark contrast to the glowing, delicate dandelion seed.

Our style exists somewhere between the gritty realism of Love, Death + Robots and the emotional subtlety of Studio Ghibli — a bleak, industrial world punctuated by quiet but powerful moments of warmth, detail and hope. That visual contrast mirrors the thematic heart of the film.

 

Which animation tools were used to create it?

We primarily used Autodesk Maya for all animation work. Other tools included ZBrush for sculpting, Substance Painter for texturing, Houdini for environment creation and simulations, Nuke for compositing, Photoshop for matte painting and design, and Adobe Premiere for editing. It was a full pipeline project, using industry-standard tools from start to finish.

 

How did Ringling help with the production?

Attending Ringling College was one of the best decisions I’ve ever made. The faculty provided not only strong technical training, but also the mindset to turn abstract ideas into a fully realized film using advanced tools and techniques. More importantly, they encouraged us to think beyond animation — challenging us on story structure, character design, and even philosophical underpinnings. That guidance was invaluable in helping us craft Dandelion into a work that’s both artistically and emotionally complete. Anyway, it’s the best for place if you want to create your independent animation film.

 

Dandelion

 

Who are your some of your animation heroes?

First, I’d like to thank my parents. Though they’re not in animation, they’ve always been deeply engaged in the arts, and their perspective helped shape my creative path. Hayao Miyazaki and Studio Ghibli were my earliest inspirations. They showed me that animation could be both whimsical and profound. Later, films like WALL·E from Pixar opened my eyes to the expressive potential of 3D animation and inspired me to learn the technology behind it.

I also want to thank my creative partner, Ling Zhao. Her talent and dedication made it possible for our shared vision to come to life in this film.

 

What would you say was the toughest part of the creative journey?

The biggest challenge came in the early stages of writing. The story initially felt more like an idea than a full narrative — it lacked structure, character development and meaningful plot turns. We spent a long time refining the script and storyboards to shape a story that was emotionally engaging and thematically coherent. Translating abstract feelings into a readable and resonant narrative was by far the most difficult part — much more so than the technical execution.

 

What are you happiest about?

Superficially, I’m proud that Dandelion has been selected by over 40 international film festivals and has received more than a dozen awards. But what makes me happiest is the emotional connection the film has created with audiences. I used to wonder if the things I found meaningful or beautiful would resonate with others. The success of Dandelion confirmed that they could — and that has been the most rewarding part of the entire journey.

 

Dandelion

What do you hope audiences will take away from your short?

I hope every viewer finds their own meaning in the film. For some, it might be about the pursuit of freedom. For others, the relationship between humanity and nature. Children might see it as a classic tale of good versus evil. Ultimately, I hope it inspires a universal reflection — on how we pursue our ideals, and the spirit with which we do so.

 

Do you have any big plans for the future?

Looking ahead, I’m working on starting an independent animation studio with a group of close friends. I’m passionate about creating original work that goes beyond mainstream conventions — projects that reflect our unique artistic visions and philosophical perspectives, while still using the form of animation we’re familiar with, such as TV series, commercials, shorts and potential feature films. I believe animation still holds tremendous untapped potential both within and beyond its industry, and I hope to contribute works that are meaningful, thought-provoking, and visually original.

Lately, I’ve also been exploring the intersection of animation and immersive technology. I’ve started experimenting with VR and other emerging platforms — especially those powered by today’s most popular immersive technologies — with the aim of developing sophisticatedly new formats for storytelling and artistic expression. At the same time, how AI can enhance the general production quality and efficiency of animation is a project I will work on. It’s not just about pushing technical boundaries — it’s about creating new ways for people to connect with art, reflect on society and experience animation in ways that haven’t existed before.

 


 

See more of Zhengwu Gu’s work at sevenoogu.wixsite.com/zgconcept.  You can watch Dandelion in full below.

Epic Storyworlds Unveils Multi-IP Roblox Hub ‘Fracterra’

Epic Storyworlds is launching a brand new initiative called Fracterra, a collaborative and immersive world on Roblox, which will bring multiple IPs and partners together to a single interactive experience. As the first of its kind on Roblox, Fracterra will offer a futuristic virtual city where visitors can explore, interact and discover new worlds spanning youth IPs, toy brands, cultural experiences or the work of independent producers, with the goal of offering brand owners and independent creators international visibility among young audiences.

Kicking off the project, Epic Storyworlds is teaming up with Squeeze Productions to bring its animated slapstick comedy Cracké into Fracterra. Cracké has over 600 million views on digital platforms and is broadcast in 210 countries, including Disney, Nickelodeon, Cartoon Network, Teletoon, Tencent and Canal+. Epic Storyworlds will also launch a virtual concert on Fracterra featuring the hit novelty song franchise Gummy Bear, which has accumulated over 25 billion views worldwide on YouTube.

Additionally, Epic Story Media (ESM), a sister company of Epic Storyworlds, is on the Fracterra platform with two integrations: Bubble’s Hotel and Slugterra Battle Arena. Furthermore, ESM’s recently announced project Guiby the Super Baby, an adaptation of the comic book series, will feature on Fracterra via a game integration ahead of the series’ release.

Since the launch of the beta version of Fracterra, the universe has already received over 600,000 visits.

“With 90 million daily users, Roblox provides a unique sandbox for global studios to showcase original content for kids,” said Steve Coulture, CEO of Epic Storyworlds. “By pooling efforts, Fracterra is an extraordinary opportunity for creators to connect with their audience in a cost effective way. We’re proud to bring this unique vision to life and export our cultural brands — and we’re especially delighted to have Squeeze Production’s lovable Cracké on board for this journey.”

Sylvain Chomet’s Animated Biopic ‘A Magnificent Life’ Set for Cannes Screening

The prestigious Festival de Cannes has announced the first batch of Official Selection films for the 2025 event, covering titles set to screen In Competition, Un Certain Regard, Out of Competition, Midnight Screenings, Cannes Premiere and Special Screenings programs.

Among the feature films created by familiar names like Wes Anderson (The Phoenician Scheme), Richard Linklater (Nouvelle Vague), Spike Lee (Highest 2 Lowest), Christopher McQuarrie (Mission: Impossible – The Final Reckoning), even Scarlett Johansson and Bono, Cannes will see the return of highly esteemed animation director Sylvain Chomet, whose A Magnificent Life (alternatively titled The Magnificent Life of Marcel Pagnol, and Marcel et Monsieur Pagnol in French) will be presented in the Special Screenings.

The latest animated feature from French filmmaker Chomet (The Triplets of Belleville, The Illusionist) is due to open in France in October through Wild Bunch, and has been picked up for release by Sony Pictures Classics in the U.S. The film is an animated biopic dedicated to celebrated 20th century French novelist, playwright and filmmaker, Marcel Pagnol.

Synopsis: In 1955, 60-year-old Marcel Pagnol is a well-known and acclaimed playwright and filmmaker. When the editor-in-chief of ELLE magazine commissions a weekly column about Pagnol’s childhood, he sees this as a great opportunity to go back to his artistic roots: writing. Realizing his memory is failing him and deeply affected by the disappointing results of his last two plays, Pagnol starts doubting his ability to pursue his work. That is until Little Marcel — the young boy he used to be — appears to him as if by magic. Together, they will explore Marcel Pagnol’s incredible life and bring back to life his most cherished encounters and memories…

A Magnificent Life is produced by What The Prod, Mediawan, Bidibul Productions and Walking The Dog. Producers are Ashargin Poire and Valerie Puech for What the Prod; co-producers are Lilian Eche’s Bidibul Productions, Adrian Politowski’s Align and Aton Soumache for Mediawan Kids & Family Cinema, in collaboration with Nicolas Pagnol from Pagnol’s Estate.

You can read more about the the film here. The full list (so far) of films selected for Festival de Cannes 2025 can be found at festival-cannes.com.

‘Devil May Cry’ Renewed for Season 2 on Netflix After Top 10 Debut

Dante will be back on Netflix subscribers’ screens to hunt down more hellbeasts in Devil May Cry Season 2, just confirmed ordered by the streamer.

Season 1 recently debuted at #4 on the global top 10 list with 5.3 million views in just three days, reached the top 10 in 87 countries and boasts a 95% critics score on Rotten Tomatoes.

Synopsis: In this animated adaptation of the popular Capcom game and from the vision of Adi Shankar, sinister forces are at play to open the portal between the human and demon realms. In the middle of it all is Dante, an orphaned demon-hunter-for-hire, unaware that the fate of both worlds hangs around his neck.

The series is showrun by Adi Shankar, with animation production by Studio Mir.

Devil May Cry [Netflix]