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The National Film Board of Canada will take part in this year’s Annecy International Animation Film Festival (June 9–15) with a lineup of 11 productions and co-productions, screening across a wide range of sections at the event. Four films have been selected for various competitions, including Torill Kove’s Maybe Elephants, which will be having its world premiere. In addition, Michèle Lemieux, a virtuoso with the Alexeïeff-Parker pinscreen, will present her latest short, Le tableau (The Painting).
The festival will also be presenting an Honorary Cristal award to filmmaker Pierre Hébert to mark his 60-year career, including 35 years with the NFB.
Additionally, award-winning animation filmmaker (and Annecy regular) Claude Cloutier is a jury member at this year’s festival.
Short Films – Official Competition
Maybe Elephantsby Torill Kove (Mikrofilm/NFB) – WORLD PREMIERE
In the ’70s, three rebellious teenage daughters, a restless mother, a father struggling with potatoes, and maybe some elephants, find themselves in bustling Nairobi. The family will never be the same.
Created by Oscar-winning animator Torill Kove (The Danish Poet), Maybe Elephants is a playful and loving autobiographical homage to family, adolescence and the therapeutic power of memories, however unreliable.
Le tableau (The Painting)by Michèle Lemieux(NFB)
An animated short film created using the legendary Alexeïeff-Parker pinscreen, The Painting revisits the destiny of Queen Mariana of Austria through her 1652 portrait by Velázquez. Married at the age of 14 to her uncle Philip IV of Spain, who was 30 years her senior, Mariana had a bleak destiny: her five children, marked by generations of inbreeding, either died in infancy or were unfit to rule, ultimately ending the Spanish Habsburg dynasty.
Directed by Japanese filmmaker Ryo Orikasa, the animated short Miserable Miracle was inspired by Henri Michaux’s book of poetry and drawings of the same name. Masterful in both vision and execution, the film explores the limits of language and perception, creating dazzling connections between sound, meaning, shapes and movement. Propelling viewers beyond the page, guided by Tony Robinow’s feverish voiceover, the poems map the human psyche to the very edges of alienation and transcendence.
Short Films – Off-Limits Competition
Corpus and the Wandering by Jo Roy (NFB)
Modern society lives on the grid. Phone screens, conference calls, cubicles, apartment windows. We are systemically divided by a culture that profits from our collective alienation. When the COVID pandemic first hit, director and dancer Jo Roy was inspired to create a world transcending this insidious framework of consumerism and patriarchy. The result: Corpus and the Wandering, an experimental self-portrait that follows one woman’s journey as she rediscovers her inner compass and kinship with nature. Using only her own body and her iPhone, Roy transforms a 100-screen “videomosaic” grid into a wonderland of the Earth and beyond.
Annecy Classics
Graver l’homme: arrêt sur Pierre Hébert(Scratches of Life: The Art of Pierre Hébert) by Loïc Darses (NFB)
Since the 1960s, celebrated animator Pierre Hébert has experimented with the full gamut of styles, from abstract animation to more narrative approaches, as well as collage, drawing and live performance. Employing an arresting black-and-white palette punctuated with animated flourishes, Scratches of Life: The Art of Pierre Hébert unwinds the thread of the scratch-on-film technique, guiding us through the inspiring labyrinth of Hébert’s life and work.
Special Program – Choreographies: Animation and Dance
LOCA by Véronique Paquette (NFB)
A female silhouette, sketched with fine white lines, disintegrates. A few bars ring out from “Loca” — a classic tune from the golden age of Argentinean tango.
Pas de deuxby Norman McLaren (NFB, 1968)
Carfaceby Claude Cloutier (NFB, 2015)
Special Program – A Tribute to Portuguese Animation
Regina Pessoa
Tragic Story with Happy Ending (Folimage/Ciclope Filmes/NFB, 2005) – Winner of the 2006 Annecy Cristal
Kali the Little Vampire (Folimage/Ciclope Filmes/NFB, 2012)
Uncle Thomas: Accounting for the Days(Ciclope Filmes/NFB/Les Armateurs, 2019)
The 19th edition of Animayo Gran Canaria, International Festival of Animation, Visual Effects and Videogames, has the winners of all its official competition categories — 18 Awards and two Special Mentions, including two Academy Awards-qualifying prizes. The news also kicks off the “Animayo Itinerant” global tour, which will take the competition films to Los Angeles, Madrid, Barcelona, Lanzarote, Fuerteventura, India, Brussels, Italy, Prague, Chicago, Belgrade, Colombia, Czech Republic, Denmark, Korea, Mexico and Portugal.
This year’s festival competition was chosen from 2,309 works from more than 80 countries. A total of 59 films screened in the four Official Competition sections: International; Animation with Ñ; Cinematics, Videogames and Commissioned Films; and the children’s and young people’s section “My First Festival” (Children’s Audience Award).
Animayo is the first and only animation festival in Spain designated a qualifying festival for the Oscars by AMPAS, for both the International Animated Short Film Grand Jury Prize (since 2018) and the Best Short Film of Spanish-Speaking Nationality – Animation with Ñ (since 2022). The Grand Prize winner will be awarded a cash prize of 3,000 euros and an honorary trophy. Last year’s Grand Prize winner, Our Uniform, went on to be nominated for the Best Animated Short Film Oscar, as was the 2018 winner Late Afternoon, while the 2020 Animayo winner Kapaemahu was shortlisted by the Academy.
The 2024 Animayo Grand Jury Prize went to the Iranian film In the Shadow of the Cypress, by screenwriters and directors Hossein Molayemi and Shirin Sohani. The 19’33” 2D-animated short seeks to make visible the after-effects of post-traumatic stress and the complicated family relationships involved in suffering the psychological consequences of war.
The prize was awarded unanimously by the international jury, chaired this year by vaunted animation director John Musker, who praised the quality of In the Shadow of the Cypress, for its stand-out scenography, use of light, script and the story. The film also won the Best 2D Award.
Remember Us
Also unanimously chosen, the winner of the Best Short Film of Spanish-Speaking Nationality – Animation with Ñ this year goes to Remember Us. The 2D film is written and directed by Guatemalan filmmaker Pablo León, co-produced between Colombia and the United States and executive produced by Salvadoran Jonathan Rivas. The 13’36” film follows a journalist documenting the experiences of three different people who lived through the tragic 12-year Salvadoran Civil War in the 1980s, exploring themes of childhood loss, violence against women and the indigenous population, and recovering a sense of hope for the future that spans three generations.
The jury valued not only the visual character of the work but also the director’s commitment to exploring such a delicate and difficult event, which meant the death of more than 75,000 people and more than 15,000 disappeared. With this film, León chose to honor the story of a living history, retold with a mostly Spanish-speaking creative team, a so that this history is not forgotten.
The International Jury was Chaired by John Musker, animator, writer, director and producer, Walt Disney Animation (U.S.A.); joined by Shuzo Shiota, producer, president & CEO of Polygon Pictures (Japan); Elena Ø Alexa, production manager and co-owner of Nørlum Studios (Denmark); Patrick O’Keefe, production designer, Sony Pictures Animation (U.S.A.); and Sara Koppel, director and animator, (Denmark / U.S.A.)
The Animation with Ñ jury comprised Gisela Prunés, creative talent strategist for digital media and human resources specialist (U.S.A. / Spain); Lucía Peralta, environments supervisor / digital matte painting lead, Skydance Animation (Spain); Gustavo Sánchez-Pérez, supervisor, lead & visual effects artist, Rodeo FX (Canada); Ramón Rosa, sr. digital effects compositor / sr. Nuke supervisor, The Core School (Spain); Mercedes Delgado, lighting & compositing supervisor, Cinesite (Canada).
The winners are:
International
Grand Jury Prize – In the Shadow of the Cypress by Hossein Molayemi and Shirin Sohani (Iran)
A former captain suffering from post-traumatic stress disorder lives with his daughter in a humble house by the sea. Together, they live an isolated life and have to face the challenges of a hard life. Despite the captain’s deep desire to be a devoted and loving father, he finds himself unable to fulfill his role and connect with his daughter in the way he longs to. One morning, their lives change forever when an unforeseen event occurs. Whether this event turns out to be a new source of hope or an additional burden remains to be seen.
Best 2D – In the Shadow of the Cypress by Hossein Molayemi and Shirin Sohani (Iran)
Best 3D – Ruthless Blade by Zhang Bo and Nicolas Nemiri (China)
Amidst the turmoil at Six Lantern Palace, the white tiger named Eleven interrupts the impending execution of his brothers, the so-called Five Tigers of Songtang. In the heat of battle, a ruthless opponent named Ruthless Blade, an old acquaintance and a woman he once cherished, appears. As the battle rages, secrets will gradually surface, revealing a connection where love and hate are ever present.
Best Stop Motion –A Rapariga de olhos grandes e o Rapaz de pernas compridas (The Girl with the Big Eyes and the Boy with the Long Legs) by Maria Hespanhol (Portugal)
This is a love story, full of encounters and misunderstandings, in which there is a constant presence in the form of a continuous search for happiness and self-esteem between the two protagonists.
The Girl with the Big Eyes and the Boy with the Long Legs
Best Screenplay – Orage by Benoît Michelet (France)
Paul and his older sister Celine fight all the time. Just the normal life of a happy family, with its occasional unpleasantness. Suddenly, a momentary loss of control, an altercation and everything becomes tense and dramatic. The daily harmony is muted leaving only a heavy silence.
Best Art Direction – Summer 96 by Mathilde Bédouet (France)
The eternal “August 15th picnic” on Callot Island. But this year, Paul, his family and friends find themselves trapped by the tide. Paul, disturbed, caught between the world of adults and that of children, becomes aware of his individuality.
Best Student Short Film – The Navel of the Moon by Sara António, Julia Grupińska, Bokang Koatja, Tian Westraad, Ezequiel Garibay (Gobelins School, France)
Chava, a Mexican mechanic, must take his son to the moon in order to fulfill his late mother’s last wish.
Best Comedy – Todo Bien (All Good) by Diana Acién Manzorro (Spain)
A pandemic and two different people under the same roof. The trigger for everything is a sneeze. Anna and Vincent are forced to live with the new reality going beyond the limit of absurdity.
Best VFX – Beautyby Aitana Belda, Aroa Celdrán, Carmen Castrelo, Carla Martinez and Lewis Sánchez (La Salle – Universitat Ramon Llull, Spain)
A deer runs for his life in a forest flooded with death.
Best Independent Short Film – To Bird or Not to Bird by Martín Romero (Spain)
To bird or not to bird, that is the question. A critical and kaleidoscopic look at today’s world told through the tragicomic and grotesque experiences of some birds.
Best New Talent – O Estado de Alma(The State of Alma) by Sara Naves (Portugal / Spain)
Alma wakes up every day with a new condition, suffering the most varied physical transformations that reflect her feelings of maladjustment and prevent her from following a normal daily routine. With each passing day, Alma feels more alone.
Best Social Short Film – Raja by Louisa Maria Würden and Franziska von Holst (Germany)
Darkness pursues young Raja. Overwhelmed by the weight of her shadows, she collapses. A light appears and her journey begins. In search of the end, Raja stumbles upon a wondrous in-between world. There she finds something she thought she had lost forever.
Animation with Ñ
Best Short Film of Spanish-Speaking Nationality – Animation with Ñ – Remember Usby Pablo León (Colombia / Guatemala /
U.S.A.)
A journalist documents the experiences of three different people who lived through the tragic 12-year Salvadoran Civil War in the 1980s, exploring themes of childhood loss, violence against women and the indigenous population, and recovering a sense of hope for the future that spans three generations.
Jury’s Special Mention in Spanish for Best Social Awareness – Daisy by Aditi Dixit, Shecid Domínguez Aguilera and Joffrey Atienza Zamora (Spain)
A girl tied to a music box discovers a company of strange observers and tries to free herself.
Daisy
Jury’s Special Mention in Spanish for Best Art Direction – Beauty by Aitana Belda, Aroa Celdrán, Carmen Castrelo, Carla Martinez and Lewis Sánchez. ( La Salle – Universitat Ramon Llull, Spain)
A deer runs for his life in a forest flooded with death.
Cinematic, Commissioned Film & Music Video
Best Commercial / Commissioned –G’day, the short film – Director: Michael Gracey; VFX Supervisor: Piotr Oltarzewski; Grading: Piotr Sasim (Vivienne Jaspers, Australia)
When they meet in a gift store on the Great Barrier Reef, souvenir kangaroo Ruby and toy unicorn Louie form an unlikely friendship. Watch as Ruby takes Louie on an incredible adventure around Australia, visiting iconic sites including the backstreets of Melbourne and breathtaking natural landscapes like Nitmiluk Gorge. They’ll discover new experiences, connect with indigenous cultures and, along the way, learn the true meaning of the Australian welcome.
Best Music Video – “Colmillo” – Tainy, J. Balvin, Young Miko, Jowell & Randy – Director: Pau Carreté; Writer: Stillz (We Own The City & CANADA; Spain)
Best Video Game Cinematics – Magic: The Gathering, Dawn of the Phyrexian Invasion – Director: Jon Yeo (Axis Studios, Wizards of the Coast; United Kingdom)
Set on the ancient plane of Dominaria, the evil Phyrexians, through nefarious means, have taken root on Dominaria with deadly sleeper agents. Witness the epic battle between two former friends and allies: Ajani Goldmane, whom the Phyrexians turned into a sleeper agent, and Teferi, a former Planeswalker who has mastered time manipulation.
Audience Awards
Children’s Audience Award – My First Festival – LUKi & the Lights. Directed by Toby Cochran (U.S.A.)
Join LUKi, a cheerful robot living his best life, as he embarks on a transformative journey. Ignoring his bod’s signals until his arm malfunctions during a soccer game, LUKi is forced to go to the doctor. Medical consultations follow, revealing a diagnosis of ALS that shakes his foundation of life and joy. In the midst of this heartbreaking challenge, he bravely chooses to face ALS on his own terms.
Adult Audience Award – The Navel of the Moon by Sara António, Julia Grupińska, Bokang Koatja, Tian Westraad, Ezequiel Garibay (Gobelins School, France)
Chava, a Mexican mechanic, must take his son to the moon in order to fulfill his late mother’s last wish.
Ahead of the second season premiere in July, fans of global hit anime series 【OSHI NO KO】 were treated to new details on the upcoming chapter. The S2 key art, new character images and the first main trailer were revealed as well as broadcast info for Japan, opening theme song title and artist, via the series’ global account on X.
The announcement also included details about HIDIVE’s【OSHI NO KO】 Season 2 celebration planned for Anime Expo 2024, which takes place July 4-7 in Los Angeles. The festivities are set for Saturday, July 6, with an event line-up that kicks-off with an anniversary screening of the 90-minute-long first episode of Season 1, became the #1 series launch in HIDIVE’s history. This will be followed by a Japanese guest panel and the world premiere screening of【OSHI NO KO】 Season 2 Episode 2. The panel will be hosted by HIDIVE’s Star Butler, who will welcome two S2 special guests Yurie Igoma (voice of Ruby) and KADOKAWA series producer Shimpei Yamashita.
【OSHI NO KO】 Season 2 premieres in Japan on July 3. The new episodes will stream exclusively on HIDIVE as part of its Summer 2024 simulcast season and will be available to subscribers in the U.S., Canada, U.K., Ireland, Australia and New Zealand.
”HIDIVE is excited to bring this very special 【OSHI NO KO】 Season 2 celebration to fans at Anime expo 2024,” said John Ledford, President of HIDIVE. “We’re incredibly honored to not only host 【OSHI NO KO】 star Yurie Igoma and series producer Shimpei Yamashita but also present the world premiere of Season 2 Episode 2. Fans will not want miss being part of the expected capacity audience!”
Synopsis:Aqua’s desire for revenge takes center stage as he navigates the dark underbelly of the entertainment world alongside his twin sister, Ruby. While Ruby follows in their slain mother’s footsteps to become an idol, Aqua joins a famous theater troupe in hopes of uncovering clues to the identity of his father — the man who arranged their mother’s untimely death, and the man who once starred in the same troupe Aqua hopes to infiltrate.
【OSHI NO KO】 is based on the award-winning seinen manga that is serialized in Shueisha’s Weekly Shonen Jump and written by Aka Akasaka and illustrated by Mengo Yokoyari. The manga now encompasses 14 volumes with more than 16.5 million copies in print. It is available in English is available in both print and digital editions from Yen Press and digitally from Shueisha’s MANGA Plus.
Aqua
Akane
Season 2 is directed by Daisuke Hiramaki and Ciao Nekotomi, written by Jin Tanaka, with character design by Kanna Hirayama and animation by Doga Kobo studio.
The Japanese voice cast includes returning stars Takeo Ōtsuka as Aqua Hoshino, Yurie Igoma as Ruby Hoshino, Megumi Han as Kana Arima, Manaka Iwami as Akane Kurokawa, Rumi Ōkubo as Mem-Cho and Seiji Maeda as Melt Narushima, plus new additions for Season 2, Koki Uchiyama as Daiki Himekawa and Yusuke Kobayashi as Sakuya Kamoshida.
Ahead of its World Premiere at the Annecy International Animation Film Festival as an Official Selection for the new Annecy Presents section, an official trailer has arrived for the tasty new family comedy-adventure The Sloth Lane, from Brisbane-based Like A Photon Creative (Combat Wombat, Daisy Quokka). The furry food truckers make their Aussie cinema debut on July 25, following a domestic premiere at the Sydney Film Festival.
The heartwarming “Aussie-mation” about a family of sloths who take their prized family recipe book on the road features a roster of local and international voice talent: Dotti Pace, a quick witted cheetah and fast food mogul, is voiced by Leslie Jones (Ghostbusters, Sing); Teo Vergara (Turn up the Volume, Crazy Fun Park) plays speedy sloth Laura; Gabby (Laura’s mother) is voiced by Olivia Vásquez (Thor: Love and Thunder); Ben Gorroño (Regresar al Final, Escisión, Pelícano) voices Luis, a big lovable sloth who gives the best hugs; Mani, the true sloth of the family, is played by Facundo Herrera (Standing Up for Sunny); Remy Hii (Spiderman: Far from Home, Crazy Rich Asians) voices Dotti’s side-kick technician, Platy the Platypus; and Dan Brumm (Bluey, Combat Wombat: Back 2 Back) reprises his role from other “Tales from Sanctuary City” films as the voice of Chief Furbank.
Synopsis: After a terrifying storm destroys their home, a speedy sloth named Laura and her kooky family are forced to move to the big city with nothing but their prized family recipe book — and a rusted old food truck. The family’s delicious food soon catches the eye of a quick witted cheetah named Dotti who will stop at nothing to revive her failing fast food business, Zoom Fuel.
“Screen Queensland is proud to support Like A Photon Creative’s latest release through our Post, Digital and Visual Effects (PDV) Incentive,” said Dr. Belinda Burns, Chief Creative Officer, Screen Queensland. “This Queensland production company has earned an international reputation for delighting audiences with their captivating animated feature films and The Sloth Lane is an exciting addition to their impressive slate.”
Animoca Brands, Animoca Brands Japan, San FranTokyo and MyAnimeList announced today that they are launch partners of Anime Foundation, a community-owned cultural protocol for anime and manga spanning both Web2 and Web3. This partnership will create new opportunities and experiences for fans, creators, studios, IP holders and anime and manga-inspired projects and brands worldwide.
“We are thrilled to be a launch partner of Anime Foundation, which we envision as the spearhead to champion anime culture globally,” said Yat Siu, Co-Founder & Executive Chairman of Animoca Brands. “Anime Foundation has strong potential to establish itself as a major universal network of on-chain identity, experiences and economies. Rather than focusing on just a few IPs or brands, the foundation will spur the development of a comprehensive and inclusive anime-verse, a Web3 powered ecosystem for on-chain anime and manga culture based on powerful network effects and digital property rights.”
Daisuke Iwase, CEO of Animoca Brands Japan, added, “We are excited to be a launch partner of Anime Foundation and support it from both a Web2 and Web3 angle via our industry networks. Animoca Brands Japan uses Web3 technology to enable better fan experiences for Japanese IPs and content, and our collaboration with Anime Foundation seeks to enrich the global anime community. Together, we look forward to creating remarkable anime content and fostering deeper connections with fans around the world.”
The strategic collaboration follows Animoca Brands Japan’s JPY¥300 million strategic investment into MyAnimeList, the world’s largest anime and manga community site and database, with 16 million registered members.
“We are delighted to be one of the launch partners for Anime Foundation,” commented Atsushi Mizoguchi, the CEO of MyAnimeList. “The objectives of this project are manifold, but we are confident that all of them will support the future of Japanese content. Through the collaboration with Anime Foundation, MyAnimeList aims to distribute more manga titles worldwide and discover the next high-potential anime hits. We believe that this project will help to foster existing as well as new original works. We look forward to sharing more details with our community.”
Anime Foundation will form a strategic alliance with Mocaverse, the marquee growth network featuring an interoperable infrastructure layer of Account, Identity, Reputation and PointFi systems seeded by Animoca Brands. The strategic alliance will leverage Mocaverse’s recently announced Realm Network interoperable SDK to launch Anime ID, a decentralized identifier (DID) and reputation layer to facilitate onboarding to the Web3 ecosystem.
Anime Foundation will serve as a bridge between traditional anime and manga industry and Web3-native communities, with the goals to enhance fan experiences and empower global anime and manga culture. Anime ID will be central to Anime Foundation’s work to provide new monetization models and community building initiatives based on blockchain technology.
“Anime Foundation looks beyond the horizon of Web3. Our vision is to foster a vibrant ecosystem that transcends technological boundaries and empowers anime and manga culture worldwide,” said David Taing, the CEO of San FranTokyo. “We also recognize the immense value of the traditional landscape — from the passionate creators who bring these stories to life, to the established publishers and distributors who facilitate global distribution, and to the fan community who show tremendous support for their favourite titles. Today, anime culture transcends the medium itself – our affinity for titles, characters, storytelling and the synergistic brands are what shape our identities.”
The vision behind Anime Foundation is a future where anime and manga creators have more opportunities to create and be rewarded for content, distribution is more effective, and fans have greater access to exclusive content and ownership opportunities in a thriving global anime and manga community. The four strategic launch partners are uniquely positioned to contribute to this vision: MyAnimeList and Animoca Brands Japan will leverage their strong industry networks and deep community engagement to attract talent and expertise from the traditional anime and manga industry; Animoca Brands and San FranTokyo will leverage their broad Web3 ecosystems and blockchain technologies and infrastructure to unlock new opportunities for fan engagement.
Working with Mocaverse, Anime Foundation will launch Anime ID to enable fans to claim their unique on-chain identifications, which will allow them to explore, contribute and curate their anime profiles and reputation, with more functionalities to be added over time. Thanks to the interoperable infrastructure SDK of the Account system behind Mocaverse’s Realm Network, Anime ID will share the same single login as other Realm IDs, such as Moca ID, allowing community members to customize their unique digital identity domain names (example: david.anime).
Anime ID users will be able to access various Web3 experiences including GameFi, SocialFi, IP content and more, all powered by the Moca Network, which includes Mocaverse partners as well as Animoca Brands and various Web3 projects from its large portfolio of investments. Anime ID users can also earn Realm Points, the semi-permissionless loyalty points of Moca ID, as they engage and contribute.
“We are excited to co-launch Anime ID with Anime Foundation as the first Realm Network partner,” said Kenneth Shek, Mocaverse Lead. “I believe Anime Foundation stands the best chance to onboard millions of Anime fans all over the world. Easy onboarding for anime fans and interoperability via Realm Network will supercharge the cross-pollination of users, culture and utility across the entire Moca Network. In the near future, Anime ID users can explore the world of gaming, sports, and more, while Moca ID users can be exposed to a vast network of anime applications and IPs.”
Adult Swim returns to Annecy International Animation Film Festival this year with a raucous lineup of first-looks, breaking news and special appearances for its adult animation slate. The network’s showcase will be headlined by special guests Genndy Tartakovsky, Joe Bennett, Steve Hely, Michael Cusack and Zach Hadel. Top of the must-see list is a special session on Common Side Effects, announced at Annecy Festival 2023.
In addition to the panels and sneak peeks detailed below, Adult Swim’s quarter-hour comedy Smiling Friends will screen in the festival’s official competition on the heels of its second season debut.
Packing Adult Swim’s Annecy schedule are:
Common Side Effects
Common Side Effects Making-of Panel Wednesday, June 12 at 5 p.m., Bonlieu – Petite salle
Adult Swim will screen the entire first episode of the highly anticipated new series Common Side Effects exclusively at Annecy. After the world-premiere screening, co-creators Joe Bennett (Scavengers Reign) and Steve Hely (Veep, American Dad!, The Office), will join Adult Swim President Michael Ouweleen, Head of Adult Animation Suzanna Makkos and Bandera Entertainment President Dustin Davis for an in-depth conversation and Q&A about this special new series.
From executive producers Mike Judge and Greg Daniels, Common Side Effects follows Marshall and Frances, two former high school lab partners who share a secret: Marshall has discovered the world’s greatest medicine, a mushroom that can heal almost anything. But getting it out into the world won’t be easy — the DEA, big pharma and international businessmen are all on the chase to stop them. The half-hour serialized comedic thriller is produced by Bandera and Green Street Pictures.
Adult Swim – Defying Expectations Thursday, June 13 at 2 p.m., Impérial Palace – Salle de la Volière
Featuring appearances by Emmy-winning creator Genndy Tartakovsky (Genndy Tartakovsky’s Primal) and Smiling Friends co-creators Zach Hadel and Michael Cusack, this can’t-miss panel will offer first-looks at a collection of forthcoming Adult Swim content that will continue to defy expectations. Ouweleen and Makkos will join Adult Swim Head of Production Kelly Crews for a show-stopping panel filled with first looks and breaking news that will underscore the network’s global dominance in adult animation.
Adult Animation at Warner Bros. Discovery – Studio Focus Friday, June 14 at 12 p.m., Impérial Palace – Salle de la Volière
Adult Swim, Max and Warner Bros. Animation spotlight their strategy and efforts in the booming adult animation space. Ouweleen, Makkos and Executive Vice President, Alternative Programming, Warner Bros. Animation Peter Girardi will preview current and upcoming projects and share their team’s strategies to ensure Warner Bros. Discovery remains the destination for adult animation.
The famous tubby tabby had a great long weekend at the U.S. box office with an estimated $31.1 million during its first four days of release. Directed by animation veteran Mark Dindal, Sony/Alcon’sThe Garfield Movie landed in the number-two spot, with Warner Bros.’ Mad Max prequel, Furiosa ,taking the top position with a $32 million haul in its first four days.
The Garfield Movie, began its run oversees prior to its U.S. release in early May, and it has already made over $66.3 million internationally. Worldwide, the film has grossed over $97.4 million.
Paramount’s live-action/CG hybrid pic IF landed in the third position, with a $21 million take from the four-day release, bringing its total cume after two weeks to $63.5 million. The fourth position at the box office was taken by 20thKingdom of the Planet of the Apes with a $17.2 million long weekend and a $126.6 million cume after three weeks in theaters.
The next big animated feature release is Disney/Pixar’s Inside Out 2, which is slated for June 14 in theaters nationwide. Directed by Kelsey Mann, the sequel is introduces four new emotions and is voiced by Diane Lane, Kelsey Mann, Liza Lapira, Paul Walter Hauser, Adele Exarchopoulos, Amy Poehler, Tony Hale, Lewis Black, Meg LeFauve, Phyllis Smith, Maya Hawke, Mark Nielsen, Ayo Edebiri and Kaitlyn Dias.
Disney Legend Richard M. Sherman, half of the Oscar-winning songwriting team of the Sherman Brothers (with his late brother, Disney Legend Robert B. Sherman), passed away today (May 25) at 95, due to age-related illness. One of the most prolific composer-lyricists in the history of family entertainment, and a key member of Walt Disney’s inner circle of creative talents, Richard received nine Academy Award nominations (winning two Oscars® for his work on the 1964 classic Mary Poppins), won three Grammys, and received 24 gold and platinum albums over the course of his 65 year career. His career ran the gamut from the early days of rock n’ roll (with such hits as “You’re Sixteen”) and television to Broadway and Hollywood.
Generations of moviegoers and theme park guests have been introduced to the world of Disney through the Sherman brothers’ magnificent and timeless songs. Even today, the duo’s work remains the quintessential lyrical voice of Walt Disney. The Sherman brothers were perhaps best known for their work on Mary Poppins (1964), for which they won two Oscars: Best Score – Substantially Original and Best Original Song for “Chim Chim Cher-ee.” Another cherished song from the film, “Supercalifragilisticexpialidocious,” became a pop hit, entering the Billboard Hot 100 in 1965, while the lullaby “Feed the Birds” became one of Walt’s favorite songs—ever.
“Richard Sherman was the embodiment of what it means to be a Disney Legend, creating along with his brother Robert the beloved classics that have become a cherished part of the soundtrack of our lives,” said Bob Iger, CEO of The Walt Disney Company. “From films like Mary Poppins and The Jungle Book to attractions like ‘it’s a small world,’ the music of the Sherman Brothers has captured the hearts of generations of audiences. We are forever grateful for the mark Richard left on the world, and we extend our deepest condolences to his family.”
Pete Docter, Chief Creative Officer, Pixar Animation Studios, said, “You don’t get songs like ‘Spoonful of Sugar’ without a genuine love of life, which Richard passed on to everyone lucky enough to be around him. Even in his 90s he had more energy and enthusiasm than anyone, and I always left renewed by Richard’s infectious joy for life.”
“The Sherman brothers were professional optimists who found a perfect patron in Walt Disney. Their songs had an upbeat outlook that spilled over into Richard’s life, which was not without its troubles and challenges,” said Leonard Maltin, film historian, author, and educator. “He was especially proud that he and his brother carried on a songwriting career like their father, who encouraged them early on.”
Born on June 12, 1928, in New York City, Richard and his brother would, years later, go on to follow in their Tin Pan Alley songwriter father’s, Al Sherman’s, footsteps. The Sherman family relocated to Beverly Hills in 1937, after years of cross-country moves. Richard attended Beverly Hills High School before he majored in music at Bard College. Drafted into the United States Army, he served as conductor for the Army band and glee club from 1953 to 1955.
The success of early songs such as “Gold Can Buy You Anything But Love” and “Tall Paul” caught the attention of Walt, who hired the Sherman brothers as staff songwriters for The Walt Disney Studios. Their first assignment: write a song for the made-for-television movie The Horsemasters (1961), starring Funicello. Soon, they would contribute to such feature films as The Absent-Minded Professor (1961), The Parent Trap (1961), Summer Magic (1963), The Sword in the Stone (1963), Mary Poppins (1964), That Darn Cat! (1965), Winnie the Pooh andthe Honey Tree (1966), The Jungle Book (1967), The Happiest Millionaire (1967), The Aristocats (1970), and Bedknobs and Broomsticks (1971). They would ultimately write more than 200 songs for some 27 films and 24 television productions.
They also contributed music for a number of theme park attractions around the world, including “There’s a Great Big Beautiful Tomorrow,” “The Tiki, Tiki, Tiki Room,” and “It’s a Small World”—the latter of which Richard once described as “a prayer for peace.” In the early 1980s, the brothers returned to write songs for EPCOT Center (now known as EPCOT) and Tokyo Disneyland, including “One Little Spark” and “Meet the World.”
In the early 1970s, the Sherman brothers left the Walt Disney Studios to pursue other film projects. Following their work with Disney, the Sherman Brothers went on to provide an array of music, songs and occasional screenplays to such memorable family films as Chitty Chitty Bang Bang (1968), Snoopy Come Home (1972), Charlotte’s Web (1973), The Adventures of Tom Sawyer (1973), Huckleberry Finn (1974), and The Slipper and the Rose (1976).
The Sherman brothers made history in 1973 by becoming the only Americans ever to win 1st Prize at the Moscow Film Festival. The Russian equivalent to the Oscar was bestowed to the Sherman Brothers for their film musical The Adventures of Tom Sawyer, for which they penned the script and songs. In 1976, The Slipper and the Rose was selected for Great Britain’s annual Royal Command Performance. This film similarly features a Sherman brothers’ screenplay and musical/song score.
Richard and his brother were inducted as Disney Legends in 1990.
In 1992, Walt Disney Records released a retrospective collection of their music, The Sherman Brothers: Disney’s Supercalifragilistic Songwriting Team. The brothers returned to the studio in 1998 to compose music for The Tigger Movie; that year, they also penned their autobiography, Walt’s Time: From Before to Beyond. In 2009, a second compilation of hits, The Sherman Brothers Songbook, was released, and their life stories were told in the documentary film The Boys: The Sherman Brothers’ Story (directed by Richard’s son, Gregory V. Sherman, in collaboration with Robert’s son, Jeffrey Sherman).
Richard was preceded in death by his brother in 2012. The following year, actors B. J. Novak and Jason Schwartzman portrayed Robert and Richard, respectively, in Saving Mr. Banks (2013), a dramatized account of the making of Mary Poppins. Five years later, The Walt Disney Studios in Burbank, California, rededicated Stage A as the Sherman Brothers Stage. At the time, Richard said, “It’s been a joy, it’s been an honor, and it’s been a privilege to work here at The Walt Disney Studios, working for Walt Disney and for all the brilliant, brilliant people with whom Bob and I associated through the years.”
In 2015, a television special chronicling his life, Richard M. Sherman: Songs of a Lifetime, produced by Disney Legend Don Hahn, debuted on PBS SoCal. Also in 2015, for the Disneyland Resort Diamond Celebration, Richard contributed the song “A Kiss Goodnight,” which was tied to his 2017 book of the same title from Disney Editions. For The Walt Disney Studios, Richard wrote new lyrics for the live-action The Jungle Book (2016) and two years later appeared in Christopher Robin, for which he composed three new songs.
Most recently, Richard wrote a new song (with composer Fabrizio Mancinelli) for Disney Legend Andreas Deja’s 2023 animated short, Mushka. The song, entitled “Mushka’s Lullabye,” was sung by acclaimed soprano Holly Sedillos.
In 2023, Walt Disney Animation Studios revisited its 100-year history in the short film Once Upon a Studio. Richard returned to Walt’s office—the same place he and Robert would often perform “Feed the Birds” for Walt on Friday afternoons—to play piano in a key sequence.
Richard is survived by his wife of 66 years, Elizabeth; son Gregory and grandsons William and Matthew; daughter Victoria Wolf, son-in-law Doug Wolf, and grandchildren Mandy and Anthony. He is also survived by his daughter from a previous marriage, Lynda Rothstein, as well as her two children and three grandchildren. A private funeral is scheduled to take place Friday, May 31, at Hillside Memorial Park and Mortuary in Los Angeles. Plans for a celebration of life will be announced at a later date.
Italy’s animation festival Cartoons on the Bay has announced the lineup for its 28th edition, which takes place May 29 to June 2 in the scenic town of Pescara. Among the animation luminaries slated to appear at the 2024 edition are Disney icon John Musker,Leslie Iwerks, Juanio Guardino and Sara Pichelli.
This year’s post was created by illustrator and cartoonist Silvia Ziche and features her character Lucrezia. Over 300 animated projects from 50 countries will compete for the prestigious Pulcinealla Awards at the event. The general theme for the festival this year is “sports,” and Spain is designated as the guest nation, in collaboration with the Instituto Cervantes. Piazza della Rinascita will host concerts by Antonella Ruggiero, Emanuela Pacotto, and the Ensemble of the Conservatory of Santa Cecilia will perform some of the most famous themes from animated series over the past few decades.
The event will also feature the national premiere of Thomas Cailley’s film The Animal Kingdom, winner of five César awards. Promoted by Rai and organized by Rai Com, with artistic direction by Roberto Genovesi, Cartoons On The Bay is held in collaboration with the Abruzzo Region, the Municipality of Pescara, and the Minister for Sport and Youth through the Department for Sport.
This year’s program features tributes to John Musker, Leslie Iwerks, Juanjo Guarnido, Spain’s SPA Studios and more.
Meetings with the great masters of animation, showcasing their art and projects, will be the focus of the professional program. Cartoons on the Bay is ready to celebrate the 40-year animation career of director John Musker (The Little Mermaid, Aladdin), who will receive the Pulcinella Award for Career Achievement. The talents of director and producer Leslie Iwerks (Recycled Life) and cartoonist Juanjo Guarnido (Blacksad) will both be honored with the Pulcinella Special Award. Sara Pichelli, one of the most acclaimed Italian comic book artists globally, will receive the Sergio Bonelli Award. SPA Studios (Spain) will be the recipient of the Studio of the Year Award.
A special exhibit titled Stefano Bessoni. Stop-motion e altre scienze inesatte, will be open to the public from May 30 to June 1, from 10:00 am to 6:00 pm. The festival will also feature the mascots of the Milano Cortina 2026 Winter Olympic and Paralympic Games, Tina and Milo.
The 2024 poster for the Cartoons on the Bay festival was created by Silvia Ziche.
For more details, visit cartoonsbay.rai.it/en/cartoons-on-the-bay
Two weeks ago, Zach Mulligan, an animation industry professional who has worked at DreamWorks Animation, Scanline VFX and The Jim Henson Company, decided to share what he thought
Zach Mulligan
was wrong with the animation business in 2024. In a well-edited and concisely presented video, Mulligan pointed out five overall reasons why the animation animation industry in Los Angeles seems to be going through such a tumultuous period. He mentions the burst of the streaming bubble, layoffs, mergers, outsourcing and the specter of generative A.I. as some of the reasons behind why many animation professionals are having a hard time getting their projects made in recent months. Zach was kind enough to answer a few of our questions about his “Animation Industry is Collapsing” video and he shared some of his insights with us:
Animag: First up, congrats on the success of your video. You have had over 115,000 views since you posted it two weeks ago. What prompted you to make it?
Zach Mulligan: First of all, I’ve always loved animation. I grew up watching Disney movies repeatedly on my VCR, and discovered early on how to make my own 3D animations. Working in this industry since 2015 has been a dream come true. Recently though, I noticed some significant shifts within the animation industry, many of which weren’t getting the attention they deserved outside our relatively small community. It took several months to write the script for this video and compile many of the different articles that I cited, during which I also reached out to The Animation Guild for further clarification on how they plan to handle the upcoming negotiations this summer. I wanted to make sure that this video reached more people outside of our industry, so I purposefully used a provocative title & thumbnail that I knew would spark a much-needed conversation about the future of our industry.
In your opinion, what are the most important factors that have caused the current climate in the animation industry?
The significant layoffs in the animation industry, primarily in the US but also affecting countries like Canada, seem to stem from a few key factors: increased outsourcing, corporate mergers, and the burst of the streaming bubble. Additionally, many industry professionals I spoke with believe that the way studios handle Generative AI will lead to further job losses. While there are certainly other factors at play, as highlighted by many others since my video was published, sparking these conversations was precisely my goal.
What is your take on the impact of AI on the animation industry?
The way I see it, there are actually two conversations happening simultaneously about AI, and it’s important that we make the distinction between them: whether AI is a tool, and how AI will affect jobs right now. Machine learning has been used effectively as a tool to reduce tedious tasks, such as adding linework for Across the Spider-Verse or even to help color the character’s eyes blue for the VFX in Dune: Part Two. We should continue to have the debate on how to approach the use of AI ethically like in these examples.
That being said, the question about how AI will affect jobs today is the more pressing issue. I’m concerned that the leaders of some of these studios have a fundamental misunderstanding of what “AI” even is. Yet they are starting to make decisions which will result in layoffs of experienced artists in favor of cheaper, less experienced workers using “AI.” The debate about AI’s future potential & ethical concerns is absolutely essential, but its current impact on jobs needs our immediate attention.
What are some of the practical way we can all fight these negative forces? Can we even do anything about it or is resistance futile?
Right now, our best bet is to stay informed and communicate with each other, especially with the upcoming union negotiations this summer. That’s why I made this video – to keep the conversation alive and prevent any complacency regarding the industry’s direction. Regarding Generative AI, in my opinion an artist’s best defense against it is to learn everything they can about it, including its many limitations. As Niko Pueringer of Corridor Digital explains on “The Bancroft Brothers Animation Podcast” (a must-listen episode for anyone curious about AI as it relates to animation), experimenting with AI tools themselves can often demystify what these tools can & cannot do. For example, the viral AI short film “Air Head” by the Toronto studio shy kids used OpenAI’s Sora model extensively to get the base output, but had to manually tweak the footage with VFX to get it perfect. We’re still in the early days of AI; the better informed we are as artists, the more productive our discussions will be about how & when it’s used.
How has this current broken climate impacted you personally or the people you know in your circle?
The current climate has profoundly affected many people I know, with numerous colleagues being laid off or given end dates over the past year. Particularly at DreamWorks Animation, a place I worked for four years, where the company’s recent decision to outsource nearly half of its feature film production has resulted in significant cuts to various departments. This isn’t an isolated issue; thousands of workers across our industry have faced similar fates due to the factors I’ve outlined. Even Pixar recently laid off 14% of its workforce (although their top leadership roles will not be impacted). Understandably, it’s difficult to stay optimistic about our industry when it directly affects people we know personally.
Do you see any silver linings?
Despite the bleak outlook suggested by the title of my video, there are a lot of things to be excited about on the horizon. The incoming wave of indie studios & auteurs is particularly exciting. If you can get a group of talented artist friends together, the sky’s the limit. Some notable examples range from seasoned Disney veteran Aaron Blaise’s Snow Bear, to relative newcomers like Studio Flimpo’s viral series in-progress, Mandelbrot Hall. The explosive rise of successful animated series on YouTube, such as those from Glitch Productions, is also an important development that cannot be overlooked. The democratization of creative tools is fostering a new wave of artistry & creativity. Additionally, the upcoming negotiations between IATSE and the AMPTP present an opportunity for systemic changes, including better working conditions and basic protections from AI.
Tell us a bit about the reactions you have received from your popular video?
To be honest, it’s been pretty surprising. Much of what I discussed in the video has been covered in various articles for months, but presenting all these issues in one video has clearly struck a chord with people both inside and outside our industry. Many of my colleagues in animation have validated how I feel about the industry, while a vocal minority have taken issue with the TikTok style of editing I used, as well as calling me alarmist. Based on my experience with creating viral videos, however, being a little provocative is essential to reaching a wide audience with this message. I’ve been encouraged by the positive feedback though, and I hope it continues to foster meaningful dialogue and potential solutions.
What projects are you working on at the moment?
Currently I’m developing an animated short for VR titled New Venice, a black & white love story between two robots in an empty, snowy metropolis. My philosophy on VR is that it can become the next frontier for storytelling in animation, and I wanted to create something different than all the Metaverse & social-focused uses for VR. We’re tapping into the early days of cinema for inspiration on how to progress this new medium, including an art direction inspired more from Art Deco rather than cyberpunk. Additionally, because of the response to this video, I’m starting to develop a follow-up video that expands upon some of the positive ways the animation industry is evolving. I’m aiming to feature different voices in our industry to show that if you’re struggling right now, you’re not alone and that it’s not completely hopeless.
Any advice for frustrated animation talent out there who are losing hope about working in our favorite industry/art form?
I understand the pain that many are feeling right now. It’s frustrating to see talented and experienced workers being left behind as the industry moves forward. While I recognize that my decade of experience in animation might seem relatively young to some, I believe that fresh perspectives are also valuable. I highly encourage everyone to keep learning new skills and tools. There’s a great video by artist Meridian Grey Culpepper titled “Surviving Unemployment in the Animation Industry” that I highly recommend for some empathy and practical solutions during this downturn. Starting personal animation projects can help you rediscover your passion for the industry. Share your work and portfolio online, even works-in-progress, because you never know who might see it. Most importantly, check in with your peers and colleagues—we’re all human, and fostering communication is key during these challenging times.
One of the most eagerly anticipated features of this year’s Cannes Festival was Michel Hazanavicius’ animated adaptation, The Most Precious of Cargoes. The movie, which premiered today (Friday, May 24) at the festival’s Grand Théâtre Lumière, was the final title competing for the Palm d’Or. Based on Jean-Claude Grumberg’s book of the same name, the movie received a ten-minute ovation from the enthusiastic crowd.
Featuring the voices of Jean-Louis Trintignant, Grégory Gadebois, Dominique Blanc and Denis Podalydès, the animated Holocaust parable centers on a poor woodcutter and his wife who, rescue a baby girl thrown from one of the many trains that constantly pass through the forest. This baby, which is described as “the most precious of cargoes,” will transform the lives of the poor woodcutter’s wife and her husband, as well as those whose paths the child will cross – including the man who threw her from the train.
The film is produced by Hazanavicius, Florence Gastaud, Robert Guédiguian, Riad Sattouf and Patrick Sobelman. The Dardenne brothers, Jean-Pierre and Luc, are co-producers. Studiocanal will release in France in November. It’s the first animated feature to compete for the Palm d’Or since Waltz with Bashir in 2008. The film is also part of the competition at the Annecy Festival in June. No U.S. distributor has been announced to date.
Hazanavicius did all the character designs for the film himself. Earlier this week, the director told the Cannes Festival website, “The film is quite personal to me as I’ve been drawing since I was ten. Until then, drawing had always been a personal hobby that I never did much with. To be honest, I even found it incredibly hard to show my work for the film, it felt as if I had had a limb cut off, because it has always been such a private activity.”
He said reading the book felt like he was discovering a classic. “I wanted viewers to feel the same way when watching the film,” he says. “I drew the characters and atmospheres, but my style isn’t conventional, which makes it hard to animate. That meant we had to go back and forth with the animators without ever losing sight of the artistic vision I had for the characters. I wanted something that felt deep, melancholic almost, to create this sense of a film that had always existed and was now resurfacing.”
A poor woodcutter saves a young girl’s life in the Cannes Festival favorite “The Most Precious of Cargoes.”
Hazanavicius, who won an Oscar for his 2011 feature The Artist, added, “Animation was a very empirical experience. It works in a very specific way, and I was forced to adapt to that. Initially, I found myself having goals that were really out of step with the very set ways of doing things, but I quickly identified who I could rely on to help, the crew who understood what the film sets out to achieve, and who were able to plug me into different roles.”
In his glowing review of the film, Variety critic Peter DeBruge writes, “Blending the heavy lines of early-20th-century woodcuts with the gentle pastels of watercolor painting, The Artist” director Michel Hazanavicius finds a poignant way to address not only the horrors of the Holocaust, but the kinds of kindness that combatted it, crafting an indelible parable destined to be watched and shared by generations to come…. The movie may be animated, but it’s no conventional cartoon. If anything, it looks like a graphic novel come to life, rendered in thick, dark strokes. The compositions are unexpectedly austere at times, sharing more in common with William Blake’s more tortured engravings than with the plaintive cat from DreamWorks’ Puss in Boots. But there’s heart to the human characters’ behavior.”
We all kind of knew it, but yesterday’s latest viewing data dump from Netflix confirmed it all: CoComelon was the most-watched children’s show in the second half of 2023 (July to December).
CoComelon episodes were watched more than 200 million times in the second half of 2023 (July to December).
Its eighth season alone was the most-watched children’s show, ranking #8 overall.
The 8th season – “Learning with JJ” – follows JJ and his friends as they learn new things, set to fun educational songs about the days of the week, numbers, shapes and more.
All eight seasons appeared in the top 100.
“Kids love learning new things from CoComelon through its fun characters, and catchy tunes,” says Andy Yeatman, managing director, the Americas, Moonbug Entertainment. “That’s why we put so much care into crafting CoComelon to be enriching. We’re very proud to see the show’s eighth season — which is all about learning through songs — become the most-watched kids show on Netflix.”
On April 22, Netflix released season 2 of CoComelon Lane, which debuted at #4 globally on the streaming service in its first week. Moonbug’s Little Angel and Blippi’s Adventures were also in the top 10 most watched kids shows. The report also highlights kids and family viewing accounted for 15% of all viewing on Netflix globally.
The eighth season of DreamWorks Animation’s Gabby’s Dollhouse was the next highest on the Netflix chart with 90 million views across several seasons and Peppa Pig third with around 80 million.
Here are the rankings, according to the latest data released by Netflix.
Japanese film production and distribution company Toho announced on May 23 that it will acquire animation production company Science SARU as a subsidiary. In June, Toho will acquire all shares of Science SARU held by its representative, Eunyoung Choi.
Masaaki Yuasa and Eunyoung Choi originally founded the studio in 2013. The studio has produced numerous animated feature films directed by Yuasa, including The Night is Short, Walk on Girl (2017), Lu Over the Wall (2017) and INU-OH (2022), as well as animated series such as Ping Pong the Animation (2014), Devilman Crybaby (2018) and Keep Your Hands Off Eizouken! (2020) and others. Yuasa stepped down as president and representative director of the studio in 2020, with Choi becoming CEO shortly after.
Naoko Yamada also directed the anime series The Heike Story(2021) at the studio, as well as the upcoming feature film The Colors Within. Other directors who have worked at the studio include Abel Góngora, Tomohisa Shimoyama and Shingo Natsume. Science SARU is also helming the anime adaptation of Yukinobu Tatsu’s DAN DA DAN, scheduled to premiere in October 2024.
Naoko Yamada’s “The Colors Within,” is one of Science SARU’s high-profile movies of 2024.
Toho’s press release explains the purpose of making Science SARU a subsidiary: “By welcoming the company into the group, we expect to strengthen our ability to produce high-quality animation and accelerate the speed of growth of our group’s animation business.”
Animation distributor PGS Entertainment has formed a strategic partnership with Magic Star, the official kids and family division of The Orchard and a member of Sony Music Entertainment, for their newly launched Mini Smiley. This new animated sing-along series, based on the Original Smiley and co-produced with The Smiley Company, will see Magic Star as the global music distributor.
“Partnering with The Orchard marks a significant milestone for Mini Smiley,” says Philippe Soutter, co-founder of PGS Entertainment. “Their expertise in distribution is unparalleled, and we are confident that this collaboration will not only elevate the series’ visibility worldwide but also amplify its positive impact, spreading joy and learning to more children across the globe.”
“Mini Smiley is poised to be one of the next great music-led kids and family entertainment franchises,” said Will Speer, managing director of Magic Star. “We are thrilled to be partnering with PGS Entertainment to enhance and expand the series’ international reach and we look forward to delivering engaging musical Mini Smiley adventures to children and families worldwide.”
Mini Smiley is a collaborative effort by PGS Entertainment and The Smiley Company to animate the iconic Smiley logo through a captivating collection of songs, sung by kids for kids. Music has been written and composed by Philippe Soutter and renowned songwriter John Mamann; and the series introduces Arpad as a singer. On the animation side, the visual and editorial development of the series was handled by Bananana, the development team at PGS Studios, and the production of the series, rendered in high-quality 3D, was entrusted to Blue Spirit.
Each episode provides families with the opportunity to bond over shared musical experiences that strengthen connections and create memorable moments. The songs explore key developmental themes such as friendship, love, kindness, courage, and curiosity. These themes are in line with Smiley’s ethos of promoting happiness and positivity, providing both educational and emotional growth in an engaging and enjoyable manner. In addition to original songs, the series features hits like “YMCA,” reimagined as “My ABC,” adding a fun and familiar twist that resonates with both kids and parents alike.
For more information on Mini Smiley and other PGS Entertainment projects, visit www.pgsentertainment.com.
As the new weight loss drugs continue to make a big impact on our national conversation, the team at South Park also weighs in on the growing craze. In the new special South Park: The End of Obesity which is currently streaming on Paramount+,, the advent of new weight loss drugs has a huge impact on everyone in South Park. When Cartman is denied access to the life-changing medicine, the kids have to take things into their own hands.
Here’s an exclusive new clip from the special:
The first six exclusive events – South Park: Post Covid, South Park: Post Covid: The Return Of Covid, South Park The Streaming Wars, South Park The Streaming Wars Part 2, South Park: Joining The Panderverse and the recently released South Park (Not Suitable For Children) – are currently available to stream exclusively on Paramount+. South Park: The End Of Obesity is produced by MTV Entertainment Studios.
South Park, which celebrated its 25th anniversary in 2022, debuted on Comedy Central August 13, 1997. Stan, Kyle, Cartman and Kenny were first seen in the animated short “The Spirit of Christmas,” and from there were launched into television history. Co-creators Trey Parker and Matt Stone are executive producers, along with Anne Garefino and Frank C. Agnone II. Eric Stough, Adrien Beard, Bruce Howell and Vernon Chatman are producers. Christopher Brion is the Creative Director of South Park Digital Studios. Find out more at SouthPark.cc.com.
“South Park: The End of Obesity” is currently streaming on Paramount+.
Toon Factory (Samson and Neon, The Little Devils 3, How to Squoosh) has just negotiated the rights to Virtual Past, a hybrid project pitched at Cartoon Forum in 2021 by Cross River, with its original creators Jean-François and Jacob Henry.
“I am delighted to announce the brand-new development of Virtual Past, a sitcom project about the paradoxes of our lives that navigates between the world of video games and the everyday life of an ordinary, present-day family. It is an innovative and hilarious project I have a lot of faith in,” said Thierry Berthier, founder and CEO of Toon Factory.
Synopsis: On the instigation of 12-year-old Lucas, the Lambda family decide to take part in a new type of immersive video game, which uses all the senses, and become exclusive beta-testers. Thanks to virtual reality, they are propelled into the larger-than-life and frankly not so wonderful world of the Middle Ages! Will our family, which is not at all cut out for this kind of adventure, manage to come out of this physically and morally unscathed?
The combination 3D animation and live-action series (12 x 22′) is aimed at audiences 10 years and up, and will consist of. It will be co-written by a new team of writers and directed by Manu Joucla, the actor, comedian and director known to audiences as a member of “Nous Ç Nous.” Joucla has just finished shooting the TV film Santa at Home for M6, which will be presented at Festival de la Fiction in La Rochelle.
The character designs for the animated segments of Virtual Past are by Yann de Préval, the character designer for Mao Mao: Heroes of Pure Heart for Cartoon Network and 50/50 Heroes for France Télévisions, and visual development artist on Marvel’s Moon Girl and Devil Dinosaur for Disney.
Netflix has dropped another big chunk of viewing data, following up its first What We Watched: A Netflix Engagement Report with the numbers from July to December of 2023. One striking takeaway is that a third of the top titles are original and acquired animated features, accounting for 33 of the 100 most-viewed films of the period (totaling 1.087 billion views).
Netflix Original Leo, starring Adam Sandler, made a splash with its Thanksgiving debut, ranking #3 overall in the report with 96 million views. The most-viewed animated features topping the list also included (views in millions):
The Boss Baby
The Boss Baby – DreamWorks Animation, 2017 – 61.7M views
PAW Patrol: The Movie – Spin Master, 2021 – 59M
Miraculous: Ladybug & Cat Noir, The Movie– The Awakening / SND , 2023 – 49.7M
Dr. Seuss’ The Grinch – Illumination, 2018 – 45.3M
The Super Mario Bros. Movie – Illumination, 2023 – 44.9M
The Monkey King – Netflix Original, 2023 – 42.9M
Sing– Illumination, 2016 – 40.8M
Hotel Transylvania – Sony Pictures Animation, 2012 – 40.1M
Trolls– DreamWorks, 2016 – 38.3M
Sing 2– Illumination, 2021 – 37.5M
Chicken Run: Dawn of the Nugget – Netflix Original / Aardman, 2023 – 35.2M
Shrek– DreamWorks, 2001 – 35.1M
The Croods: A New Age– DreamWorks, 2020 – 34.7M
Puss in Boots: The Last Wish – DreamWorks, 2022 – 33.8M
Picturehouse Entertainment has acquired U.K. & Ireland distribution rights to Sylvain Chomet’s (The Triplets of Belleville, The Illusionist) new feature film, The Magnificent Life of Marcel Pagnol, currently in production and due in late 2025. The deal with sales agency Elle Driver marks the distributor’s first animation acquisition.
Synopsis: In 1955, 60-year-old Marcel Pagnol is a well-known and acclaimed playwright and filmmaker. When the editoring 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, his successes and failures, his joys and sorrows.
The journey of an artist, from a young teacher in Provence to a true pioneer of talking movies. An exceptional inventor who built his own film studios and held out through WWII. A self made man who never betrayed his free spirit or independence, even less his values and origins. A simple man and a bon vivant above all!
The French production hails from Onyx Films, What The Prod, 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 ON Classics (Mediawan Kids & Family), in collaboration with Nicolas Pagnol from Pagnol’s Estate.
Animal Tales of Christmas Magic
Meanwhile, the charming anthology feature Animal Tales of Christmas Magic has sold to more than 50 territories through The Bureau sales division. Designed to resemble traditional media like paper cut-out and watercolor, the holiday title is making is market debut at Cannes and will have its World Premiere at Annecy Festival next month.
Synopsis: In a festive and fairytale atmosphere, animals from around the world are brought together through five poetic and humorous adventures to celebrate Christmas and wintertime. They will learn about the importance of helping each other, being generous and rediscovering the beauty of nature.
Pick ups have been ordered by Frenetic Films (Switzerland), Angel Films (Denmark), Rita & Luca Films (Spain), Satine Film (Italy), Teleview (Middle East), Storytelling Media (Norway), ADS Service (Hungary and Romania), Beta Film (Bulgaria), Heimili Kvikmyndanna – Bíó Paradís (Iceland), Ciné 7e Art (Algeria, Mauritania, Morocco and Tunisia), Cinobo (Greece), Estinfilm (Baltics), Filmladen (Austria), Folkets Bio (Sweden), JEF (Benelux), New Horizons Association (Poland) and Pilot Film (Czech Republic).
Aimed at young children and families, the France/Germany co-pro from Les Valseurs, Luftkind Filmverlieh and The Bureau comprises five Christmas-time animated adventures starring adorable animals, directed by six up-and-coming women directors from around the world: Camille Alméras (France), Caroline Attia Larivière (France), Ceylan Beyoglu (Turkey-Germany), Haruna Kishi (Japan-France), Natalia Chernysheva (Russia-France) and Olesya Shchukina (Russia-France).
The film’s animation was produced by Pulp Studio in Paris, Amopix in Strasbourg, Gaoshan on Réunion and Fabian & Fred in Hamburg.
[Sources: ScreenDaily, Elle Driver, Annecy Festival]
CBC Kids announced the greenlight of new preschool series Go Togo(27 x 5′) from award-winning Toronto-based production company Gazelle Automations. The series will introduce three to five-year olds to early math concepts through the world of big public transit vehicles (in miniature scale). Production wrapped last month and the series will premiere this fall.
Produced using animatronic characters and handmade sets, the series follows Togo the subway car and his friends as they make work and explore in the big city of Transitville. The inspiration for Go Togo struck when co-creators and producers Justin and Lindsay Lee visited the Halton Railway Museum to view their old subway and streetcar collection.
“Justin and I are huge fans of public transit, and we know kids love the vehicles. We realized we could capture all the fun, awe and excitement of watching a bus or streetcar whiz by, but in toy size,” said Lindsay Lee.
Justin Lee added, “We wanted to invoke a feeling of a child playing with their toys in a hyper-realized way, as if we’ve entered their imagination.”
Synopsis:Go Togo follows the adventures of optimistic Togo the Subway, mover-and-shaker Stella the Streetcar and quiet-thinker Wheeler the Bus as they pick up riders, catch up with signal lights (they also talk) in the city of Transitville.
Every morning, Togo, Stella or Wheeler are given a specific transit-related task by Hub, the benevolent control tower that runs the transit network. Along the way, they encounter a problem and must use basic math concepts and logic to solve it.
Each episode follows a short, simple format aimed at creating familiarity through repetition.
Additional characters include Sparks, the grumpy yet lovable rail grinder with a heart of gold, voiced by Paul Sun-Hyung Lee (Kim’s Convenience, Star Wars: The Mandalorian). Dr. Repairo, the friendly and helpful repair car, has the tools and tricks to get vehicles up and running again when things go wrong. And numerous signal lights around Transitville help vehicles know when to stop and go — and have loads of personality.
“Working with our partners at Gazelle Automations, we hope that Go Togo! will engage preschoolers, spark their curiosity, and build a foundation of mathematical thinking,” says Drew Mullin, Executive in Charge of Production, CBC Kids. “In Go Togo‘s magical world of animatronic characters and handmade sets, children will be delighted to see actual toys spring to life, bridging fantasy and reality. We can’t wait to share Togo’s adventures with families across the country.”
Go Togo was conceived by producers Justin T. Lee and Lindsay Lee of Gazelle Automations, the team behind the award-winning children’s series Miikshi. The series features a unique hybridized format, mixing physical animatronics and elements of stop-motion and 2D animation. All the vehicle characters are 3D-printed animatronic puppets operated by remote control that have swappable face panels for different expressions.
Go Togo is a CBC Kids Original production, produced with the financial participation of the Canada Media Fund and the Shaw Rocket Fund, and with film and television tax credit assistance from the Government of Ontario, and the Canadian Film or Video Production Tax Credit.
The Toronto-based team behind the series includes co-creators/executive producers Lindsay Lee and Justin T. Lee, co-executive producer Jeff Mackey, supervising producer Kanja Chen and producer Bonnie Do. For CBC, Sally Catto is General Manager, Entertainment, Factual and Sports; Marie McCann is Senior Director, Children’s Content, CBC Kids; and Drew Mullin is Executive in Charge of Production, CBC Kids.
Organizers of the Annecy International Animation Film Festival (Annecy Festival), taking place in France June 9-15, have announced the selections for its always-buzzy Work in Progress sessions. The program spotlights animated projects currently in production, offering attendees a chance to hear directly from the creative teams behind them.
This year, 14 feature films, two series and five XR projects were selected. The WIP Feature Films as well as the WIP Series sessions will take place at the Salle Pierre Lamy, while the WIP XR are presented in the brand-new XR&Games Area, located at the Chambre de Métiers et de l’Artisanat.
Dive into the creative processes of …
WIP FEATURE FILMS
A Story about Fire
China
Directed by Wenyu Li
Produced by Shanghai Animation Film Studio
Adapted from ancient Qiang mythology, this tells the story of a monkey, Ranbiwa, who grows up in an ancient human tribe, following his mother’s footsteps, Awubaji, to the Holy Mountain to find the secret of “warmth”. After going through hardships and peril, he retrieves the firestone from the mouth of the “Beast of Fear.” His hair is burned off and he becomes a human being after attaining Nirvana.
Allah Is Not Obliged
France, Belgium, Luxembourg
Directed by Zaven Najjar
Produced by Special Touch Studios, Paul Thiltges Distributions, Need Productions, Lunanime Bvba, Yzanakio
Ten-year-old Guinean orphan Birahima must get to his tutor, Aunt Mahan, who will take care of him. But Mahan lives in Liberia, where a fierce civil war is raging. Yacouba, a great grigriman and bandit, will guide him to Mahan, while selling anti-bullet lucky charms, and convince him to become a child soldier. In the chaos of war, Birahima will grow up too quickly and learn to distrust the stories he is told.
Another World
Hong Kong
Directed by Kai Chung Ng
Produced by Point Five Creations
While helping lost souls to get reborn, the spirit Gudo meets a girl called Yuri. He embarks on a 1,000-year journey to help her through her various incarnations to remove her Seed of Evil, a kernel within her that turns her into a monstrous Wrath if she gets consumed by anger. He learns that helping her find self-forgiveness for the tragic loss of her brother is the only way to save her.
Death Does Not Exist
Canada, France
Directed by Félix Dufour-Laperrière
Produced by Embuscade Films, Miyu Productions
After a failed armed attack during which Hélène abandons her companions, Manon, one of her accomplices during the attack, comes back to haunt her. Together, they journey through a fantastic valley, where metamorphoses, toxic powers and great upheavals will soon disrupt the natural order of things. Hélène will have to revisit her intimate and political choices, and the dilemmas that surround them.
Housenka
Japan
Directed by Baku Kinoshita
Produced by CLAP
Autumn 2023. Akutsu, an elderly inmate serving life in prison, is on the verge of a lonely death in his single cell. A flower, touch-me-not, that can talk like humans says to him, “What a rotten life you had.” Through their “conversation,” Akutsu starts reflecting on his past.
Summer 1986. Akutsu is living with Nana, a woman six years his junior, and her son Kensuke in a shabby apartment with a garden full of touch-me-nots. A one-night victorious comeback by a dying yakuza, and the story of his family recounted by a flower that blooms in prison.
Hyakuemu
Japan
Directed by Kenji Iwaisawa
Produced by Pony Canyon Inc., Tokyo Broadcasting System Television, Inc., Asmik Ace Inc.
Togashi is born to run. As a kid, he is naturally gifted and wins every 100-meter race without effort. But in sixth grade, he meets Komiya, a transfer student who is full of determination but lacks technique. In teaching him, Togashi gives Komiya a new purpose: to win no matter what. Years pass by, Togashi and Komiya meet again as rivals on the track and reveal their true selves.
Kai
Peru
Directed by Milton Guerrero
Produced by Red Animation Studio
When Kai learns she is the daughter of the great shaman Illari, she decides to obtain magic for herself by finding the lost Temple of Asirus and passing a dangerous test. Unfortunately, Katari, the only other shaman in Kai’s world, wants to possess Kai’s potential power so that he can become an all-powerful Magical Creature. To defeat Katari, Kai learns that she must let go of her selfish dreams of power and glory, and rely on her own grit, ingenuity, empathy and love.
The Legendaries
France, Belgium
Directed by Guillaume Ivernel
Produced by Pan Animation, Belvision, Maybe Movies, 2 Minutes
The Legendaries are a group of five, and each of them are only 10 years old! Danaël, Jadina, Razzia, Shimy and Gryf will unite their powers to free their planet from a terrible curse: a world where adults become children again.
Night of the Zoopocalypse
Canada, France, Belgium
Directed by Rodrigo Perez-Castro, Ricardo Curtis
Produced by Copperheart Entertainment, Charades, Umedia Production, Anton
A meteor crashes into Colepepper Zoo unleashing a virus that transforms the animals into slobbering zombie mutants! Gracie, a young oddball wolf, teams up with a gruff, fearsome mountain lion, Dan, and a motley crew of bickering animals. But when it looks like the whole zoo will be overrun, Gracie comes up with a plan to transform all the animals back to normal and save the zoo. It’s the ZOOPOCALYPSE!
Olivia and the Invisible Earthquake
Spain, France, Belgium, Chile
Directed by Irene Iborra Rizo
Produced by Terremoto AIE, Vivement Lundi!, Panique!
A 12-year-old girl’s life falls apart around her when her family is evicted from their home. After being evicted, Olivia moves to an empty apartment squat in a neighbourhood on the outskirts of the city with her little brother Tim and her mother, Ingrid.
Planets
France, Belgium
Directed by Momoko Seto
Produced by Ecce Films, Miyu Productions, Umedia Production
Two dandelion seeds are the only survivors of a series of nuclear explosions that destroy the Earth. Thrust out into the cosmos, they seek a new planet where the soil is suitable for the survival of their species.
Space Cadet
Canada
Directed by Eric San
Produced by: Les Films Outsiders Inc.
Robot existed to serve only one purpose: to raise Celeste into the happy, brilliant scientist she is today. Now, the young Space Cadet is departing for her first interstellar mission and Robot is left alone. Time passes and loneliness weighs on him affecting his aging technological structure. In space, a dangerous obstacle jeopardizes Celeste’s mission and memories of her childhood resurface.
That Christmas
United Kingdom
Directed by Simon Otto
Produced by Locksmith Animation. Coming soon on Netflix.
In attendance: Writer/executive producer Richard Curtis, known for his romantic comedies such as Love Actually, About Time and Four Weddings and a Funeral.
The film follows a series of entwined tales about family and friends, love and loneliness, and Santa Claus making a big mistake, not to mention an enormous number of turkeys!
The Songbirds’ Secret
France, Belgium
Directed by Antoine Lanciaux
Produced by Folimage, Les Armateurs
Nine-year-old Lucie joins her mother Caroline, who is leading an archaeological dig in the countryside. With the help of a very special pair of songbirds and her new friend Yann, Lucie is determined to delve into her family history. From inside the basement of a ruined castle to a camper van abandoned on the edge of the woods, this adventure will take them from unexpected surprises to fantastic discoveries!
WIP SERIES
The Doomies
France, U.S.A.
Directed by Andrès Fernandez
Produced by Xilam Animation Studio for The Walt Disney Company U.S.
When Bobby and Romy accidentally open a gateway to evil, they turn their French coastal town, Ouimper, into a hotspot for the supernatural. They battle both literal and inner demons and get roped into more than they expected when they meet the “Chosen One.”
The Upside Down River
France, Belgium, Portugal
Directed by Paul Leluc
Produced by Dandelooo, Vivi Film, Sparkle Animation
The story of two intersecting quests: Hannah’s to collect a drop of water from the Qjar River to save her bird and Tomek’s to satisfy his desire for adventure. These two quests follow each other, intertwine and finally complement each other.
WIP XR
Garden Alchemy
Denmark
Directed by Michelle Kranot, Uri Kranot
Produced by Khora Contemporary, The Animation Workshop – VIA University College, TinDrum production
An interactive audiovisual and tactile multi-user Experimentarium: a dynamic playground where music, hand-painted animation and immersive installations unite in harmony. The garden is a sensual space for contemplation, exploring human encounters as ecological acts through an immersive experience of the sublime. Knowledge acquired by one participant transfers to others and shared responsibility marks the consequences of our behavior.
Ito Meikyu
France, Luxembourg
Directed by Boris Labbé
Produced by Sacrebleu Productions, Les Films Fauves, Parangon
Interior and exterior, transparency and opacity, exhibitionism and voyeurism, lightness and heaviness, feminine and masculine: all these notions either oppose or unite in the infinite cycle of a labyrinth with no way out. Japanese art is seen as if through a kaleidoscope, trapped inside fractal architectures composed of walls, frames, posts and beams in geometric latticework.
Mobile Suit Gundam: Silver Phantom
Japan, France
Directed by Kenichi Suzuki
Produced by Bandai Namco Filmworks, Atlas V
Universal Century 0096. Three years after the last conflict between Neo Zeon and the Earth Federation, an independent mercenary organization is hired by the Earth Federation to track down a former Commander who joined Neo Zeon remnants “Sleeves.” An all-new and epic adventure into the heart of one of Japan’s most iconic anime universes.
Pagnol the Magician
France
Directed by Nicolas Cabos
Produced by What The Prod, Small Creative
An inventor and trailblazer, Marcel Pagnol was always at the forefront of film technology, pioneering experiments with colour, transition to sound and shooting on location. He is considered to be a founding father of post-war neo-realism. Infused with tenderness, authenticity and universal appeal, Pagnol’s films are extremely avant-garde.
Telling Our Story: Our Connection with the Land, Dreams and Skyworld
Canada
Directed by Karine Lanoie-Brien, Kim Picard, Élodie Pollet
Produced by Terre Innue
One day, Shimun, a curious young Innu, asks his mother Manian, “Mom, where do we come from?” And so begins a fascinating journey through the rich storytelling traditions of the First Peoples from the eastern part of Turtle Island, from the creation of Light to the present day.
See the full program schedule for Annecy Festival 2024 at annecyfestival.com.
