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Home Blog Page 119

Disney Shareholders Hold Company Line in Board Election

The Walt Disney Company announced that, based on the tabulation of its proxy solicitor, it appears that Disney’s full slate of 12 directors has been elected by a substantial margin over the nominees of Trian and Blackwells at Disney’s 2024 Annual Meeting of Shareholders on April 3. Final voting tallies are subject to certification by the Company’s independent inspector of elections, and preliminary and final results will be included in the Company’s reports to be filed with the Securities and Exchange Commission in the coming days.

“We are immensely grateful to our shareholders for their investment in Disney and their belief in its future, particularly during this period of great change in the broader entertainment industry,” said Mark Parker, Chairman of the Board, The Walt Disney Company. “We are fortunate to have a highly qualified Board of Directors who possess a profound commitment to the enduring strength of this company and an enormous amount of experience and expertise, including succession planning. I’m thankful for Bob and his exceptional management team, as well as Disney’s employees and Cast Members around the world, for continuing to deliver for consumers and shareholders throughout this distracting proxy battle.”

Shareholders voted to elect all 12 nominees recommended by the Disney Board:

  • Mary T. Barra
  • Safra A. Catz
  • Amy L. Chang
  • D. Jeremy Darroch
  • Carolyn N. Everson
  • Michael B.G. Froman
  • James P. Gorman
  • Robert A. Iger (Bob Iger)
  • Maria Elena Lagomasino
  • Calvin R. McDonald
  • Mark G. Parker
  • Derica W. Rice

“I want to thank our shareholders for their trust and confidence in our Board and management. With the distracting proxy contest now behind us, we’re eager to focus 100% of our attention on our most important priorities: growth and value creation for our shareholders and creative excellence for our consumers,” said Bob Iger, CEO The Walt Disney Company.

 

‘Demon Slayer’ Hashira Training Art Sets Exclusive Crunchyroll Debut for May (NEW TRAILER)

Fresh from the Demon Slayer: Kimetsu no Yaiba -To the Hashira Training- World Tour and theatrical experience, Aniplex of America and Crunchyroll will be exclusively premiering Demon Slayer: Kimetsu no Yaiba Hashira Training Arc starting Sunday, May 12. As part of its previously announced Spring 2024 season lineup, Crunchyroll will simulcast new episodes every week everywhere the service is available, and exclusively in North America, South America and Europe.

Demon Slayer: Kimetsu no Yaiba is based on the manga series by Koyoharu Gotoge published under Shueisha’s Jump Comics, which consists of 23 volumes and over 150 million copies in publication. The story begins when Tanjiro Kamado, a boy whose family is killed by a demon, joins the Demon Slayer Corps to turn his younger sister Nezuko back into a human after she is transformed into a demon. The series animation production is by ufotable.

Demon Slayer: Kimetsu no Yaiba first premiered in April 2019 with the Tanjiro Kamado, Unwavering Resolve Arc, followed by the feature film Mugen Train in October 2020, and the TV series Mugen Train Arc and Entertainment District Arc from 2021 through 2022. In 2023, the Swordsmith Village Arc debuted on Crunchyroll, shortly after the Demon Slayer: Kimetsu no Yaiba -To the Swordsmith Village- World Tour theatrical release.

Arc Synopsis:  To the Hashira Training… The members of the Demon Slayer Corps and their highest-ranking swordsmen, the Hashira. In preparation for the forthcoming final battle against Muzan Kibutsuji, the Hashira Training commences. While each carry faith and determination within their hearts, Tanjiro and the Hashira enter a new story.

Japanese voice cast and characters:

  • Natsuki Hanae as Tanjiro Kamado
  • Akari Kito as Nezuko Kamado
  • Hiro Shimono as Zenitsu Agatsuma
  • Yoshitsugu Matsuoka as Inosuke Hashibira
  • Takahiro Sakurai as Giyu Tomioka
  • Katsuyuki Konishi as Tengen Uzui
  • Kengo Kawanishi as Muichiro Tokito
  • Saori Hayami as Shinobu Kocho
  • Kana Hanazawa as Mitsuri Kanroji
  • Kenichi Suzumura as Obanai Iguro
  • Tomokazu Seki as Sanemi Shinazugawa
  • Tomokazu Sugita as Gyomei Himejima

Dubs for English, Spanish, Brazilian Portuguese, French, German, Italian,  Hindi, Tamil and Telugu will be produced and released in the future.

The first episode of Demon Slayer: Kimetsu no Yaiba Hashira Training Arc premiered globally in movie theaters along with the finale of the Swordsmith Village Arc this past February, allowing fans to get a sneak peek at the next chapter with a special big screen experience. Additionally, fans in select cities including New York, Berlin, Mexico City, São Paulo, Paris and London flocked to the Demon Slayer: Kimetsu no Yaiba -To the Hashira Training- World Tour, which brought talent from Japan — including Natsuki Hanae, the Japanese voice of main character Tanjiro Kamado, Aniplex producer Yuma Takahashi and more — together for these special one-night-only advanced screenings.

Demon Slayer: Kimetsu no Yaiba, along with the Entertainment District Arc (2021), the Swordsmith Village Arc (2023) and box-office smash Demon Slayer -Kimetsu no Yaiba- The Movie: Mugen Train (2020), are currently available to stream on Crunchyroll.

Fest Anča Unveils 2024 Official Selection

Slovakia’s  17th Fest Anča International Animation Festival official selection has been announced, showcasing standout animation from the past two years. In total, 1,340 films from 71 countries across the globe were submitted, of which the pre-selection committee has chosen 206 for festivalgoers to enjoy in Žilina from June 25 to 30.

The Anča Award winners of the Best Animated Short and Best Slovak Animated Short categories are eligible to compete in the 96th Academy Awards for animated short. Fest Anča was named an Oscar qualifying festival last year.

The year’s main international short film competition features a range of animation techniques and progressive approaches to animated narrative. Contemporary issues are also reflected in these films, which delve into war, immigration and the disintegration of relationships. The selection is also healthily balanced with humor, kindness and absurdity.

“Pushing the usual boundaries is demonstrated by the films’ longer runtimes. This trend makes us happy since it’s a sign of an ongoing emancipation of animated films,” said Jakub Spevák, program director and pre- selection committee member.

Pre-selection committee member Peter Gašparík noted, “For the first time, many submitted films are AI-produced. Yet few deployed AI well, while the rest fell short of official selection.”

The main competition includes 32 films, a third of which are student-made and will compete for the Anča Award in Best Student Animated Short. “Students have the courage to introduce atypical topics and experiment with means of expression. The gap between professional- and student-made films is getting less discernible year-by-year,” said pre-selection committee members Peter Gašparík and Ema Nemčovičová.

Student films include the American work fur by Zhen Li (CalArts), which explores how mutual fondness can turn sour and go completely pear-shaped. Carcinization by Denis Souza (Brazil) is an atypical work about the desire to become a crab. Fest Anča visitors may already know Polish student Barbara Rupik’s new film Such Miracles Do Happen, about saints’ statues that come alive, which has also been selected for the prestigious festivals in Annecy and Clermont-Ferrand.

Among the films created by professional animators around the world, Fest Anča visitors can look forward to seasoned Hungarian animator Flóra Anna Buda’s 27, which has already made an impression at Cannes, Annecy, Toronto and Sundance. The selection also features the documentary film Maurice’s Bar by Tom Prezman and Tzor Edery that depicts a queer hang out. The main competition also includes I Smell a Mouse by Finnish filmmaker Iiti Yli-Harja, whose Blush – An Extraordinary Voyage screened at Fest Anča 2023. This category also includes The Rubbings of Trajectories by Cheng-Hsu Chung, a jury member at last year’s festival.

Slovak animation comprises a major part of Fest Anča’s selection. Hello Summer by successful filmmaker duo Veronika Zacharová and Martin Smatana will be screened in both the main and Slovak competitions. The Slovak section also features Wereawolf by animation student Niko Mlynarčík, which depicts online manipulation and harassment.

“It’s great to see Slovak animation growing every year — as proven by our student films in the Slovak competition,” said Spevák.

Turning to the music video selection, program assistant Ema
Nemčovičová commented, “We were surprised by the wide range of animated music genres this year. Fest Anča’s visitors can watch a fusion of visuals with post-punk, dream-pop and even a jazz rendition of a medieval song.”

Visitors can see Raman Djafari’s newest works, which accompany DJ Piper’s “RIP TXL” and Ashnikko’s “Worms.” He is joined by renowned Chilean duo Joaquín Cociña and Cristóbal León’s stop-motion music video that uses life-size puppets to visualize PJ Harvey’s “I Inside the Old I Dying.” The directors were jury members at Fest Anča 2021, and their films are regularly awarded at film festivals around the world.

Slovak music videos in competition include Prezident Lourajder’s “Lunapark” with visuals by Matej Mihályi, Cassels’ “About Not Writing” by Michal Mikuš and Ankramu’s “Majstre” by Marián Vredík.

Fest Anča 2024 also has a varied film program for children and families. Original works speak to kids about the world in a way that stimulates their imagination and ability to think, and these films are an especially big draw for the event because they are rarely screened at regular cinemas.

Spin Cycle from the competition section portrays the importance of new friendships, while the Croatian film Butterfly features environmental issues and Battery Mommy depicts a winter afternoon’s kindergarten hero.

Slovakia is represented in the children’s competition by FAMU student Eva Matejovičová’s Writing Home, about a little bug who loses its home because of human negligence, but with the help of kind people finds its home again.

Non-competition sections feature the newest films by well-known animation names such as Sasha Svirsky, Luca Tóth and Max Hattler. Fest Anča wil also be screening the distinctive Electra by Oscar-nominated artist Daria Kashcheeva. Programs spotlight animated documentaries, contemporary abstract and non-narrative animation, and even extremely short films, as well as the ever-popular Anča in Mordor and Anča in Wonderland with their atypical cinematic collections.

Visit festanca.sk/en for more information.

Paramount+ Debuts Original ‘Dora’ Music Video Ahead of Friday Premiere

Paramount+ bids bienvenidos today to Dora, the CG-animated return of preschool animation icon Dora the Explorer, with an original song and music video welcoming young viewers into the toon tyke’s family. The new Nickelodeon show premieres Friday, April 12 on the streamer.

Synopsis: Dora follows everyone’s favorite bilingual explorer, Dora (Diana Zermeño) and her best monkey friend, Boots (Asher Colton Spence), as they embark on epic adventures in a fantastical rainforest. Guided by trustworthy Map (Anairis Quiñones), Dora and her friends must work together to overcome many obstacles while being challenged by the sneakiest fox, Swiper (Marc Weiner).

Kathleen Herles, the original voice of Dora the Explorer, returns to the new series as Mami, and Mike Smith Rivera joins the cast as Papi. Previously announced cast members also include Maria Canals-Barrera as Abuela; Danny Burstein as Grumpy Old Troll and The Fiesta Trio’s Frog and Marmoset; Katarina Sky as Backpack; Donovan Monzon-Sanders as Tico; Tandi Fomukong as Isa; Quintún Muñoz as Benny; Chris Gifford as Big Red Chicken; and Quiñones also voicing The Fiesta Trio’s Armadillo. Featured guest stars this season are Taboo as Quickatoo and Kate del Castillo as Ale the Alebrije.

Dora is produced by Nickelodeon Animation in Burbank, and created by Chris Gifford and Valerie Walsh Valdes. Gifford, Walsh Valdes and Rich Magallanes serve as executive producers. Henry Lenardin-Madden serves as co-executive producer, and Alejandro Bien-Willner serves as story editor. Marielle Kaar is Nickelodeon’s Executive in Charge of Production for the series. Dora the Explorer was created by Gifford, Walsh Valdes and Eric Weiner.

Check out the new music video below, watch the previously released trailer here and don’t miss our feature story in the May ’24 issue of Animation Magazine (No. 340) to learn all about the new Dora

CinemaCon: Viva Pictures Intros Kiddo Kompanion Pass for ‘Dragonkeeper’ Release (NEW TRAILER)

Viva Pictures announced at CinemaCon its new Kiddo Kompanion Pass, a family-friendly offer to exhibitors for all its films. Understanding the financial challenges many families face, this initiative is aimed at helping families enjoy the theatrical film experience without the burden of high entertainment costs: When a Viva Pictures ticket is purchased for one child, exhibitors can provide a second child’s ticket at no additional cost.

“We believe that our stories should be shared and enjoyed together, and with our Kiddo Kompanion Pass offer we are making it easier for families to create lasting memories at the movie theater,” said Victor Elizalde, CEO of Viva Pictures. “With Kiddo Kompanion Pass, we are also fostering long-term partnerships with exhibitors, while ensuring that our enchanting films reach as many viewers as possible.”

Viva Pictures will begin the Kiddo Kompanion Pass offer with its next theatrical release, Dragonkeeper, in theaters May 3, and with 200% Wolf, in theaters August 23.

The studio also debuted a new trailer for Dragonkeeper, the Spanish-Chinese CG adaptation of Carole Wilkinson’s fantasy novel. Directed by Salvador Simó (Buñuel in the Labyrinth of the Turtles) with visual development by Klaus director Sergio Pablos and featuring the voices of Bill Nighy (Love Actually), Bill Bailey (Hot Fuzz), Anthony Howell (Alien: Isolation) and newcomer Mayalinee Griffiths, the film follows Ping, a young orphan who must venture across ancient China to help the last surviving dragons from extinction.

CinemaCon: Crunchyroll Slates New ‘Haikyu!!,’ ‘Blue Lock’ & ‘Overlord’ Movies for 2024

At its first-ever CinemaCon presentation, anime hub Crunchyroll today announced the acquisition and select theatrical release dates for three new anime features, as well as debuting for attendees a sneak peek at the first 10 minutes of its upcoming release Spy X Family Code: White (in North American theaters April 19).

 

Haikyu!! The Dumpster BattleIn celebration of the 10th anniversary of the popular series, the highly anticipated volleyball film Haikyu!! The Dumpster Battle will continue the contest between rivals Karasuno and Nekoma on the big screen. Crunchyroll and Sony Pictures Entertainment will release the film in North American theaters on May 31 in both Japanese with English subtitles as well as dubbed in English.

Additional international theatrical release dates for the film include:

  • May 30: Australia, New Zealand, Denmark, Italy, Switzerland (Italian-speaking), Netherlands, Argentina, Brazil, Central America (Costa Rica, El Salvador, Guatemala, Honduras, Nicaragua, Panama), Chile, Colombia, Ecuador, Mexico, Peru
  • May 31: Canada, Finland, Ireland, Norway, Poland, Spain, Sweden, United Kingdom, United States
  • June 7: Turkey
  • June 12: Belgium, France, Luxembourg, Switzerland (French-speaking)
  • June 25: Austria, Germany
  • June 27: Switzerland (German-speaking)

As of March 29, Haikyu!! The Dumpster Battle has earned over 8.5 billion yen (~$57 million USD) since opening in Japan on February 16, making it the highest-grossing movie of the Japanese box office calendar year to date.

Synopsis: Shoyo Hinata joins Karasuno High’s volleyball club to be like his idol, a former Karasuno player known as the “Little Giant.” But, Hinata soon finds that he must team up with his middle school nemesis, Tobio Kageyama. Their clashing styles turn into a surprising weapon, but can they beat their rival Nekoma High in the highly anticipated “Dumpster Battle,” the long awaited ultimate showdown between two opposing underdog teams?

Directed and screenplay by Susumu Mitsunaka. Original story by Haruichi Furudate. Produced by Production I.G.

Based on the manga by Haruichi Furudate, he first four seasons of the Haikyu!! series produced by Toho Animation are currently available to stream on Crunchyroll.

 

Blue Lock the Movie -Episode Nagi-
Blue Lock the Movie -Episode Nagi-

Crunchyroll has also acquired the North American and select international theatrical rights in EMEA and Latin America for the highly anticipated soccer anime film Blue Lock the Movie -Episode Nagi-. Crunchyroll and Sony Pictures Entertainment will bring the sports thriller to theaters in North America beginning on June 28 in both Japanese with English subtitles as well as dubbed in English. (International dates to be announced.)

The first film from the hit anime sports franchise, based on the award-winning manga by Kouta Sannomiya, Episode Nagi serves as a side story to the series, following high schooler Nagi Seishiro as he discovers his hidden talent for soccer. The first season of Blue Lock is now available to stream on Crunchyroll.

Synopsis: “That’s a hassle.” That was second-year high schooler Nagi Seishiro’s favorite phrase as he lived his dull life. Until Mikage Reo, a classmate who dreamed of winning the World Cup, discovered Nagi’s hidden skill, inspiring him to play soccer and share his outstanding talent. One day, he receives an invitation to the mysterious BLUE LOCK Project. What awaits him there is an encounter with the finest strikers assembled from across the country. Nagi’s dream of becoming the best, alongside Reo, will take this prodigy to a world he’s never known.

A prodigy can only be shaped when someone discovers him …. now, striker Nagi Seishiro’s incredible talent and persona will set the soccer world ablaze.

Directed by Shunsuke Ishikawa. Original story by Muneyuki Kaneshiro. Character design by Yusuke Nomura. Composition and Screenplay by Taku Kishimoto. Music by Jun Murayama. Produced by Eightbit.

 

Overlord: The Sacred Kingdom

And coming soon, the anime destination snagged NorAm and select international rights in EMEA and LatAm for the video game fantasy film Overlord: The Sacred Kingdom. Crunchyroll and Sony Pictures Entertainment will distribute the isekai adventure in theaters across select territories (dates to be announced).

The first theatrical film from the Overlord franchise based on the light novels by Kugane Maruyama is a continuation of the series, picking up after the conclusion of Season 4. The story follows Momonga, a regular salary man who finds himself transported into his favorite video game. All four seasons of OVERLORD are now available to stream on Crunchyroll.

Synopsis: After 12 years of playing his favorite MMORPG game, Momonga logs in for the last time only to find himself transported into its world playing it indefinitely. Throughout his adventures, his avatar ascends to the title of Sorcerer King Ains Ooal Gown.

Once prosperous but now on the brink of ruin, The Sacred Kingdom enjoyed years of peace after construction of an enormous wall protecting them from neighboring invasions. But, one day this comes to an end when the Demon Emperor Jaldabaoth arrives with an army of villainous demi-humans.

Fearing invasion of their own lands, the neighboring territory of the Slane Theocracy is forced to beg their enemies at the Sorcerer Kingdom for help. Heeding the call, Momonga, now known as the Sorcerer King Ains Ooal Gown, rallies the Sorcerer Kingdom and its undead army to join the fight alongside the Sacred Kingdom and the Slane Theocracy in hopes to defeat the Demon Emperor.

Directed by Naoyuki Ito. Original story by Kugane Maruyama. Character design and chief animation direction by Satoshi Tasaki. Illustrated by so-bin. Music by Shuji Katayama (Team-MAX). Produced by MADHOUSE.

Industry Bids Adieu to MIPTV with MIP London Set for 2025

Cannes’s global content market MIPTV is coming to an end after 60 years, with organizer RX France revealing the final edition is also the event’s smallest in years. MIPTV 2024 brought in about 3,500 attendees (including 1,100 buyers), down from 5,000-plus last year and a steep drop from the bustling 10,000 or so person crowds of the 2000s.

Dwindling numbers were reflected in the much reduced usage of space in the Palais des Festivals. The downstairs “bunker” dealmaking area is closed, with business — brisk though it is — largely conducted on one floor of the Riviera section.

While the fall MIPCOM market still attracts big numbers to Cannes and remains a key focus of RX’s event calendar, the firm is preparing to launch the new MIP London confab next year. RX Entertainment Division Director Lucy Smith revealed that the new event will forego exhibition activities in favor of screenings,  meetings and networking. Screenings will be held in two rooms at the IET London in Savoy Place, with 450- and 180-person capacities.

[Source: Deadline]

Mathieu Kassovitz Directing Hybrid Movie Based on French WWII Graphic Novel

Three-time César-winning actor-filmmaker Mathieu Kassovitz (La Haine, Gothika, Babylon A.D.) is returning to the director’s chair for the first time in over a decade to tackle his ‘English-language passion project,’ a live-action/animation feature titled The Big War. Like the recently announced David Lynch project Snootworld, Kassovitz told Deadline he has been working on this concept for 20 years with The Nightmare Before Christmas and Corpse Bride screenwriter Caroline Thompson.

The Big War will be an adaptation of the French graphic novel  La bête est morte! (The Beast Is Dead), which was begun in secret by artist Edmond-François Calvo — “The French Walt Disney” — in the midst of World War II, and published in two parts following the liberation of France. The work retells the evens of WWII with each nationality/identity represented by different animals. The story centers on two rabbits who set out to rescue their family, taken by the Nazi wolves.

The project has attached animation producer Aton Soumache (The Little Prince, Miraculous: Ladybug & Cat Noir – The Movie), President & Co-Founder, ON Entertainment. The estimated $30 million project will be produced with live-action locations and set pieces, with animal characters inserted later. The director says they are currently in the design phase and seeking financiers, with a goal of beginning production by the end of 2024. Kassovitz will have a role in the movie, and is in discussions with some yet-to-named American and British actors.

[Sources: Deadline, Stuart Ng Books, Encyclopedia Universalis]

‘Wish’ Becomes Third Most-Streamed Premiere in Disney+ History

Disney revealed today that its original animated musical feature Wish has racked up 13.2 million views in its first five days streaming globally on Disney+ (premiered April 3). Counting views by total stream time divided by runtime, the centennial pic celebrating the studio’s storytelling legacy is the third biggest premiere on the platform, behind the Oscar-winning Encanto (released to the streamer on Dec. 24, 2021) and $1.4 billion box-office hit Frozen II (March 14, 2020).

It seems that the somewhat lackluster theatrical release is now attracting a bigger audience at home; despite earning a Golden Globe nomination, Wish fell short of box-office hopes despite grossing $253 million worldwide after its Nov. 22, 2023 opening.

Directed by Chris Buck (Frozen films) and Fawn Veerasunthorn (head of story, Raya and the Last Dragon) from a screenplay by Disney Animation’s CCO Jennifer Lee and Allison Moore, Wish is set in the magical kingdom of Rosas. When an idealistic teen girl named Asha (voiced by Oscar winner Ariana DeBose) makes a wish so powerful it summons a magical being called Star, she must face off with the king of her land (Chris Pine), who jealously guards the power of wish-granting.

The voice cast also features Alan Tudyk, Angelique Cabral, Victor Garber, Natasha Rothwell, Jennifer Kumiyama, Evan Peters, Harvey Guillén, Ramy Youssef, Niko Vargas, Jon Rudnitsky and Della Saba.

Pixar Releases RenderMan 26 with XPU Updates & Machine Learning Denoising

Pixar Animation Studios announces the release of RenderMan version 26, a significant advancement in the Pixar’s core rendering technology. This latest version introduces groundbreaking features that advance rendering capabilities and streamline workflows for artists.

“We’re thrilled to introduce the latest version of RenderMan XPU! It’s going to revolutionize the experience of final frame rendering for many new use cases, allowing artists to bring their visions to life like never before,” said Oliver Meiseberg, RenderMan Vice President, Pixar Animation Studios.

Key highlights of RenderMan 26 include:

  • XPU Advancements: RenderMan XPU receives substantial updates, enhancing light support, camera controls and adaptive sampling capabilities, resulting in accelerated rendering and improved interactivity.
  • Interactive Denoising: The introduction of an interactive version of the machine learning denoiser revolutionizes rendering workflows, reducing iteration times and maintaining image quality during interactive sessions.

“Since the Interactive Denoiser has been rolled out in production, most of our lighters have turned it on by default, and some say they’ll never go back again and they can’t live without this,” said Renee Tam, Global Technology Supervisor at Pixar.

Technical Director James Lojo agreed, “The Interactive Denoiser has been a lifesaver! I literally can’t not use it. I love that it helps me get a good judgment for the typical super noisy sources like emission shaders.”

Additionally, core improvements such as faster instancing and texture read parallelism ensure optimal performance across various rendering scenarios, and RenderMan’s Stylized Looks toolset receives significant improvements, delivering enhanced creative control and a more intuitive user experience. Pixar’s commitment to innovation and excellence in rendering technology, empowering artists and studios to bring their creative visions to life with unparalleled efficiency and quality.

RenderMan version 26 is available for download today at renderman.pixar.com for customers on maintenance. Individual licenses of RenderMan are available for $595, and $250 for yearly maintenance. Quantity discounts are available. Researchers, individual artists, and students creating non-commercial projects will have access to Non-Commercial RenderMan at the same time, now with the addition of XPU.

Visit renderman.pixar.com for more information, and contact rendermansales@pixar.com for a quote. 

The Pitch Docs Hopes to Open New Doors for Animation Industry Creatives

The Pitch Docs

Animation fans know Farnaz Esnaashari as the creator and executive producer of Shimmer and Shine, Nick Jr.’s popular show about twin genies that ran from 2015 to 2020. Now, the talented artist has launched a new venture, The Pitch Docs, an online platform that aims to connect creatives with industry professionals, promote collaborations and open new doors for the next generation of artists and storytellers.

“I spent 17 years at Nickelodeon,” says Esnaashari during a recent Zoom interview. “I began my career there as an intern and moved up the ranks to production assistant to supervisor to show creator. After Shimmer and Shine ended, I began developing one of the big legacy brands with Disney, and I also had an overall deal at Nickelodeon, and I was writing my first children’s book with Simon & Schuster. I had also turned in a pitch for a Barbie project, so things looked OK. But that was January of 2020, and then COVID happened. The studios were trying to figure out how to adapt their models to the new period, and they didn’t want to take risks, so I found myself without work for the first time since I was 13! But then I found work as a development executive for Pure Imagination and got hired at BRON Digital as senior development of creative overseeing three different project.”

Esnaashari’s wide range of experiences in the animation industry prepared her for the ups and downs of the business and made her realize how important it is to stay connected with her peers and colleagues. “I was going to launch a consulting service for myself, but then I realized that the problem is much bigger than me, so we need a wider solution,” she notes. “I started playing with this idea of creating a hug for high-level industry professionals who want to give back to the community. I wanted our hub to provide up-and-coming artists and creatives to have access to top-level professional. Our hub would connect these two different world and keep people active and able to exchange ideas and opportunities during a challenging period in our industry. I guess you can look at it as a visual rolodex for studies as well.”

The Pitch Docs users can scroll through the site’s database of industry professionals — including producers, musicians, artists, editors, showrunners and show creators — to track the right fit for their projects. Additional services such as editing, storyboarding, design work and scoring are also available.

Although Esnaashari’s venture only launched in February, she has already attracted a wide range of industry professionals from different areas of animation (visual development, character design, talent management, brand marketing, voice acting, music, etc.) to offer their services on The Pitch Docs. “We have about 35 people available on the site right now, but we’ve only relied on word of mouth,” she says. “Whether you want someone to help you with story editing or take a pass on your ideas, or do some actual design work, we hope you can make the right connection on our site.”

Esnaashari hopes that in the future, the site will be able to offer creatives a place where they can develop and pitch their show ideas. “It’s so important for first-time show creators to be paired with the right people,” she says. “We will also provide live Q&As for those who have questions about how to proceed with their ideas or take their pitch to the studios. I completely believe that if your heart is in the right place and your intentions are good, then people will help you figure things out, and let you know that you’re not alone in the animation community. We’re working towards breaking down some of the barriers and roadblocks that so many of us face on our journeys of creativity.”

To learn more, visit thepitchdocs.com.

 

 

AfroAnimation Summit Honors Kemp Powers, Camille Eden, Bruce Smith & Jermaine Turner

AfroAnimation, the largest annual event featuring diverse and BIPOC animators and creators, announced today the honorees for the first AfroAnimation Summit Icon Awards, along with the films selected as finalists for the FWRD Awards. The fourth annual AfroAnimation Summit will be held April 10-12 in Burbank, the Media Capital of the World. AfroAnimation brings together the largest coalition of industry leaders, pioneers and animation studio executives, artists and creative talent to drive increased representation and inclusion throughout the entertainment industry.

The inaugural Icon Awards luncheon will be held on April 10.

Icon Award honoree Kemp Powers, director of Spider-Man: Across the Spider-Verse, will headline the summit’s kick-off panel April 10, ‘Developing Original Stories and the Art of Diverse Storytelling.’ Pioneer Award honoree Camille Eden, Vice President of Recruitment, Talent Development & Outreach at Nickelodeon, will speak on the April 11 panel, ‘Unveiling the Untold Narratives of Women in Entertainment: Triumphs, Challenges, & Journeys.’

In addition, Bruce Smith, creator and executive producer of Disney+’s The Proud Family: Louder and Prouder, and Jermaine Turner, Director of Adult Genre Animation for Netflix, will be honored as industry pioneers at the AfroAnimation Icon Awards. Smith has been part of the animation industry for over three decades. Most recently, he served as one of three directors of the Academy Award-winning short Hair Love. At Netflix, Turner has helped create some of the most popular adult animated genre shows, such as Cyberpunk: Edgerunners, Arcane and Blue Eye Samurai.

In addition to those featuring Powers and Eden, AforAnimation 4.0’s must-see panetls include:

  • Star Wars and Beyond: Career, Culture and Content
  • Examining One’s Self: A Look Behind the Scenes at Pixar’s Latest Sparkshort
  • The Spider Within: A Spider-Verse Story with director Jarelle Dampier, writer Khaila Amazan and producer/program creator David Schulenburg
  • How I Got My Show Made: The Underdog Story of Invincible Fight Girl; with creator Juston Gordon-Montgomery
  • Our Career Path to Marvel’s Moon Girl and Devil Dinosaur with executive producer Rodney Clouden, writer LaGina Hill and voice actor Gary Anthony Williams
  • Products of Animation: A Paramount Global Creative Group Discussion on Consumer Products
  • Drawing Ourselves: Being Black in Animation with Floyd Norman, Carole Holiday, Marlon West, Bruce Smith, Ron Husband and Searit Huluf

The AfroAnimation Summit is hosted by the Los Angeles Marriott Burbank Airport Hotel. The FRWD Awards Dinner on April 11 celebrates the art of diverse storytelling in the film, new media, and streaming platform industries. Award semifinalists include:

  • Best Series: Castevania, The Proud Family: Louder and Prouder, Young Love, Scavengers Reign
  • Best Animation Feature: Spider-Man: Across the Spider-Verse, Elemental, The Boy and the Heron, Craig Before the Creek
  • Best International Series: Kizazi Moto: Generation Fire, Iwájú, Kiya & the Kimoja Heroes, Supa Team 4
  • Best Animation Director: Kemp Powers (Spider-Man: Across the Spider-Verse)

“I created the AfroAnimation Summit to spur an increase in diversity — of talent and in the stories we tell — throughout the creative industry,” said Keith White, Founder & CEO, AfroAnimation. “I am proud of the impact we’ve had over the past three years, bringing together more than 6,000 creative professionals who have incredibly diverse stories to share that appeal to wide audiences. I look forward to celebrating that success with industry representatives and summit attendees at this year’s FWRD Awards Dinner and Icon and Pioneer Awards luncheon.”

AfroAniimation Summit 4.0

This year’s AfroAnimation Summit includes a focus on gender representation. Representatives from gaming, sync licensing (music), scriptwriting, voice over and starting an animation production will also be represented at the summit for the first time. A new Exposition Hall features immersive experiences, and the Intern Hall provides a welcoming place for entry-level attendees to network and connect with opportunities in the industry. Hundreds of high school and college students are expected to attend, and recruiters representing major Hollywood animation studios will provide networking and interview opportunities for all attendees. The summit will also welcome Alain Bidard, an award-winning Martinique director known for blending Afro Caribbean and global cultural elements in animation, further highlighting the event’s commitment toward showcasing diverse storytelling.

Each year, the AfroAnimation summit attracts artists, creators, animators, producers, storytellers, character designers, writers, voice over talent, VFX artists and film/TV executives from around the world. This year’s summit sponsors include: DreamWorks Animation, Sony Pictures Animation, Warner Bros. Animation, Netflix Animation, Nickelodeon, Cartoon Network Studios, Walt Disney Animation Studios, Marvel Animation, Lucasfilm Ltd., Pixar, Industrial Light & Magic, Walt Disney Imagineering, 20 th Television Animation, Disney Branded Television, Toon Boom Animation Inc., Laika Studios, FlareNova Studios, Visit Burbank, ASIFA-Hollywood and Xencelabs.

“We are also excited to launch an innovative mobile app platform that enables creatives to swipe right to discover career and freelance jobs in the entertainment industry at this year’s event,” added White.

More information and event details are available at afroanimation.com.

Cartoon Network Launches Digital Experience for Its Iconic “Artist Stairwell”

Welcome to the stairwell that tells the story of a studio… one step and sketch at a time…

Cartoon Network Studios (CNS) today announced the launch of a dedicated website that will serve as the virtual home for its iconic Artist Stairwell space. For the first time ever, fans will be able to explore this piece of animation history by visiting CNStudiosStairwell.com.

“Cartoon Network Studios will always be a home for creators,” said Sam Register, President, Warner Bros. Animation, Cartoon Network Studios & Hanna-Barbera Studios Europe. “As we continue to further that legacy in our new buildings, it’s a joy to pay tribute to this beloved space for the animation community to enjoy and continue to be inspired.”

From 2000 to 2023, the CNS building in Downtown Burbank stood as a vibrant symbol of creativity and a nurturing ground for original animation and artists of diverse talents and backgrounds. It was not merely a workplace, but a canvas for imagination and innovation.

Among the many areas of the building that symbolized this spirit was the, now iconic, CNS Artist Stairwell. This space was a living testament to the studio’s collective creativity, where anyone from artists to accountants and everyone in between, left their unique mark on the walls in the form of drawings, doodles and sketches.

In an effort led by CNS executive producer Calvin Wong (We Baby Bears), every inch of the stairwell was meticulously scanned and photographed, resulting in the creation of an interactive website (CNStudiosStairwell.com) which presents a ‘flythrough’ 3D tour of the space, allowing animation fans to explore every piece of art. CNS artists, past and present, who contributed to the stairwell will also be able to contribute to the site by submitting annotations to their work via a special link on the page.

CNS Artist Stairwell full

Established in 2000, Cartoon Network Studios is a global animation and interactive studio. CNS is home to hundreds of visual artists who have been a part of the studio’s many critically acclaimed and groundbreaking animated series, including Adventure Time, Craig of the Creek, Steven Universe, Regular Show, The Powerpuff Girls and We Bare Bears. CNS has also produced notable Adult Swim hits such as Genndy Tartakovky’s Primal, Samurai Jack and Harvey Birdman, Attorney at Law.

CNS has been honored with multiple awards and accolades, including Emmy®, Peabody, GLAAD and Annie Awards. Internationally, the studio also garnered the BAFTA Children’s Award (U.K.), Cartoons on the Bay’s Pulcinella Award (Italy) and Annecy Festival’s Cristal Award (France).

 

‘Kung Fu Panda 4’ Skidooshes to Digital Release This Week

Kung Fu Panda 4

While the beloved martial arts mammal continues to kick box office butt — hanging on in the Top 5 domestically acter five weeks, with a NorAm total of $166 million ($410.4M worldwide) — Universal Pictures Home Entertainment is launching Kung Fu Panda 4 on digital on Tuesday, April 9. Fans can purchase the movie from participating digital retailers nationwide, including Apple, Fandango at Home (formerly Vudu), Comcast Xfinity, Cox and Verizon.

The release will include a brand-new, original animated short from DreamWorks Animation: Dueling Dumplings. in this mini adventure, Po (voiced by Emmy winner and Golden Globe nominee Jack Black) and Zhen (Awkwafina) battle over whose dumplings reign supreme.

Kung Fu Panda 4 Synopsis: After learning he must find a new hero to take over as Dragon Warrior so that he may fulfill his destiny as the next spiritual leader of the Valley of Peace, Po (Black) decides to take one last adventurous mission. He teams up with a quick-witted thief named Zhen (Awkwafina), a corsac fox, to discover the truth about recent sightings of villains he’s defeated in the past. In a journey that puts both to the test, it will take a wicked, powerful sorceress, The Chameleon, voiced by Oscar winner Viola Davis, to bring them together and remind Po that heroes can be found in the most unexpected places.

The voice cast also features two-time Oscar winner Dustin Hoffman as Shifu, multi-Emmy winner Bryan Cranston as Li, full franchise star James Hong as Mr. Ping, Emmy nominee Ian McShane as Tai Lung and Oscar winner Ke Huy Quan as Han.

Kung Fu Panda 4 is directed and executive produced by Mike Mitchell (The LEGO Movie 2, Trolls, Shrek Forever After), co-directed by Stephanie Ma Stine (She-Ra and the Princesses of Power) from a script by Jonathan Aibel & Glenn Berger (Kung Fu Panda films, TrollsTrolls World Tour) and Darren Lemke (Turbo, Shrek Forever After). Rebecca Huntley,  p.g.a., is the film’s producer. Co-producers are Steven Schweickart, Aibel and Berger. Music composed by Hans Zimmer and Steve Mazzaro.

dreamworks.com/movies/kung-fu-panda-4

David Lynch Seeks Backers for ‘Snootworld’ Animated Project

Four-time Oscar-nominated writer-director David Lynch (Mulholland Drive, Blue Velvet, The Elephant Man Twin Peaks) is seeking financing for an animated fantasy-adventure project titled Snootworld. The celebrated filmmaker has been developing the script for two decades with writer Caroline Thompson (The Nightmare Before Christmas, The Addams Family [1991], Welcome to Marwen).

Lynch and Thompson revealed more details of the plot to Deadline, as well as sharing that Netflix has just passed on the pitch. This Lynchian fairytale centers on the Snoots — tiny creatures who undergo a ritual transition when they turn eight, at which time they become even tinier for a year and must be sent away for their own protection. This micro-rumspringa goes awry for the hero of the story, who disappears into the carpet and enters a “crazy, magnificent world,” according to Thompson.

“I don’t know when I started thinking about Snoots, but I’d do these drawings of Snoots and then a story started to emerge. I got together with Caroline and we worked on a script. Just recently I thought someone might be interested in getting behind this so I presented it to Netflix in the last few months but they rejected it,” Lynch explained to the trade. “Snootworld is kind of an old-fashioned story and animation today is more about surface jokes. Old-fashioned fairy tales are considered groaners: apparently people don’t want to see them. It’s a different world now and it’s easier to say no than to say yes.”

[Source: Deadline]

‘Jujutsu Kaisen’ Named World’s Most Popular Anime

Guinness World Records announced April 4 that Jujutsu Kaisen is officially the world’s most in-demand anime series. According to the announcement, global demand for the supernatural series is rated at 71.2 times greater than the average TV show.

The determination was made using data-science by Parrot Analytics, which calculates “demand” based not only on video content consumption (streams/downloads) but also social media engagements (hashtags/likes/shares) and online research activity.

Based on the manga created by Gege Akutami and produced by studio MAPPA, Jujutsu Kaisen follows high school student Yuji Itadori on his journey as part of the Jujutsu Sorcerers to defeat the Curse possessing his body, called Sukuna. New episodes from the show’s second season rolled out steadily from July 2023 to the end of the year, with peak demand (128x the average show) hitting on December 29.

Jujutsu Kaisen is the first title to surpass the action-horror phenom Attack on Titan since 2020. It was in a close run-off with the long established hit One Piece, which enjoyed a boost from the recent Netflix live-action series adaptation, bringing in new viewers and spurring re-watch marathons for longtime fans. Attack on Titan wrapped its final season in November.

GWR also points out that Jujutsu Kaisen enjoys a bigger audience share of Gen Z viewers (ages 13-22) than its close competitors with 71.3% of viewers, compared to One Piece (56.7%) and Attack on Titan (64.4%).

Henson Shop Creative Supervisor David Barrington-Holt Dies at 78

David Barrington Holt, a former creative supervisor at the Henson Creature Shop, who worked on features such as George Of The Jungle, Indian In The Cupboard, Dr. Dolittle, Stuart Little and Cats and Dogs and the TV series Dinosaurs, died on March 13 of complications  from cancer.

Born in England in June of 1945, Barrington-Holt worked in numerous careers including restoration of English country homes, making of museum-quality models and miniatures, production management, fashion, and psychotherapy.

He received his B.A. in industrial design with honors from London’s University of the Arts in 1963.  Over the next 20 years he built a reputation as a designer, photographer, modelmaker, and restorer of mechanical antiquities. In 1984 he founded Hero Models, which supplied models, miniatures, and hero effects for the TV, film, and commercial industries; one such project including re-creating the fly-past of the spacecraft Giotto and Halley’s comet for the film Children of the Dust.

Barrington-Holt owned and operated his own clothing boutique in London during the ’60s; at the time he worked alongside noted fashionista Thea Porter. In the late ‘’80s, he returned to school to become certified as a psychological therapist and ran a successful practice until he was scouted by the Jim Henson Company.

In 1986, he began a 23-year collaboration with the Jim Henson Company, first in the U.K. as deputy supervisor of the Creature Shop before moving up to creative supervisor. In 1993, he moved to Los Angeles to establish and operate the Henson company’s first west-coast Creature Shop to produce Disney’s television show Dinosaurs. He had creative oversight of shop operations including puppetry; animatronics; effects for feature films, television, and commercials; performers; administrative matters; and R&D, with developments in the field of real-time 3D CG animation.

He was instrumental in development of the ground-breaking Henson Performance Control System, which allowed a single performer to operate complex, computer-driven puppets in the same manner as though they were physical. With Henson, his credits included George of the Jungle, The Phantom, Indian In The Cupboard, Dr. Dolittle, Jack Frost, Scooby-Doo, Snow Dogs, Stuart Little Ii, Cats And Dogs, and The Country Bears. He also worked as a mechanical designer on The Bear (1988),  The StoryTeller (1989), The Jim Henson Hour (1990) and The Witches (1990).

After leaving the Henson Company, Barrington-Holt spent three years consulting for Walt Disney Imagineering R&D, where he assisted in the technical transfer of innovative animatronic characters into public exhibits. He also worked and consulted for the Chiodo Brothers, Insudung Media, 11:11 Creative and Reisman Models.

Barrington-Holt David was deeply conversant in computer technology and its applications for design, creation and production, but he was, at heart, a maker and a true Renaissance man. He is survived by his wife and son.

David Harrington-Bolt works on a model at 11:11 Creative.

 

‘Vivi and the Planet Protectors,’ a Journey of Purpose, Creativity and Collaboration

By Tina Newman and Lindsay Watson

In a world where environmental issues are increasingly urgent, the decision to focus on veganism wasn’t just a creative choice; it was a conscious commitment to promoting sustainability, raising awareness and inspiring positive change. The story of our show, Vivi and the Planet Protectors, began as a collective vision between us (creator Tina Newman and executive producer Lindsay Watson) evolving into a powerful movement with dedicated team.

The Importance of a Plant-Based Narrative

Our journey into the realm of Vivi and the Planet Protectors stems from a deep-rooted understanding of the critical need for environmental consciousness. As advocates for a sustainable future, we recognized the potential of storytelling to transcend boundaries and communicate complex issues in a compelling, child-friendly and accessible manner. The central theme of “Vivi and the Planet Protectors” revolves around environmental stewardship, vegan philosophy and the collective responsibility we all share in safeguarding our planet.

At its core Vivi and the Planet Protectors is a call to action, an invitation to re-evaluate our choices and to embrace a more compassionate and eco-friendly lifestyle.

Through the narrative of Vivi, a charismatic female protagonist leading a group of eco-warriors, we aim to instill a sense of empathy and responsibility in our audience, illustrating that even small actions can contribute to significant positive change. This narrative entertains and educates, creating a platform for meaningful discussions around sustainability and conservation.

“Vivi and the Planet Protectors” seeks to promote veganism and sustainability around the world.

The Creative Process

Recruiting the creatives for Vivi and the Planet Protectors has been a collaborative endeavor that combined artistic talent with a commitment to authenticity. The characters were designed to resonate with diverse audiences, emphasizing inclusivity and relatability. Vivi, with her infectious enthusiasm and unwavering dedication, serves as a role model embodying the spirit of positive change.

The stories will be based on the best-selling Vivi the Supervegan book series which has been selling at a rate of 50% year-on-year growth since 2019 and is now in over  15 countries.

The storylines are carefully woven to balance comedy with education, ensuring that the message remains impactful without being preachy. Each character’s journey reflects real-world environmental challenges, making the storylines both relevant and thought-provoking. The vibrant visuals and engaging narratives are tailored to captivate audiences of all ages, inviting them to become part of the global Planet Protectors community.

Terrific Trio: Vivi and her friends set out to protect animals and make the world a better place for all living things.

Some Challenges Along the Way

While our commitment to the show has been resolute, the journey has not been without its challenges. Adapting a creative project of this magnitude to various cultural contexts and overcoming potential misconceptions about veganism were initial hurdles. Navigating the complexities of environmental issues in a way that resonates with a broad audience requires striking the right balance between delivering a powerful message alongside a heartfelt chuckle. Additionally, securing funding to bring the vision to life requires persistent efforts and effective communication of our project’s potential impact. However, we have now raised $1 million in principle and are continuing discussions with influential business leaders, funders and investors to raise the other $1 million to cover the production of 52 x 3’ episodes, the beta app, marketing and distribution activities. Our EIS eligibility, global animation investment rebates and overall tax efficiency of IP is a plus.

Lessons Learned
Our journey with Vivi and the Planet Protectors has been quite a rich tapestry of learning experiences. One of the key lessons has been the importance of collaboration. The support and involvement of vegan global celebrities have added significant momentum to our cause, elevating the project’s reach and impact.

Flexibility has also been paramount. Adapting to feedback and remaining open to evolving narratives has allowed us to refine our approach continually. This flexibility, combined with a commitment to staying true to our ethics and principles, has been instrumental in overcoming obstacles and turning challenges into opportunities for growth.

Vivi and the Planet Protectors is more than just a creative endeavor for us; It’s a movement aimed at fostering a global community dedicated to positive environmental change. The journey thus far has reinforced our belief in the power of storytelling to inspire change and has positioned the project as a beacon of hope in the quest for a more sustainable future. As we continue to unfold this narrative, we remain committed to the principles that sparked the project: a love for the planet, the beings we share it with, a passion for storytelling and a belief in the transformative power of collective action.

To learn more, visit vivithesupervegan.co.uk

From left, “Vivi and the Planet Protectors” creator/author Tina Newman and show exec producer Lindsay Watson. All illustrations by Luke Ives.

Puppet Literary Series ‘Yeti Tales’ Launches Season 6

MIAM! distribution announced the launch of Season 6 of the puppet-animated series Yeti Tales on France Télévisions on April 12. This new season has also been picked up by RTS, BEIN (MENA) and TV5 Unis. The preschool title is commissioned by France Télévisions and aired by 40-plus broadcasters around the world, including Tiny Pop (U.K.), Youku and CCTV (China) and Once Niños (Mexico).

The series centers on Nina and Leon, two little mice living inside a local bookshop with Yetili, the huge plush mascot of the bookshop. When the shop closes, Yetili comes to life to join his friends and read them a new book. Together, the trio have fun reading and commenting on stories.

Books are highlighted as the central theme in Yeti Tales, but the show also prioritizes modeling dialog between the reader and the listeners with the aim of sparking discussions around books through recurring characters kids can identify with.

“For this new season, as for previous ones, we’ve organized readings in classrooms,” noted Séverine Lebrun, creator of the show and producer at Darjeeling. “We wanted to closely mirror the reactions and emotions of children to transcribe them into Nina and Leon’s dialogs. This is why these episodes are so authentic and relatable.”

This new season of Yeti Tales gives children ages 3-5 the chance to discover many well-known titles from international children’s literature, such as Stephanie Blake’s I Don’t Want to Go to the Pool, Joe Todd-Stanton’s The Comet or Gabrielle Vincent’s Ernest & Celestine.

Consistently ranked among the Top 5 animated programs across all French channels since its debut in 2016 (source: Glance / Mediametrie) and airing for more than five years on Tiny Pop, Yeti Tales now comprises 280 x 8’ episodes, along with a mini-series of 40 short episodes (2’30″), as well as two special episodes (26 minutes each). Forty episodes are now accessible with sign language translation on France Télévisions’ kids channel and streaming platform, providing a more enriching and accessible viewing experience for deaf and hard of hearing children.

“We are delighted to bring the latest adventures of Yeti Tales to our audience,” said Mélanie Errea, Head of Sales and Acquisitions at MIAM! distribution. “The series not only sparks a love for reading among children but also demonstrates that reading can be a fun and enjoyable activity shared with the whole family. With its engaging storytelling and relatable characters, the series creates a special rendezvous, bringing families together in the joy of reading books. Yeti Tales rights are now available for licensing and distribution, offering broadcasters and streaming platforms the opportunity to offer to their audience a full package.”

Created and written by Séverine Lebrun, Yeti Tales is an animated puppets and live-action production directed by Emeric Montagnese, Antoine Colomb, Martin Day, Anne Pejean, Dalila Hamdad and Noam Roubah.

miam-animation.com

Annecy Festival Unveils TV & Commissioned Film Selections

Following the international Short Films lineup (67 films across the Official competition, Off-Limits, Perspectives and Young Audience categories) and the Graduation Films (40 films), the Annecy International Animation Film Festival has unveiled the selections for its TV and Commissioned Films competitions. All these short format gems will be screening at the French festival, taking place June 9-15.

The TV Films competing features 24 titles, including 19 series and five specials from 12 countries. Eight are directed or co-directed by women.

This year, there will be 36 Commissioned Films from 15 nations competing: Seven educational films, 20 commercials and nine music videos. Fifteen are directed or co-directed by women and two by non-binary people.

Among the countries represented in these two categories, productions from Nigeria, Chile, Egypt and Mexico will compete alongside the United Kingdom, France and the U.S.A.

“The 2024 TV selection sees the return of some famous characters: Peanuts as well as Beavis and Butt-Head. France, United Kingdom and the U.S.A. dominate the selection, but all continents are represented,” notes the festival’s Artistic Director, Marcel Jean. “For the very first time, a Nigerian series will be competing, which clearly demonstrates how animation is developing on the African continent, three years after our tribute to African animation.”

See all the official selections announced so far at annecyfestival.com.

TV Films in Competition

  • Alice’s Diary (Portugal)
  • Bad Bad Belgium “Uranium” (Belgium)
  • A Bear Named Wojtek (U.K./Poland)
  • Behind the Beats “Salsa Meets R&B: A Story of Latin Pop (Featuring Kali Uchis)”
  • Blue Eye Samurai “The Tale of the Ronin and the Bride” (U.S./France)
  • Clawlolo “Gramophone” (Cyprus)
  • The Ekspats “We’re Going to Africa” (Nigeria)
  • A Guitar in the Sea (France)
  • I Adopted! “Pedro and Kuky” (Argentina)
  • In The Know “Yogurt Week” (U.S.)
  • Little Casbah “The Slap” (France/Belgium)
  • Lola and the Noise Piano (France/Poland/Switzerland)
  • Mike Judge’s Beavis & Butt-head “Sleepover” (U.S.)
  • The Mouse Mansion, Sam & Julia “The Story with No End” (France)
  • My Life in Versailles “The Phantom of Vesailles” (France)
  • Pip and Posy Let’s Learn “All About Butterflies”
  • Pokémon Concierge “What’s on Your Mind” (Japan)
  • A Slippery Look “The Eyes the Voice” (France)
  • Smiling Friends “A Allen Adventure” (U.S./Australia)
  • Snoopy Presents: Welcome Home, Franklin (U.S.)
  • Tabby McTat (U.K.)
  • The Very Small Creatures “The Farm” (U.K.)
  • Wow Lisa “Conchitas” (Chile)
  • Zom 100: Bucket List of the Dead “Akira of the Dead” (Japan)