Dresden, DIAF: Ausstellungseröffnung ,,Bild für Bild – Phase für Phase. Animationsfilm aus Deutschland“

Foto: Gerhard Behrendt „konstruiert“ 1960 Unser Sandmännchen im Puppenstudio des Deutschen Fernsehfunks. ©Archiv Petzold

Das Deutsche Institut fur Animationsfilm (DIAF) widmet seine neue Dauerausstellung dem Trickfilm in Deutschland und seinen grundlegenden Techniken.

  • Über die Ausstellung

Animation scheint in der heutigen Zeit allgegenwärtig zu sein. Dies umso mehr, da moderne Computer passgenaue Bilder fur jeden Zweck und jede Gelegenheit liefern – in der Werbung, in der Unterhaltung, für Kinder. Die neue DIAF-Dauerausstellung führt zurück in eine Zeit, als es noch Hände waren, die Puppen bewegten, Silhouetten verschoben und unzählige Zeichen-folien auf den Tricktisch legten. Sie demonstriert anhand ausgewählter Exponate, wie Anima- tionsfilme in den klassischen Techniken Puppentrick, Legetrick, Silhouettentrick oder Zeichen- trick entstanden.

©DIAF/Jörg Herrmann/Elmar Niersmann

Die meisten Objekte stammen aus dem DEFA-Studio für Trickfilme Dresden, dessen künstleri- sches Erbe das DIAF bewahrt und vermittelt. Dabei treffen die Ausstellungsgäste ,,alte Be- kannte“ wieder wie Die Weihnachtsgans Auguste, Hirsch Heinrich oder das Teufelchen, das einst für Alarm im Kasperletheater sorgte. Zu den vorgestellten Archivschätzen des DIAF gehören aber auch Objekte anderer deutscher Studios – etwa originale Figuren aus den Sandmännchen-Sendungen von Ost und West. Ergänzt wird die kleine Schau durch die Präsentation von Geräten, die für gutes Bild und guten Ton im Animationsfilm sorgten.

  • Eröffnung

Die Ausstellung wird eröffnet am Freitag, dem 9. Mai 2025, 14 Uhr

im Museumskino der Technischen Sammlungen Dresden.

Foto: Herbert K. Schulz animiert in West-Berlin Das Sandmännchen (Mitte der 1970er Jahre). ©DIAF/Nachlass Küssner, Schulz

Begrüßung:

Yvonne Beyer, Stellvertretende Geschäftsführerin des DIAF

Grußworte:

eine Vertreterin/ein Vertreter des Sächsischen Ministeriums für Wissenschaft, Kultur und Tourismus

Annekatrin Klepsch, Bürgermeisterin und Beigeordnete für Kultur, Wissenschaft und Tourismus der Landeshauptstadt Dresden

Einführung in die Ausstellung:

Dr. Jörg Herrmann und Dr. Volker Petzold (Kuratoren) mit einem kommentierten Kurzfilmprogramm

Anschließend laden die beiden Kuratoren zu einem Ausstellungsrundgang ein.

  • Foto: Jörg Herrmann animiert seinen Film Der Fachmann (aus der Serie Filopat und Patafil, 1965) im DEFA-Studio für Trickfilme Dresden. ©DIAF

  • Ausstellungs-Infos Dauer: ab 10. Mai 2025

Öffnungszeiten: Di-Fr 9-17 Uhr, Sa, So, Feiertag 10-18 Uhr

Ort: Technische Sammlungen Dresden, Junghansstraße 1-3, 01277 Dresden, 2. OG

Eintritt: 5 Euro I 4 Euro (erm.) I Kinder unter 7 Jahren frei I freitags ab 12 Uhr freier Eintritt

  • Das DIAF

Das Archiv bewahrt seit 1993 regionales und nationales Filmerbe aus der Zeit zwischen 1930 und heute. Insbesondere mit seiner einzigartigen Sammlung zum DEFA-Studio für Trickfilme Dresden hat es internationale Bedeutung erlangt. Zu den Bestanden des DIAF gehören Film- kopien, Zeichentrick-Folien, Puppen, Flach- und Silhouettenfiguren, Entwürfe zu Figuren, Sze- nen und Hintergünden sowie eine Fotosammlung. Zentral fur die Arbeit des DIAF ist die enge Kooperation mit den Technischen Sammlungen Dresden, wo das Archiv seinen Sitz hat und Dauer- sowie Sonderausstellungen des Instituts präsentiert werden.

https://www.diaf.de/

Foto: Sabine Berger animiert 2005 im Sandmann Studio Babelsberg eine Folge der Serie Pondorondo für die Abendgrüße. (Sabine Berger, Ulf Klaudius; 2004–2007). ©Volker Petzold

2025 Mifa Pitches

Ranging from the most intimate story to the most exhilarating promise of entertainment, the ever-increasing diversity of voices and viewpoints explore the full range of emotions, genres and messages that animation delivers so successfully.

Our discerning and passionate selection reflects the full diversity of thriving international creation by bringing together projects for all audiences, from the youngest to the most enthusiastic. At a time when an increasing number of storytellers must bring their projects to life in exile or at the risk of transgression, this selection is as much a bearer of hope and joy as it is a vehicle for important urgent messages.

The Mifa received 917 projects and 92 nationalities are represented, which confirms for its 40th anniversary its determination to be an invaluable crossroads for all future successes in international animation and invites you to discover the 48 shortlisted projects.

Mifa Pitches: 7 must-attend sessions (by reservation only), including a new session dedicated to documentaries and an awards ceremony accessible to all professional attendees!

Series & TV Specials Pitches in partnership with Disney+
> Session 1: Tuesday 10th June, 9:00 am to 10:15 am
> Session 2: Tuesday 10th June, 10:45 am to midday

Feature Film Pitches
> Session 1: Wednesday 11th June, 9:00 am to 10:15 am
> Session 2: Wednesday 11th June, 10:45 am to midday

Immersive Experiences Pitches
> Wednesday 11th June, 5:45 pm to 7:00 pm

Short Film Pitches in partnership with the SACD
> Thursday 12th June, 10:30 am to 12:30 pm

Documentary Pitches (New!)
> Thursday 12th June, 1:30 pm to 2:45 pm

Mifa Pitches Awards Ceremony
> Thursday 12th June, 6:15 pm to 7:45 pm

Mifa Pitches programme

 

🗺️ The Partners Pitches complete this world tour through its 25 sessions and nearly 120 projects that will be presented this year by showcasing talents from the same territory which are supported by delegations, institutions or associations working to promote independent animation.

Alongside the teams coming to Annecy from India, Madagascar, the Andean countries (Bolivia, Colombia, Ecuador, Peru, Venezuela) and the Mediterranean countries (Greece, Egypt, Morocco, Serbia, Turkey) who took part in the 2024-2025 International Mifa Campus workshops, there will be those from Hungary, whose animation is in the spotlight in 2025, as well as from across the world including Kosovo, Italy, Black Sea countries (Ukraine, Bulgaria, Romania, Georgia), Japan, Hong Kong, Taiwan, Thailand, Malaysia, Philippines, Vietnam, Myanmar, South Korea, South Africa, Nigeria, Argentina, Bolivia, Brazil, and Chile… 🌏

You can also enjoy a first look at the Annecy Festival Residency’s 3 shortlisted feature film projects at their Partner Pitches on Tuesday 10th June at 2:00 pm.

Partners Pitches programme

Breaking Ewes: A new #ShaunTheSheepMovie is in production! 🎃

The Beast of Mossy Bottom sees Shaun turn mad scientist and a mysterious and very hairy beast let loose around Mossingham…

In partnership with Sky and STUDIOCANAL, and directed by Steve Cox and Matthew Walker, the beastly film is set to release in 2026.

Cannes / Berlin / Mossy Bottom, 07. Mai 2025

In partnership with Aardman, Sky and STUDIOCANAL, a brand-new movie – Shaun the Sheep: The Beast of Mossy Bottom – is officially in production and set to release in 2026.

Sky is confirmed as exclusive UK distributor, releasing in cinemas and on Sky Cinema, alongside STUDIOCANAL as global partner outside the UK.

Shaun the Sheep: The Beast of Mossy Bottom sees the residents of Mossy Bottom Farm looking forward to Halloween – until the clumsy Farmer trashes the Flock’s beloved pumpkin patch! When Shaun turns MAD SCIENTIST to fix the problem, things rapidly spiral out of control… With The Farmer missing and a wild beast roaming the woods of Mossingham, all the ingredients are in place for a monstrously fun family adventure.

The film is the third stop motion animated feature film from Aardman’s globally loved brand, following Shaun the Sheep Movie (2015) and A Shaun the Sheep Movie: Farmageddon (2019).

Sarah Cox, Chief Creative Director at Aardman said: “Shaun the Sheep is an iconic character, beloved by viewers of all ages around the world. In our new animated movie, we bring family-friendly thrills to this light-hearted, spooky Halloween adventure. Expect smashed pumpkins, wayward science, and a wild hairy beast on the loose in Mossy Bottom – all delivered with the Flock’s trademark joyous comedy.”

Andrew Orr, Executive Producer and Head of Originals for Sky Cinema said: “Shaun is a household name, so it’s huge news for us to be welcoming him and the flock to our 2026 Sky Original film slate. It’s an honour to work with Aardman at such an exciting time for the studio, with a film that we know fans of all ages will love. Expect laughs, spookiness and some brilliantly entertaining new characters.”

Anna Marsh CEO of STUDIOCANAL, Deputy CEO of CANAL+ & Chief Content Officer of CANAL+ and Ron Halpern EVP Global Production at STUDIOCANAL said: „We are so delighted to be in development and pre-production on Shaun the Sheep: The Beast of Mossy Bottom launching worldwide sales at Cannes. We have taken such pride in establishing Shaun the Sheep and the flock as movie stars and in this – our third feature film in the franchise – we have a tantalising seasonal hook in Halloween with thrills, spills, surprises, a touch of science and characters old and new. We cannot wait to reveal more of this highly anticipated family treat in the coming months. It’s a genuine pleasure to be back in partnership with Aardman for Shaun’s very welcome return and in SKY we have a UK partner who share our passion and ambition to bring Shaun the Sheep (and friends) to the biggest possible audience with his timeless appeal and in this, his home territory.“

This new feature film follows the recent landmark success of Wallace & Gromit: Vengeance Most Fowl, which broke viewing records in the Christmas period as it became the most-watched animated film broadcast on British television since modern viewing records began in 2002. The film was awarded two BAFTA®s, for Best Animation and Best Children’s and Family Film, as well as an Oscar® nomination for Best Animated Feature Film, bringing Aardman’s total number of BAFTA®s to 17, alongside its four Academy Awards®.

Shaun the Sheep: The Beast of Mossy Bottom is written by Mark Burton (Wallace & Gromit: Vengeance Most Fowl, Paddington in Peru, Shaun the Sheep Movie) and Giles Pilbrow (Horrible Histories, Shaun the Sheep: The Flight Before Christmas) and will be directed by Steve Cox (Shaun the Sheep: The Flight Before Christmas) and Matthew Walker (Lloyd of the Flies), with Richard Beek (Wallace & Gromit: Vengeance Most Fowl) as Producer, and Nick Park, Peter Lord, Carla Shelley and Sarah Cox as Studio Executive Producers.

Aardman und STUDIOCANAL freuen sich, den Drehstart des dritten Films über den Weltstar Shaun das Schaf anzukündigen. SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM (OT) ist der dritte Stop-Motion-Animationsfilm der weltweit beliebten Marke aus dem Hause Aardman und markiert nach dem weltweiten Erfolg von „Shaun das Schaf – Der Film“, „Shaun das Schaf – Der Film: Ufo-Alarm“ und „Early Man“ die vierte Zusammenarbeit mit STUDIOCANAL. STUDIOCANAL startet den weltweiten Verkauf jetzt auf dem Filmmarkt der Internationalen Filmfestspielen in Cannes.

Im neuen Kinofilm steht zur Freude für Shaun und die Bewohner der „Mossy Bottom“-Farm Halloween vor der Tür. Nur leider zerstört der tollpatschige Farmer kurz vor dem Fest den Kürbisgarten der Schafherde und es liegt nun an Shaun, dafür eine Lösung zu finden! Als Shaun daraufhin zum verrückten Wissenschaftler mutiert, der Farmer urplötzlich verschwunden ist und obendrein noch ein Ungeheuer in den Wäldern von Mossingham umherstreift, ist das Chaos perfekt und alle bereit für ein unheimlich aufregendes, neues Abenteuer!

Shaun das Schaf, gehört zu einer der erfolgreichsten Marken von Aardman. Die Serie wird seit Jahren weltweit in über 170 Ländern ausgestrahlt; in diesem Jahr wird die siebte Staffel gesendet. Der erste Spielfilm über Shaun das Schaf, wurde mehrfach preisgekrönt: unter anderem mit einen Academy Award für den besten animierten Spielfilm und mit einem BAFTA. Er gilt als einer der erfolgreichsten Animationsfilme des Jahres 2015. Der zweite Film „Shaun das Schaf – Der Film: Ufo-Alarm“ wurde ebenfalls für den Academy Award und den BAFTA nominiert. 2021 veröffentlichte Aardman mit „Shaun das Schaf – Die Weihnachtsmission“ ein halbstündiges Kurzfilm-Special, welches den International Emmy gewann.

Sarah Cox (Chief Creative Director bei Aardman) sagt: „Shaun das Schaf gehört zu einer der ikonischen Film-Figuren, die von Alt und Jung auf der ganzen Welt geliebt wird. In unserem neuen Animationsfilm bringen wir familienfreundliche Unterhaltung in einem nur leicht-gruseligen Halloween-Abenteuer auf die Kinoleinwand. Freut euch auf zerplatzte Kürbisse, ulkig-angehauchte Wissenschaft und ein wildes, haariges Ungeheuer, das in Mossy Bottom umherstreift – alles mit dem typisch-fröhlichen Humor der Schaf-Herde.“

Anna Marsh (CEO von STUDIOCANAL, Deputy CEO von CANAL+ und Chief Content Officer von CANAL+) und Ron Halpern (EVP Global Production bei STUDIOCANAL) ergänzen: „Wir freuen uns sehr über die Entstehung von SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM (OT) und dem damit verbundenen weltweiten Verkauf in Cannes. Wir sind überaus stolz darauf, Shaun das Schaf als Must-See-Film für Kinobesucher auf der ganzen Welt etabliert zu haben. In diesem Teil des Film-Franchise können wir mit Halloween als verlockendem thematischen Aufhänger, viel Spannung und Überraschungen, gewürzt mit einem Funken Wissenschaft, sowie alten und neuen Figuren aufwarten. Wir können es kaum erwarten, in den kommenden Monaten mehr über dieses heiß-erwartete Familienvergnügen zu enthüllen. Wieder mit Aardman zusammenzuarbeiten und für Shauns Comeback auf der großen Leinwand zu sorgen, ist für uns eine riesige Freude.“

Aardman, das mehrfach preisgekrönte unabhängige Animationsstudio, arbeitet mit STUDIOCANAL außerhalb von UK als Partner. SKY ist als britischer Vertriebspartner bestätigt und wird den Film in den Kinos und auf SKY Cinema veröffentlichen.

SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM (OT) folgt dem jüngsten Erfolg von Aardman mit „Wallace & Gromit: Vergeltung mit Flügeln“, das zur letzten Weihnachtszeit im britischen Fernsehen Zuschauerrekorde brach und zum meistgesehenen Animationsfilm seit Beginn der Zuschaueraufzeichnungen im Jahr 2002 in Großbritannien wurde. Der Film wurde mit zwei BAFTAs für die beste Animation und den besten Kinder- und Familienfilm ausgezeichnet sowie für einen Oscar als bester animierter Spielfilm nominiert. Damit besitzt Aardman insgesamt 17 BAFTAs und vier Academy Awards.

SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM (OT) wird von Mark Burton („Wallace & Gromit: Vergeltung mit Flügeln“, „Paddington in Peru“, „Shaun das Schaf – Der Film“) und Giles Pilbrow („Horrible Histories“, “Shaun das Schaf – Die Weihnachtsmission“) geschrieben. Regie werden Steve Cox („Shaun das Schaf – Die Weihnachtsmission“) und Matthew Walker („Lloyd of the Flies“) führen. Richard Beek („Wallace & Gromit: Vergeltung mit Flügeln“) fungiert als Produzent; Nick Park, Peter Lord, Carla Shelley und Sarah Cox als Studio Executive Producers.

 

Über STUDIOCANAL

STUDIOCANAL, das firmeneigene Studio von Canal+, ist eines der führenden Studios für Filme und Serien in Europa mit weltweiten Produktions- und Vertriebskanälen und tätig in neun europäischen Märkten – Benelux, Dänemark, Deutschland, Frankreich, Irland, Österreich, Polen, Spanien und UK – sowie in Australien und Neuseeland mit Büros in den USA und China.

STUDIOCANAL finanziert, produziert und vertreibt 80 Filme pro Jahr und besitzt mit über 9.400 Titeln aus über 60 Ländern und 100 Jahren Filmgeschichte einen der größten Filmkataloge Europas. In den letzten sieben Jahren hat das Unternehmen fast 25 Millionen Euro in die 4K-Restaurierung von etwa 1.000 Filmklassikern investiert.

STUDIOCANAL produziert zudem jedes Jahr über 15 Serien – einschließlich lokaler Produktionen sowie internationaler Koproduktionen – und vertreibt seine Produktionen und CANAL+ Originals weltweit (insgesamt 2.000 Stunden aktuelle Serien- und Kataloginhalte). Alle Projekte werden direkt von STUDIOCANAL oder über das weltweite Produktionsnetzwerk in Europa und den USA umgesetzt, unter anderem 2e Bureau, STUDIOCANAL Original, Flab, Kissman, Pernel und Upside in Frankreich; Birdie Pictures, Red Production Company, Urban Myth Films, Strong Film & Television und Sunny March TV in den UK; Bambú Producciones und Te Espero en Marte in Spanien; Lailaps Films und Studiocanal Series in Deutschland; Opus TV in Polen; Sam Productions in Dänemark; Dingie in Belgien und The Picture Company in den USA.

canalplusgroup.com/en/group/content-production-distribution-and-other

 

Über Aardman

Aardman is an employee-owned company, based in Bristol (UK) and co-founded in 1976 by Peter Lord and David Sproxton. An independent, multi-Academy Award and BAFTA award winning studio, it produces feature films, series, advertising and interactive entertainment. Current animated productions include series 7 of Shaun the Sheep and a third series of The Very Small Creatures

Its productions are global in appeal, novel, entertaining, brilliantly characterised and full of charm reflecting the unique talent, energy and personal commitment of the Aardman team. The studio’s work – which includes the creation of much-loved characters including Wallace & Gromit, Shaun the Sheep, Timmy Time and Morph – is often imitated, and yet the company continues to lead the field producing a rare brand of visually stunning, comedic content for cinema, broadcasters, digital platforms and live experiences around the world. Recent celebrated projects include the brand-new Wallace & Gromit film Vengeance Most Fowl which premiered on BBC One in the UK on Christmas Day 2024 and was released on Netflix globally on the 3rd of January 2025, the BAFTA nominated feature film Chicken Run: Dawn of the Nugget, Academy Award nominated short film Robin Robin, International Emmy award winning Shaun the Sheep: The Flight Before Christmas, BAFTA nominated preschool series The Very Small Creatures and the CGI comedy series for kids Lloyd of the Flies.

The studio runs the Aardman Academy, its world-class training facility delivering excellence in film and animation training and mentoring for students around the world. The Aardman Academy offers a variety of courses from intensive one-day workshops to its flagship seven-month In-Studio Stop Motion course. All courses are delivered by industry-leading tutors and mentors with decades of experience. The Aardman Academy is an integral part of the business, representing the studio’s inclusive ethos and commitment to nurturing the animation talent of the future.

In November 2018 Aardman became an Employee-Owned Organisation, to ensure the studio remains independent and to secure the creative legacy and culture of the company for many decades to come. www.aardman.com

A Tribute to Hungarian Animation

The Annecy International Animation Film Festival is thrilled to shine a light on the dazzling, culturally diverse feature films and shorts, as well as the vibrancy of the contemporary Hungarian production recently awarded at Annecy.

„Despite the political turmoil, the historic richness of Hungarian animation has never faltered. For more than twenty years, many student films have heralded the arrival of a real new wave, while the recent successes of films by Flóra Anna Buda (27), Balázs Turai (Amok), Nadja Andrasev (Symbiosis) and Áron Gauder (Four Souls of Coyote) have come and reinforced this emergence to demonstrate the cultural vibrancy and profound originality of this country’s production. The significant undertaking of digitising and restoring works that the Hungarian National Film Institute is doing will enable Annecy 2025 to present the great Hungarian animation classics in optimal conditions.“
Marcel Jean, Annecy Festival’s Artistic Director


At the Festival

THE JURIES

3 Hungarian jurors will be present in different categories:

György Ráduly: Official Feature Films Jury
Director of the Film Archive at the National Film Institute Hungary
Nadja Andrasev: Contrechamp Feature Films Jury
Film Director of some multi-award-winning films such as The Noise of Licking and Symbiosis, Production Manager, Executive Producer.
Réka Bucsi: Graduation Films & Off-Limits Short Films Jury
Film Director of some multi-award-winning films such as Symphonie n°42 , LOVE and Solar Walk.

As well as Máté Józsa, Emma Nyári and Máté Horesnyi for the Perspectives Jury.

THE PROGRAMMING

This spotlight on Hungarian animation will be the opportunity for festivalgoers to discover all the depth of this production through 9 programmes selected by Anna Ida Orosz, animation specialist at the Film Archive of the Hungarian National Film Institute. A collection of commercial films to award-winning films, shorts and feature films, from heritage films to graduation films from the prestigious MOME University, the whole history and diversity of Hungarian animation will grace the Annecy cinema theatre screens.

4 feature films:

Bubble Bath by György Kovásznai, 1980
Son of the White Mare by Marcell Jankovics, 1981
Heroic Times by József Gémes, 1982 – the first feature film to win a Cristal in 1985
The District! by Áron Gauder – Cristal for a Feature Film at Annecy in 2005

AT THE FESTIVAL, HUNGARY IS ALSO:

a free open-air screening on Le Pâquier: Four Souls of Coyote by Áron Gauder

  •  a Hungarian music videos programme in the category „The Video Clip Geniuses“
  •  a Midnight Special and a Making of devoted to Ruben Brandt, Collector by Milorad Krstić
  •  the Fairyheart WIP by Anita Doron
  •  a number of free exhibitions set up around the city for all to enjoy

AT THE Mifa

The Mifa will host a Hungarian pavilion in the new area located on the 1st floor of the Exhibition Area, where there is a new space especially for Mifa’s companies and delegations. The presence of a significant delegation demonstrates the dynamism of this industry within the international market.

There will be a host of events dedicated to Hungarian animation throughout the week, to showcase their talent and content:

INDUSTRY CONTENT

A Hungarian Pitch session in which 5 projects will be presented.
SPICING UP ANIMATION! Hot pitches of Hungarian Talents
An Industry Panel: Production power, Global vision: Futureproofing Hungarian Animation.

TALENT CONTENT

Director Áron Gauder, Jury Award at Annecy in 2023 for Four Souls of Coyote, will be Patron of Le Campus Mifa, this area that is entirely devoted to future animation professionals. For this occasion, he will be giving a Masterclass for all the students coming to Annecy from around the world.
A Talent Panel: Prestige vs Paycheck: Educating Animation’s Next Generation

CGMA | Character Design for Animation Class with Nate Wragg

https://www.cgmasteracademy.com/

As character designers, we are the casting directors of the animation industry. We’re the ones designing the characters seen in Feature animated films and animated television productions. While our job focuses on creating new and never before seen animated characters, we as designers also need to make sure that our designs are functional for animation. In this course for beginning character design, we will be exploring the various and important aspects that go into designing characters for animation.

Annecy 2025: The Walt Disney Company’s Greatest Talents on Show This Year!

For the first time ever, Walt Disney Studios, Pixar Animation Studios, Marvel Animation, Lucasfilm, Disney Television Animation and 20th Television Animation will come together at Annecy to celebrate the very best of creativity and innovation in animation.

The Festival is thrilled to welcome the talented creators from The Walt Disney Company’s iconic studios to present a preview of their upcoming productions.

This 2025 edition will also celebrate the 30th anniversary of Toy Story.

The Walt Disney Studios is preparing to make a big splash at Annecy International Film Festival this June, with exciting appearances, Q&As, content, panels and surprises from Walt Disney Animation Studios, Pixar Animation Studios, Marvel Animation, Lucasfilm, Disney Television Animation and 20th Television Animation.
This year, the Festival welcomes studio leaders Pete Docter (Pixar Animation Studios‘ Chief Creative Officer) and Jared Bush (Walt Disney Animation Studios‘ Chief Creative Officer, Zootopia 2 Director/Writer), special honorees including celebrated Disney Animation director Ron Clements (The Little Mermaid, Aladdin, The Princess and the Frog) and The Simpsons creator Matt Groening, and renowned filmmakers and creative executives behind highly anticipated titles including Disney Animation’s Zootopia 2, Pixar’s Elio, Marvel Animation’s Eyes of Wakanda and 20th Television Animation’s The Simpsons.
Festival attendees will be treated to behind-the-scenes details, insight and a pair of exclusive screenings, including a new short and a full episode, respectively, from Lucasfilm’s Star Wars: Visions and Star Wars: Tales of the Empire.

Making his first appearance at the Annecy Festival, Walt Disney Animation Studios‘ Chief Creative Officer & Oscar®-winning Director/Writer Jared Bush (Encanto, Zootopia, Moana) will unveil a sneak peek of the upcoming theatrical release Zootopia 2—a film he is directing (with Byron Howard) and writing—on Friday, June 13, at the Bonlieu Scène nationale. The sequel to the global phenomenon sees detectives Judy Hopps and Nick Wilde on the twisting trail of a mysterious reptile who turns the animal metropolis upside down.
The film is set for a theatrical release on November 26, 2025.

ZOOTOPIA 2 © 2025 Disney Enterprises, Inc. All Rights Reserved.

Adding to the excitement, legendary Disney Animation Director Ron Clements (The Little Mermaid, Aladdin, Hercules, Moana) will be honored with an induction into Annecy’s prestigious Walk of Fame.

Festival attendees will also get the chance to experience once again the original Zootopia with a special open-air screening on the evening of June 14, on Le Pâquier.

Pixar’s Chief Creative Officer Pete Docter (Monsters, Inc., Up, Inside Out, Soul) will host an exclusive presentation on Friday, June 13, at the Bonlieu Scène nationale, showcasing Pixar’s upcoming slate of animated titles.

Docter will be joined on stage by Elio Directors Madeline Sharafian (Burrow SparkShort) and Domee Shi (Bao short, Turning Red), and Producer Mary Alice Drumm (Coco). They will offer a sneak peek of footage from the 2025 Summer Pixar Animation Studio feature, which follows Elio, a young boy and space fanatic with an active imagination and a huge alien obsession. So, when he’s beamed up to the Communiverse, an interplanetary organization with representatives from galaxies far and wide, Elio’s all in for the epic undertaking. Mistakenly identified as Earth’s leader, Elio must form new bonds with eccentric alien lifeforms, navigate a crisis of intergalactic proportions, and somehow discover who and where he is truly meant to be.

ELIO © 2024 Disney/Pixar. All Rights Reserved.

Following Elio, Docter will continue to explore Pixar’s upcoming films, including first looks at the studio’s 2026 releases Hoppers, a heartwarming story about Mabel, an animal lover who seizes an opportunity to use new technology to ‚hop‘ human consciousness into life-like robotic animals; and Toy Story 5, in which the Toys encounter new challenges when technology enters the picture.

HOPPERS © 2024 Disney/Pixar. All Rights Reserved.

Speaking of Toy Story, 2025 is the classic’s 30th anniversary, and in celebration of this milestone, Docter will share little-before-seen footage of Pixar as a nascent studio working to create this film that would forever change animation. For nearly three decades, audiences have followed the adventures of Buzz Lightyear, Woody, and their fellow toy friends, and to help celebrate the 30th anniversary of Toy Story, the Annecy International Animation Festival is the place to be.

In recognition of his contributions to animation, Oscar®-winning Director Pete Docter will also be inducted into Annecy’s Walk of Fame.

During a Making-of Session on Monday, June 9, Marvel Animation will host an exclusive premiere screening of the first episode of the action-adventure series Eyes of Wakanda. The story follows the adventures of brave Wakandan warriors throughout history. In this globe-trotting adventure, the heroes must carry out dangerous missions to retrieve Vibranium artifacts from the enemies of Wakanda. They are the Hatut Zaraze and this is their story.

Eyes of Wakanda © 2024 MARVEL. All Rights Reserved.

Director and Executive Producer Todd Harris will be on hand for a conversation about the four-episode series event, which premieres August 6, 2025, exclusively on Disney+.

 

During a Studio Focus session on Tuesday, June 10, attendees will get an exclusive look at the upcoming anime-inspired Disney+ Original series Dragon Striker. Set in a world where sports and magic combine, the creative team at Chouette Studios, including Executive Producer and Co-Creator Sylvain Dos Santos, Director and Co-Creator Charles Lefebvre, Head Writer Paul McKeown, and Art Director Claire Sun, will take audiences through the creative development journey of the series, from the genesis of the project to the international music studio sessions and the artistic complexities involved in the production process, accompanied by stunning visuals.

Dragon Striker © Disney Television Animation

Additionally, animated buddy comedy, Kiff, will compete as an official TV Films selection at this year’s festival.

Visionary Matt Groening, creator and executive producer of The Simpsons, along with Executive Producer and Showrunner Matt Selman and consulting Producer/Animator David Silverman, will attend the Festival. Widely recognized as the world’s largest animation festival, Annecy will honor Groening’s extraordinary contributions to animation and pop culture this year and will provide fans and professionals with the rare opportunity to experience unique moments with Groening, Selman and Silverman, who all bring The Simpsons to life.

The Simpsons © Disney

The trio will participate in several key events during the Festival, including an exclusive Screening Event on June 10, where they will share insights into the creation of The Simpsons and its impact on the animation industry. The Screening Event will be followed by a Q&A session and a signing event, giving fans the chance to interact with these animation legends. That same day, an Honorary Cristal will be presented to Groening in recognition of his outstanding contribution to animation.

On June 11, Silverman will take part in a live drawing session at the Campus Mifa.

These special events dedicated to Groening, Selman and Silverman will provide attendees with a rare glimpse into their artistic vision and lasting influence on the world of animation.

Lucasfilm will present the world premiere of Black, a brand-new Star Wars: Visions short from David Production as part of the Short Films competition. Black is written and directed by legendary animator Shinya Ohira, who also served as character designer, animation director and a key animator. The short follows a psychedelic battle between past and present, light and dark, and life and death that plays out in the haunted psyche of an Imperial trooper who is on the cusp of defeat.
The third volume of Star Wars: Visions, comprising of nine shorts by nine visionary Japanese anime studios, will be streamed on Disney+ later this year.

Star Wars : Visions ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.

Lucasfilm will also present Devotion, an episode from the critically acclaimed Star Wars: Tales of the Empire, in the Official Selection TV Films Competition. Created by Supervising Director Dave Filoni (The Clone Wars, The Mandalorian) and directed by Saul Ruiz, this chapter follows former Jedi Barriss Offee, once an enemy of the Republic, who is inducted into the New Galactic Empire’s division of Inquisitors.
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See you from 8th to 14th June 2025!

Switzerland Showcases its Diversity at ITFS and APDs 2025

This year’s country focus at the Stuttgart International Festival of Animated Film (ITFS) 2025 and the Animation Production Days (APD) shines a spotlight on Switzerland. The collaboration puts the Swiss animation industry centre stage, tying together a range of programme elements to form a cohesive experience that foregrounds sustainability, innovation and linguistic diversity. “The country focus at ITFS allows Switzerland to deepen and cultivate the already excellent bilateral relations with Germany – and with Baden-Württemberg in particular – beyond the context of the festival,” says Daniel Häne of the Swiss Consulate General in Stuttgart.

A key role is played by the stop-motion film SAUVAGES and its director Claude Barras, who will offer insights into puppet animation and sustainable production approaches during his masterclass on Wednesday, 7 May. Complementing this will be an exhibition of puppets and sets from the film at the Festival Centre.

Another highlight is the In Persona with one of Switzerland’s most prominent animation filmmakers: Maja Gehrig will talk about how a lemon squeezer inspired her path into animation. In parallel with her teaching at Lucerne University of Applied Sciences and Arts – Design Film Art, she continuously challenges herself by working with a wide range of styles and techniques. Her latest film AVERAGE HAPPINESS received multiple awards and was honoured with the Swiss Film Award for Best Animation in 2020. The curated programme SWISS WOMEN IN ANIMATION (10 May, 17:30, Cinema) is dedicated exclusively to female animators, spotlighting a vital part of the Swiss animation industry.

Innovation takes centre stage in Making of Swiss Projects, where artists Michael Frei and Simon de Diesbach present their current work. Frei’s session “From Animated Short Film to Video Game” delves into the creative transformation from linear to interactive formats, while de Diesbach’s “From Animated Short Film to Immersive Project” explores how animated content can be translated into multisensory, spatial experiences. These talks underscore the experimental spirit of the industry and the ongoing evolution of approaches to animation.

Four Swiss projects are participating in this year’s APD:
Luise Hüsler and producer Frances McStea from Asako Film will present their animated documentary project PAPIERSCHLOSS. Clémence Pun (Hélium Films) and Claude Barras will introduce their children’s animated docu-series CACA BOUDIN, and producer Seraina Gabathuler (Roundabout Film) and director Celina Escher will present ARMADA LIBERTAD. In addition, producer Nicolas Burlet (Nadasdy Film) and filmmaker Elodie Dermange will showcase CORPS ACROBATES.

The close connection between the APD co-production market and the ITFS festival is of particular interest to Swiss participants, as it offers the opportunity to showcase the broad range of talent, expertise and cultural diversity found in the Swiss animation scene, as represented in this trailer.

Switzerland is a committed co-production partner and is thus strongly represented at both the APD and the festival. Also noteworthy is the school presentation Best of Animation Lucerne by HSLU: the Animation Department at Lucerne University of Applied Sciences and Arts enjoys a stellar global reputation for its high-quality artistic and technical output. A curated selection of the best films from the last ten years will be shown. HSLU is widely regarded as a talent hub – demonstrated by its collaboration with Warner TV (Animation Lucerne meets adult swim), which involves young creatives in commissioned projects.

International collaboration and economic perspectives
For Switzerland, collaboration with European partners is of vital importance. The Valais Film Commission will take part in a panel on international co-production opportunities.

The presentation of Studio 13 – a production studio founded during the Covid-19 pandemic – further highlights the strength and relevance of cooperation with partners in France, Germany and other European countries. Commenting on the Swiss country focus, Carole Bagnoud of the GSFA (Groupement Suisse du Film d’Animation) says:

“It allows us to strengthen our position as a small country producing high-quality films, both nationally and internationally. We look forward to presenting our work at ITFS, expanding our international networks and exploring new collaborations.”

Industry voices and regional stakeholders
Speaking on behalf of the promotion agency SWISS FILMS, Marcel Müller highlights the variety and talent represented by Swiss animation at ITFS:

“From seasoned masters to emerging voices, Switzerland presents a wide range of animation – from hand-drawn and 2D/3D computer animation to puppet animation and innovative game design.”

His colleague Sylvain Vaucher adds:
“A special focus lies on Swiss women animators, celebrated through the programme SWISS WOMEN IN ANIMATION, which brings the female perspective in animation into the spotlight.”

The GSFA also emphasises the opportunity the ITFS 2025 offers to demonstrate the quality and potential of Swiss animation both at home and abroad.

The Swiss Consulate General in Stuttgart, whose core mission includes maintaining and enhancing bilateral relations, is actively supporting the initiative. The appearance at ITFS 2025 is intended to consolidate existing networks and forge new connections. Alongside Presence Switzerland, regional players such as the Valais Film Commission, the Zurich Film Foundation, Lucerne University of Applied Sciences and Arts and Cinéforom are also involved.

Summary and outlook
The strong Swiss presence at ITFS 2025 clearly shows that themes such as sustainability, technological innovation and international collaboration are integral to the Swiss film industry. The showcased projects and initiatives provide insight into how animated films are conceived, produced and further developed in Switzerland – from the initial idea through production to international distribution.

https://www.swissfilms.ch/de/program/stuttgart-switzerland-country-in-focus/437

THE OIAF 2025 Poster Takes Flight

FOR IMMEDIATE RELEASE

Ottawa, 15 April 2025 – The Ottawa International Animation Festival (OIAF) reveals its 2025 poster designed by Academy Award-winning Canadian director, animator, and illustrator Torill Kove. Each year, a different animator is selected to design the OIAF poster, resulting in a unique piece of art that reflects that animator’s craft. This year’s poster takes inspiration from the Festival’s iconic image, the owl.
“Last spring, Chris asked me if I would create the OIAF poster and signal film for 2025. I thought, ‘Sure, that’s ages from now and will involve drawing at least one owl—and I love owls!’  I happily accepted the job and mentally filed it under ‘later’,“ says Kove. “Only a few months later, Chris messaged me to ask if I had made any progress on the poster and if I had anything to show. I didn’t, but I felt I should present something. So, I sketched a grumpy owl sitting in a tree. Why grumpy? I’m not sure—it’s a common expression for owls, though I understand it doesn’t necessarily reflect their actual mood.”

 

Torill Kove

Kove continues, “When I began working on the poster for real, I had grown fond of the grumpy owl. Since he looked a little lonely, I added some small stick figure owls that appear to be flying off the phenakistoscope. And orange is my favourite colour.”

Born in Norway and having lived most of her life in Montreal, Canada, Kove discovered a passion for animation that led to several Academy Award® nominations. Her first nomination was in 2000 for My Grandmother Ironed the King’s Shirts (1999), which was inspired by the story of her grandmother who had ironed the shirts of Norway’s King Haakon VII.

 

In 2007, Kove’s The Danish Poet (2006) would go on to be nominated and win the Animated Short Film category at the 79th Academy Awards. In addition to My Grandmother Ironed the King’s Shirts and The Danish Poet, Kove’s Me and My Moulton (2014) was nominated for the 87th Academy Awards. Her films have screened worldwide at several prestigious festivals, including the Annecy International Animation Film Festival, Toronto International Film Festival (TIFF), and OIAF.
Kove’s most recent animated short film, Maybe Elephants (2024), screened at OIAF 2024 in competition. The film was included in TIFF’s annual Canada’s Top Ten list for 2024.

“Torill’s artwork brings a breath of fresh air to our festival poster, with a simplicity and brightness that sets it apart from the more layered and abstract designs we’ve traditionally embraced,” says OIAF Artistic Director Chris Robinson. “After years of wild, wacky imagery, we wanted to try something more straightforward and direct, and Torill’s work captures that spirit perfectly. It’s a bold and beautiful new direction for OIAF, and we couldn’t be more excited to share it.”

Kove’s OIAF design will join the works of past artists Lei Lei (2024), Matthew Rankin (2023), Angela Stempel and Amanda Bonaiuto (2021), Gary Baseman (2007), Gary Panter (2005), and Dave Cooper (2001), among others.

About the Ottawa International Animation Festival
The Ottawa International Animation Festival (OIAF) is one of the world’s leading animation events, and it has provided screenings, exhibits, workshops, and entertainment since 1976. Attracting artists, producers, students and animation fans from around the globe, the OIAF brings together art and industry to experience world-class animated works. This year’s OIAF runs from September 24 to September 28. Visit the OIAF website for more information about this year’s festival.

Die INDAC-Kritik zu „Ein Minecraft Film“ von Johannes Wolters

Vorbemerkung:
Die Kritik basiert auf einem Special Screening der deutschen Version mit eingedeutschten Songs vergangenen Sonntag im Cinedom Köln. Es gab keine Pressevorführungen in Köln.
Ich persönlich habe Minecraft nie gespielt, Vorwissen über das Game und seine Fans sind bei mir nicht vorhanden. Mir war bewusst, dass es das Spiel gibt, die visuelle Gestaltung war mir einigermaßen bekannt.

Die Kritik:
Um es gleich rundheraus zu sagen: Was für eine riesige Enttäuschung. Da gibt es kein Schönreden, das ist ein rundherum langweiliger, unorigineller Film, der sich gekonnt zwischen allen Zielgruppen hindurchschlängelt und deshalb kaum Publikum ansprechen wird. Minecraft-Fans dürften lieber das Game selbst spielen wollen, Family Entertainment Zuschauer werden ob der Brutalität und der Humorlosigkeit abgeschreckt werden. Den einen wirds zu kindisch sein, den anderen schwebt eine Alterfreigabe ab 18 Jahren vor. Trotz fantastischer Animation und VFX Arbeit, trotz Jack Black, trotz oder wegen Jason Mamoa, der auch als Co-Produzent fungierte, das ist erneut ein herber Schlag für die deutschen Kinobetreiber, die dringend einen Blockbuster gebraucht hätten.

Etwa 15 Minuten in den Film hinein, schreit eine Filmfigur „Das macht doch alles keinen Sinn!“ Und man pflichtet der Figur aus ganzem Herzen zu, das bis dahin stattgefundene Worldbuilding ist so holzhammermäßig kompliziert gestaltet, dass sich eine emotionale Bindung zu den eingeführten Figuren nicht einstellt. Empathie für die Helden der Geschichte: Null! Und man ahnt bereits, das wird nicht mehr besser werden. Dieser Ahnung aber wird der Film dann im folgenden voll gerecht. Wer jetzt was warum in welcher Existenzebene zwischen Game und Realität herum macht, zu welchem Ziel auch immer, ist so hanebüchen schlicht, dass es einem das Gähnen ins Gesicht treibt. Die Story ansatzweise zu umreissen, würde eine selbige voraussetzen. Von dem vorhandenen Storybrei aber gibt es einerseits zu wenig andererseits zu viel: Da ist Steve (Jack Black), der irgendwie immer in Minen rumbuddeln wollte und schließlich gelangweilt vom öden realen Leben, endlich in eine solche vordringt, um dort dann ohne zu wissen, was er zu finden hofft, mehr als zufällig auf den Zugang zur Minecraft-Welt findet, die er nie gesucht hat. Und das mittels eines Zauberwürfels, der verblüffend dem Tesserakt aus den Avenger-Filmen ähnelt. Da ist, – offensichtlich Jahre später – völlig unabhängig dazu der einstmalige Gamer-King und jetzige Looser Garrett, der zufällig auf den Tesserakt, den Minecraft Würfel stösst, ohne zu ahnen, worum es sich handelt. Das sind die beiden Geschwister Natalie und Henry, die sich als Waisen in einer neuen Umgebung zurechtfinden müssen. Da ist die Schuldirektorin Marlene, die gerade geschieden wurde, da ist die Maklerin Dawn, die Natalie ein Haus vermietet und einen Auto-Zoo nebenher führt. Und da ist die Minecraft Welt, die Kreativität freisetzen soll, aber gleichzeitig von einer bösen Unterwelt bedroht wird. Und irgendwie kommen die einen jetzt in die Minecraft Welt, während die Direktorin sich mit einer in die Welt geratenen Minecraft Figur konfrontiert sieht. Der geneigte Filmfreund, die interessierte Cieastin erkennt rasch, es handelt sich um einen schalen Mix aus Jumanji und der Illumination-Verfilmung von Super Mario Brothers, die sich jedweden Klischees bedient, um von A nach B zu kommen. Und das in einem so unausgewogenen Stil und mit so schlichten Muscial Einlagen, – jawohl, es wird gesungen hier -, dass man sich fragt, ob es zuviel verlangt wäre, sich auf zwei oder drei Hauptpersonen und vielleicht einem statt dreier Drehbuchversionen zu einigen. Und da sind natürlich noch die Bewohner der Minecraftwelt, die größtenteils und unerklärtermaßen aus aggressiven Zombies und Schweinemonstern bestehen, es gibt explodierende Tierwesen, quadratische Bienen, Lamas und dergleichen, – das alles soll bezaubern und verwundern, der Film biedert sich da hemmungslos beim Publikum an, aber bleibt letztlich fremd und kalt. Emotionslos. Anders als bei Super Mario Bros, der vollanimiert war, werden hier reale Menschen in eine computeranimierte Umgebung versetzt, die menschliche und die Game-Realität finden merkwürdigerweise nicht zusammen, passen einfach nicht zusammen. Könnte man als Mensch in einer Minecraft-Welt sterben? Offensichtlich ja, aber weiß man es genau? Jumanji hatte da wenigstens feste Regeln, die die Welt erklärten. Die offensichtliche Realisierung vor LED-Wänden, einer virtuellen Produktion, ist zwar technisch gelungen, eine überzeugende Interaktion zwischen realen Menschen und animierten Minecraft-Figuren entsteht nicht. Und das hiesige Youtuber und Influenzer als deutsche Stimmen für die Synchronisation eingesetzt wurden, hilft dem Film nun wirklich nicht weiter. Es gibt eine Trickfigur, die stimmlich so jämmerlich agiert, dass man Mitleid bekommen könnte, würde man sich über diese Entscheidung der Besetzung nicht so schrecklich ärgern.
Löcher im Drehbuch, unerklärte Handlungsstränge, eine plötzlich verloren geglaubte Figur, die Deus ex Machina mäßig wieder auftaucht unhd auf die verduzte Frage seines Spielpartner „Wie kommst Du denn hier her?“ dreist antwortet „Frag nicht!“ – Da graust es dem Betrachter. Die obligatorische Post-Credit Szene droht ein Sequel an, dazu wird es hoffentlich nicht kommen.

Monika Tenhünfeld: I’m looking forward to new creative adventures!

My incredible journey at Mack Animation is coming to an end.
A huge thank you to the amazing team for all the inspiration, support, and unforgettable moments along the way. ✨
Now, I’m looking forward to new creative adventures!
From mid-April, I’ll be available for new projects and can’t wait to bring characters to life.
If you’re looking for a senior animator with a passion for storytelling, check out my latest reel.
Let’s connect and create something awesome together! 🎬
🔗 Here’s my latest reel:

Studio Fizbin: 🧑‍🎨HIRE OUR ARTISTS!

🧑‍🎨HIRE OUR ARTISTS!

As you all know, for very unfortunate reasons, our team of very talented game developers has to disband (https://www.studio-fizbin.com/fizbins-last-magic-trick) . We could not be prouder of what we were able to achieve, so we want to introduce you to all the talented developers that were part of our little magic show.

Today we’ll start with our art department. They shaped and materialized the unforgettable visuals of our games. Every incredible detail you see was produced by one of them. So if you’re looking for the best artistic talent our industry has to offer, look no further:

Frauke Furch – Art Direction – https://lnkd.in/e8BgcwXk
Skillset: 2D (Concepting, Illustration) and 3D (modeling, rigging, texturing for stylized art styles)
https://fraukefurch.artstation.com/

Maria Eom – 2D Concept Artist – https://lnkd.in/edtiTyfd
Skillset: Concepting for props, characters and environments
https://www.artstation.com/maeom

Nadja Clauberg – 2D Concept Artist | Game Artist | Illustrator – https://lnkd.in/etm9nE7A
Skillset: Stylized 2D asset production & concepting for characters and environment props, illustration
https://www.instagram.com/nadtsu?igsh=NWxyYm1laG9zbTMw&utm_source=qr

An Vo – 3D Generalist – https://lnkd.in/erF-P5BE
Skillset: Modeling, Texturing, Asset Implementation, Set Dressing
https://www.artstation.com/anv0

Anisha Fait – 3D and Texturing Artist – https://lnkd.in/eSxET94W
Skillset: 3D Modeling, Handpainted Texturing, PBR Texturing and Material Creation
https://anishafait.artstation.com/

Julian Oberbeck – Technical Artist – https://lnkd.in/eZqxkK8A
Skillset: Shaders, VFX, Render Pipeline, Tool Development / Asset Pipeline, Procedural Generation
https://www.artstation.com/fleity

Vladimir Casas Cruz – UI Artist – https://lnkd.in/e-MpPysk
Skillset: Iconography, UI elements, Design mockups, Unity UI implementation

Cartoon Saloon is looking for:

https://www.cartoonsaloon.ie/positions/

We are looking for artists to join the Scene Prep on our new feature film!
If you are passionate about animation, enthusiastic to work on a team and understand Scene Prep and all it entails – the importance of attention to detail, organising assets, layering files and understanding camera moves; please take the time to look through this vacancy and apply!

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