#Annecy Film Festival 2023 | Explore Tumblr Posts and Blogs

disneytva · 1 year

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Disney Television Animation and Disney Europe Animation Unveil Annecy Film Festival Slate.

This June 11-17, Annecy, France, will become the most magical place on earth when the animation industry descends on the beautiful lakeside town for the Annecy International Animation Festival. Disney Television Animation and Disney Europe Animation has announced it will be on hand to share in the magic

Disney Television Animation will be presenting their first slate of content for their 40th Anniversary and 100th Series debut on 2024 as well their 2025 lineup.

Tuesday, June 13 “Learning the Ropes: A Guide to Creating the Next Big Disney Hit" features series creators discussing what goes into the making of a global hit animated series for kids and families. The panel will feature a first look to the upcoming Disney Television Animation comedy series “PRIMOS” created by Natasha Kline slated to debut on Fall 2023 on Disney Channel.

Panelists:

Dan Povenmire and Jeff "Swampy" Marsh (”Phineas And Ferb”,”Milo Murphy’s Law”,”Hamster and Gretel”, Disney Junior Educational Resource Group ”Hey A.J!”)

Lucy Heavens and Nic Smal – (”Kiff”,”Untitled Alien Suburbs Series”)

Sarah Mullervy (Disney Junior Educational Resource Group & Sony Pictures Animation Television “SuperKitties”)

Natasha Kline (”Primos”,“Big City Greens” Franchise)

Tuesday, June 13 – Disney Television Animation & Disney Europe Animation’s Press Conference Showcase.

The panel will feature the unveil of Disney Television Animation’s 100th Series slated to debut on 2024 as part of the studio’s celebration of their 40th Anniversary

Ayo Davis, CEO of Disney Branded Television, and Orion Ross, Vice President of Disney Europe Animation, share upcoming and unannounced U.S. and European productions from Disney Television Animation and Disney Europe Animation.

Wednesday, June 14 - Panel: “Building on Legacy”

The Panel will feature the announcement of a brand new Disney Television Animation series inspired by a classic Walt Disney Animation Studios film.

The Panel features the creative teams behind some of Disney Television Animation’s's acclaimed and highly anticipated animated series. Panelists will discuss expanding Marvel, Disney Television Animation, and Walt Disney Animation Studios legacy IPs for a new generation of fans.

Moderator - Disney Junior senior vice president, Development, Series and Strategy, Alyssa Sapire

Panelists:

Bruce W. Smith (”The Proud Family”,”The Proud Family Movie”,”The Proud Family: Louder And Prouder”)

Ralph Farquhar - (”The Proud Family”,”The Proud Family Movie”,”The Proud Family: Louder And Prouder”)

Rodney Clouden - (”20th Television Animation’s Futurama”,Marvel's Moon Girl and Devil Dinosaur”)

Pilar Flynn - (”Elena Of Avalor”,”Marvel’s Moon Girl And Devil Dinosaur Season 1”)

And... the showrunner behind a brand-new animated series inspired by a well-known Walt Disney Animation Studios film to be unveiled during the festival.

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pewpewpew · 1 year

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Someone who has been to annecy animation festival before, can you pls help me I have some questions abt accomodation pls pls i'm getting a bit.. concerned

#annecy #annecy 2023 #annecy film festival #annecy animation festival #artists on tumblr

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fallloverfic · 1 year

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The "Nimona" movie teaser is up!! The movie released on Netflix June 30th, 2023!

The teaser is also up on Netflix's YouTube page!

And we have a new movie poster!

And official preview art on Netflix (which also has the teaser), featuring Ballister versus Ambrosius!

The movie is based on ND Stevenson's webcomic turned graphic novel, Nimona! The movie premiered at the Annecy International Animation Film Festival on June 14, 2023, and will show in select theaters on June 23, and will be available for general streaming on Netflix on June 30! The movie is animated by DNEG with material from the previously cancelled Blue Sky Studios production, produced by Annapurna Animation, and distributed by Netflix.

The graphic novel is available in physical and ebook form most places books are sold! And it's been translated into 16 languages! There's also a full cast English audiobook you can get most places audiobooks are sold!

#Nimona film #Nimona #ND Stevenson #Nimona trailer #Nimona teaser #Nimona film poster #Nimona movie

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dirtreally · 9 months

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Ghughhubhgrhhhhghhhhhhhh

Hi i'm justen i'm she/they i write i animate i draw i does it all. Find me on instagram also @diejusten. My girlfriend is @panvani

ok now heres all the cool shit ive ever done

THE 98588930193RD CONQUEST OF THE UNFAIRLY BANISHED MOON PRINCESS THE SERVANT UPRISING IS QUELLED

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Film I did with my boy @coffeebrownn about what if everythign bload up. Screened at the 2023 Annecy Animated Film Festival.

FAMOUS CRASH

Visual novel about a vtuber girls and being gay4clout. Made for vncup

SEATED IN THE CINEMA OF ATTRACTIONS

Essay I did about exhibitionism in animation

I WENT TO COMIKET AND EVERYONE CALLED ME SLURS

Zine about being incredibly online and into anime and having a gender. Has entries from like 30+ artists

#pinned post

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dorothydalmati1 · 8 months

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Obscure Animation Subject #44: Looney Tunes Cartoons

Originally posted on Twitter on April 4, 2023.

No not the classics, the 2020 show.

Happy 100th birthday to Warner Bros, one of Hollywood’s biggest studios, well known for their Looney Tunes and Merrie Melodies cartoons, and this is an attempt to bring them back.

The original cartoons were released in theaters between 1930 and 1969, and were a huge success for WB until the decline of theatrical animated shorts in the 1960s. It didn’t stop WB to expand Looney Tunes as a franchise through, as multiple TV shows, movies and merch were made.

Looney Tunes Cartoons was different from most LT shows though, as its an attempt to bring back the golden years of the cartoons from the 40s and 50s. The show is developed by Uncle Grandpa creator Peter Browngardt, produced by Warner Bros. Animation and releases on HBO Max.

The show made a sneak peek at the Annecy International Animated Film Festival on June 10, 2019, and officially premiered on May 27, 2020. Currently, there’s five seasons with a sixth season yet announced. However, given the current status of WB season 5 might be the final season. (PERSONAL NOTE: The series was renewed for a sixth season which served as the final for the show.)

A huge shame really, because the show returned a lot of aspects what made the classics so good in the first place, but given that CEO David Zaslav hates quality, he’s probably making the show a tax write-off. Sounds scary isn’t? If you want the show to continue, GO WATCH IT RIGHT NOW! It’s a passion project and a love-letter by fans of the original cartoons, and there was a lot of heart, care, craft and effort put into it. Awesome animation, great voice-acting and fantastic humor. Please don’t let Zaslav tax it off completely extinct!

(REMINDER: Okay yeah this isn’t considered obscure to the animation community, but for casual people it is. Blame WBD for how the show was treated, it deserved a much better fate.)

#looney toons #merrie melodies #obscure animation #warnerbrothers

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canmom · 5 months

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Animationo Night 177 - Kizazi Moto + Fatenah

Hey everyone. It's Animation Night again. We aten'nt dead!!

Huge apologies to European viewers that I couldn't stream this one earlier. Still, I'd like to get back into the swing of things, so we're back. (Bros. We're so back.)

So. tonight we're gonna be checking out Kizazi Moto: Generation Fire. This is a collection of scifi films created by studios from five different countries across the length of Africa.

The impetus came from the South African studio Triggerfish - originally a stop motion studio, but they switched over to CG a few decades ago. We saw some of their work back on Animation Night 166 in Star Wars: Visions, which came close enough to the stop motion feel as to leave me in doubt. There's no question they have a ton of talent.

Like Visions, this short film collection has the financial backing of the Mouse; it also has another American, Spiderverse director Peter Ramsey, serving as executive producer. But there's no monolithic franchise involved this time - the individual directors and studios were given considerable creative freedom. Styles range from anime-esque to Hanna-barbera; stories span aliens in high speed races through near future dystopias to apocalyptic stories about gods.

The creators are a little hands off towards the term 'afrofuturism'; in an interview with Skwigly magazine, producer Tendayi Nyeke asks us to interpret it just as scifi more broadly:

We don’t use the word Afro-futurist! Part of that is we are seeing science fiction, but through the context of Africa, and trying to demystify Afrofuturism. It’s not a genre for us. Because, you start to raise questions like can a French person do an afro futurist movie? And what does that even mean? So it’s an African filmmaker using science fiction as a medium to communicate. Science fiction allows them to imagine big futures. I love when a lot of Western science fiction is looking at a dystopian context, we’re looking at hope. It really comes from trauma in some ways, though we have a rich heritage prior to the trauma. And then we’re like, hey, technology is evolving. We’re evolving as human beings. If there was hope, what could that look like? Science fiction as a medium allows you to explore that just by its design.

Among the filmmakers, there is considerable ambition to change the general layout of the animation industry. Raymond Malinga, director of Herderboy, remarks:

But somehow, because of all these things like colonialism and everything, it’s almost like our creativity was stifled by that and we just keep on accepting the fact that we are supposed to tell mundane things, you know? Mundane. Normal. So with “Herderboy”, I just took one of the oldest professions of the whole continent. And I said if I can update that and Ugandans watch that, they can start saying, you know, if cattle herders can look cool, then what else can look cool?

It's a cool interview, he's very charmingly down to earth when he talks about how after working on the film for a year he has no idea what's funny or not. Isn't that a mood...

Of course, until fairly recently there were a lot more animated films about Africa, such as the French Kirikou series, than animated films created in Africa. Which is nuts when we're talking about an entire continent, right? Thanks, "legacy of colonial extractivism". But things are really moving now! African animation was the subject of Annecy 2021, and in the online version of the festival I got to see the impressively varied Mshini TV collection of the edgier end of the spectrum, which carried all sorts from Newgrounds-esque flashes to South Park-like comedy skits. And this year at Annecy 2023, I got to see the first feature-length animated film from Cameroon, The Sacred Cave. A bug is spreading!

With this field, Kizazi Moto stands out for its startlingly high level of technical polish. And of course, I just like scifi. From the Mouse's perspective, they have their eye on the long game - trying to capture an 'emerging market' and all that. But, I would far rather they spend their money this way than having animators add yet more weight to the sinking Star Wars boat, you know?

So let's go take a look at what they've put together! In total, Kizazi Moto comprises 10 films, typically about 10 minutes long each. You can get summaries here or just watch along tonight, and I'll be posting my thoughts on each one later~

And. For a dose of the heavy along with this fun stuff - the ongoing genocide has put Palestine and specifically the Gaza strip in the front of everyone's minds. While there have been a few animated films touching on the occupation from the Israeli side, like Waltz With Bashir, a celebrated psychological drama in a realist style in which a former Israeli soldier reflects on whether he did a warcrimes, and Seder-Masochism, in which Nina Paley attempts to lay out a story about how the patriarchical Abrahamic religions suppressed an ancient matriarchal religion (she is a terf, how did you guess!), which includes the undeniably conceptually effective but highly equivocating This Land Is Mine segment... there is less available from the Palestinian side for the obvious and sad economic reasons.

But, a couple of weeks ago, Animation Obsessive wrote an article to celebrate Fatenah (2009), a short film animated in the West Bank about a woman in Gaza struggling to get breast cancer treatment. It's available free on Vimeo:

It's directed by Ahmad Habash, a native of the West Bank who came to study animation here in the UK, and secured WHO funding after they saw his student film. But the film is not a one-note activist project, it's a careful character study trying to give a convincing portrait of the different facets of its title character's life. This film was completely new to me and I'm grateful to AniObsessive for highlighting some Palestinian art in my favourite medium. So I'd like to slot this into my little Twitch show as well!

I have a bunch of other short films I'm excited to show, between recent Gobelins works and another AniObsessive piece highlighting their favourite short films from the festival circuit which have become available online. But given the ludicrously late start, I don't want to pack too much in to this one. We'll save that for another week!

I know Animation Night has been very spotty recently. I've been going through it with the old brain a bit ('a bit' she says). I'm trying to get things back on track with sleep and stuff, thank you for all the kind things people have said, and for bearing with me.

So! Let's go! Animation Night 177 will be going live in just a moment in its usual home, https://twitch.tv/canmom!

#animation night #kizazi moto

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dweemeister · 2 months

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Best Animated Short Film Nominees for the 96th Academy Awards (2024, listed in order of appearance in the shorts package)

This blog, since 2013, has been the site of my write-ups to the Oscar-nominated short film packages – a personal tradition for myself and for this blog. This omnibus write-up goes with my thanks to the Regency South Coast Village in Santa Ana, California for providing all three Oscar-nominated short film packages.

If you are an American or Canadian resident interested in supporting the short film filmmakers in theaters (and you should, as very few of those who work in short films are as affluent as your big-name directors and actors), check your local participating theaters here.

Without further ado, here are the nominees for the Best Animated Short Film at this year’s Academy Awards. The write-ups for the Documentary Short and Live Action Short nominees are complete. Films predominantly in a language other than English are listed with their nation(s) of origin.

Yet again, this completes this year’s omnibus write-ups for the Oscar-nominated short films for the upcoming Academy Awards:

Our Uniform (2023, Iran)

Director Yegane Moghaddam used to be a primary school teacher in Iran and often “observed the students… struggling with their uniforms and headscarves all day.” These observations informed her film and narration in Our Uniform, which won Best First Film at Annecy (the largest animation-only film festival, in the French Alpine resort town of the same name) in 2023. Only the fourth ever non-Western/European and non-Japanese nominee in this 92-year-old category – following 2014’s Bear Story (Chile; that year's winner), 2020’s Opera (South Korea) and 2021’s Bestia (Chile) – Our Uniform adopts a unique style never before seen in this category. Instead of traditional cel animation with ink and paper or computers, Moghaddam nearly single-handedly painted images directly on clothing fabrics (pants, jackets, shirts, scarves – all from her personal wardrobe) to illustrate the memories her narration shares. These memories, of attending public school in Iran, invariably intersect with Iran’s theocratic politics. There are references, never pedantic, about government propaganda as part of the school curriculum, and the segregation between boys’ and girls’ education. Most vividly, Moghaddam remarks on the restricting school uniform and compulsory hijabs for girls at school, issues which enflamed protests against such laws beginning in 2017 (and spiking after the death of Mahsa Amini in 2022).

Moghaddam, who cites graphic novelist/director Marjane Satrapi (2007’s Persepolis, 2011’s Chicken with Plums; the former I consider among the finest animated films of this young century) as her primary artistic inspiration, curiously does not contain as much messaging in her film as one might expect. As an Iranian citizen who currently has no plans to officially distribute the film within her home nation due to fear of retribution, how could she? But the film’s slightness cannot distract from its painstaking, loving artistry. Without relying on inventive camerawork, Moghaddam uses the natural pockets and folds of her clothes to suggest dimension and personality. To Moghaddam, all clothing has a personality and personal history to the wearer, even compulsory clothing, all of which she uses to wonderful effect. What originally began as a fun side project that Moghaddam had no expectations for gifts audiences a truly original viewing experience.

My rating: 7.5/10

Letter to a Pig (2022, Israel/France)

Qualifying for the Academy Awards after winning the Grand Prize for Best International Short Film at Anima, the Brussels Animation Film Festival, in early 2023, Nal Kantor’s Letter to a Pig sees a Holocaust survivor retelling a story of survival to a group of largely disinterested and scornful teenagers. As the elderly man recounts how he wrote a letter to a pig that inadvertently saved his life, a handful of students start insensitively snorting. Quietly, Letter to a Pig adopts the standpoint of one of the girls in class, half-listening at first. Here, Kantor seamlessly switches between the man’s memories and the reality of the classroom, through heavy rotoscoping to outline her figures, mixing it with live-action footage for the limbs or eyes, but only using a few ink scribbles to outline facial features and hair. Generally, the more movement either the schoolgirl or Holocaust survivor show, the more scribbles and live-action footage that appear. For all other figures, they remain mostly abstract.

As a young man, the Holocaust survivor recalls how filled with rage he was, long after his near-death encounter. Now, physically unable to exact retribution on those who harmed him, he tells the students “you are my revenge” – passing along his trauma to those not realizing what they have just received. The schoolgirl’s vision in the surrealistic final minutes is her absorption of the Holocaust survivor’s story. This masterfully drawn finale is the emotional apex of Letter to a Pig, fully justifying its black-and-white palette (with one exception: pink for the pigs, considered an impure animal in Judaism) in service for its profound sense of dread. Symbolizing memory, the pig appears throughout the film as a savior, a monster, or something worthy of mockery, depending on who is on screen. It is in these final moments Letter to a Pig leaves the audience with pressing questions. Can one impart painful memories without the trauma that gives such memories form? Most urgently, can we choose not to act on the trauma we inherit? May it be possible not only in dreams.

My rating: 8.5/10

Pachyderme (2022, France)

Stéphanie Clement’s Pachyderme, like Letter to a Pig, is an unsettling short film that delves deeply into the mind of a troubled character. In this film, a young woman named Louise (Christa Théret) recalls her days visiting her grandparents in Provence (southeastern France) during her childhood. The sun-bathed rural landscape is picturesque, the grandparents’ house gorgeously stylized. Beyond this, some of Louise’s recollections feel incomplete, with no apparent structure or chronology. That might read as a criticism, but Clement and screenwriter Marc Rius fully intend for Pachyderme to seem fragmented. The film strongly implies – and some viewers will pick this up earlier or later than others – that the grandfather sexually abused Louise. In reaction, Louise, while recounting her memories for the audience, has repressed her memories and is showing signs, in her narration and in her visual recollections, of disassociation. I do not recall ever seeing disassociation, a common symptom of those who have been sexually abused, portrayed as cinematically as seen in Pachyderme. It is best exemplified, metaphorically, in the scene where our protagonist disappears into the wallpaper (this scene was originally the first bit of test footage made for the film).

But perhaps there is no better visualization of all Pachyderme has to say than the moment where Louise’s grandfather notices her index finger bleeding. He grasps her hand, and his hands dwarf hers. The simultaneity of Pachyderme’s picture book visuals and its horrifying implications show the viewer a woman who has not fully processed what has happened to her. It is not helped by the defensiveness of Louise’s grandmother following the grandfather’s death. Family denial, too, is playing a role in how Louise is choosing, consciously and subconsciously, to remember the past. In its eleven minutes, Pachyderme passes in a dreamlike haze, its illusory moments enabling the viewer to more closely connect to Louise’s (both the young adult narrating the film and the child on-screen) feelings. Unlike many nominees in Best Live Action Short Film down the years that addressed childhood trauma (it's a long-running trend for that category), Pachyderme prioritizes healing in as cinematic a way as possible.

My rating: 8.5/10

Ninety-Five Senses (2023)

If the names Jared and Jerusha Hess are familiar, that is because this husband-and-wife directorial team also made Napoleon Dynamite (2004) and Nacho Libre (2006). Some of those same comedic sensibilities carry over to Ninety-Five Senses, which qualified for the Academy Awards by winning Best Animated Short at the Florida Film Festival in 2023. The film features an old man named Coy (Tim Blake Nelson, a Coen Brothers regular whose voice fits the narrative here) reflecting back on life – a reverie that jumps, hops, and skips across time and place. At first, Ninety-Five Senses, with its wildly shifting style changes, does not seem to have much of a point or purpose. But the film gradually reveals itself: first through the subtle shading of what appear to be prison bars and, later, the mountain of discarded food cartons sitting on the table in front of Coy. We soon realize that Coy is in the final hours or minutes of being on death row, and he is describing to the audience his internal peace before he meets his fate.

Ninety-Five Senses is not here to make a point about capital punishment, incarceration, or the terrible actions that landed Coy in prison. Foremost, this is a film that attempts to capture the last gasp of humanity of an individual before their execution. In contrast with the drab grays whenever Coy is seen in his cell, his flashbacks are intense – a fount of color, with both crude and elegant character designs, hand-drawn and computer-generated (sometimes appearing side-by-side). Not every vignette – of which there are five, one for each human sense – showcases as much aesthetic excellence as the others, such as an early instance where Coy recounts his childhood. That vignette does not evoke the respective human sense it covers as well as it thinks it does; the art style of that vignette also recalls hand-drawn television animation, but flows too smoothly to exactly replicate it. In any case, this is a promising first foray into animated film for the Hesses.

My rating: 8/10

War Is Over! Inspired by the Music of John and Yoko (2022)

War Is Over! (you cannot make me write or say the full title ever again) has the basics of a promising animated short film. Yet its simplistic take on humanity and warfare and close association with John Lennon and Yoko Ono’s “Happy Xmas (War Is Over)” condemns the film as pure hogwash. On second thought, I retract “hogwash”. That is an insult to Letter to a Pig and to porcine animals. This is self-congratulatory treacle from director Dave Mullins and co-writer Sean Ono Lennon (the son of John and Yoko). In a supposedly alternate World War I reality, a pigeon delivers messages between an Allied and a Central Power soldier on opposite sides of No Man’s Land. The messages contain chess notation, as they, somehow, began a game of chess with each other without ever meeting. One day, at presumably Christmas, the two armies inexplicably charge toward each other and, amid gunfire and a mass mêlée that should leave many more soldiers dead than shown, our two soldiers encounter each other on the battlefield in combat shorn of its gruesomeness.

Despite the film using the Unreal Engine for its animation, I admire the film’s lighting effects, character movements, pigeon animation, sound effects, and art direction for the otherwise sanitized trenches. That may be all the positives I can offer.

The contrived scenario sinks even further when our two chess-playing soldiers discover a critical message from their pigeon messenger. Cue the second-most embarrassing needle drop among this year’s fifteen short film nominees (somehow, the closing moments of The After are worse than this). Unlike The After, War Is Over! feels as if constructed around its respective song. Is this now a glorified music video? In an instant, the film reduces the tragedy of the Great War to something akin to a soft drink commercial or that “Imagine” video (could we stop disrespecting John Lennon and his fellow Beatles?). The sanitized depiction of war and farfetched resolving actions undercut the film’s message, embarrassing itself as it lurches through its excruciating final minutes. That the first credit in the end credits read “music and message by John and Yoko” rather than director Dave Mullins leaves an even more sour taste. At the heart of War Is Over!, Mullins and Sean Ono Lennon want us to know that war is bad. I never could have guessed!

My rating: 4/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

From previous years: 85th Academy Awards (2013) 87th (2015) 88th (2016) 89th (2017) 90th (2018) 91st (2019) 92nd (2020) 93rd (2021) 94th (2022) 95th (2023)

Two other films played in this package as honorable mentions: Wild Summon (2023, dir. Karni Arieli and Saul Freed; 6/10) and I'm Hip (2023, dir. John Musker; 6/10).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

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pochqmqri · 11 months

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UPDATE: As of May 29, 2023, the 26th Detective Conan film, “Black Iron Submarine,” is now at 28th place in the All-Time Japanese Box Office!

At some point last week, “Black Iron Submarine,” which was the first-ever Detective Conan movie to surpass a domestic box office gross of 10 billion yen, surpassed the 12 billion yen mark and continues to climb.

Currently, the film sits fairly close behind these other films in the ranking:

“Top Gun: Maverick” (18th, 13.70b¥+)

“Bohemian Rhapsody” (20th, 13.51b¥)

“ET” and “Harry Potter and the Prisoner of Azkaban” (tied for 21st, 13.50b¥)

“Frozen II” (24th, 13.37b¥)

“Jurassic Park” (25th, 12.85b¥)

“Star Wars: Episode One — The Phantom Menace” (26th, 12.70b¥)

“Beauty and the Beast” (2017) (27th, 12.40b¥)

In addition, because of the film’s great success, it has been announced that “Black Iron Submarine” will be shown at the Annecy International Animation Film Festival in Paris, France on June 16.

#DCMK #detective conan #case closed #black iron submarine #kurogane no submarine #m26 #anime #animation #AI haibara #shiho miyano

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ethanreedbooks · 9 months

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How Teenage Mutant Ninja Turtles: Mutant Mayhem's Success May Unlock the Door to Riskier Animated Projects in Hollywood

Chris Miller and Guillermo del Toro Advocate for Artistic Freedom in Animation

In a world dominated by computer-animated blockbusters, director Chris Miller believes that the success of films like Teenage Mutant Ninja Turtles: Mutant Mayhem could lead Hollywood to embrace more unique and stylistically diverse animated projects. The industry has been historically cautious about deviating from conventional animation styles, fearing that American audiences might not respond positively. However, recent box office hits such as Spider-Man: Across the Spider-Verse and The Super Mario Bros. Movie have challenged this notion, signaling a growing interest in and potential for more diverse and unorthodox animated films.

Miller, who played a significant role in the success of Spider-Man: Across the Spider-Verse as a producer and co-writer, emphasizes the importance of taking creative risks in animation. In an X thread, he praised Teenage Mutant Ninja Turtles: Mutant Mayhem for its claymation-inspired visuals and director Jeff Rowe, with whom he had previously collaborated on The Mitchells vs. the Machines. According to Miller, studios have been primarily driven by two factors: greed and fear. For a long time, they feared that audiences would be confused and unresponsive to animated films with unconventional styles. However, Miller argues that recent successes prove audiences crave new experiences and are eager to embrace unique artistic visions.

One of the standout examples of successful experimentation is Spider-Man: Across the Spider-Verse, which wowed audiences by presenting each of its multiverse dimensions with distinct animation styles. The film's triumph at the box office has been mirrored by other animated hits, including The Super Mario Bros. Movie adaptation, which grossed over half a billion dollars domestically and ranks among the highest-grossing animated films ever.

Guillermo del Toro, a highly respected director known for his visually striking and imaginative films, shares Miller's sentiment. At the 2023 Annecy International Animated Film Festival, del Toro emphasized the significance of embracing unique animated films and allowing artists and filmmakers to express themselves freely. He described animation as "the purest form of art" and urged the industry to liberate it from the confines of conventional thinking. Del Toro stated, "We have to rescue it. [And] I think that we can Trojan-horse a lot of good shit into the animation world."

The critical acclaim and positive reviews for Teenage Mutant Ninja Turtles: Mutant Mayhem further bolster the case for riskier animated projects. The film has received an impressive 96% score on Rotten Tomatoes at the time of this article's release, indicating that audiences and critics alike have embraced its bold approach.

Paramount Pictures, the studio behind Teenage Mutant Ninja Turtles: Mutant Mayhem, has also acknowledged the film's triumph by confirming not only a theatrical sequel but also a Paramount+ TV spinoff. This move signals their confidence in the potential of more unconventional storytelling in the animation medium.

While the success of films like Teenage Mutant Ninja Turtles: Mutant Mayhem is encouraging, it's worth noting that challenges persist. The ongoing WGA and SAF-AFTRA strikes have affected the release date of Spider-Man: Beyond the Spider-Verse, the sequel to Spider-Man: Across the Spider-Verse, demonstrating that even amidst the progress, there are still hurdles to overcome.

As Teenage Mutant Ninja Turtles: Mutant Mayhem prepares to hit theaters on August 2, the film's achievements and the support from influential figures like Chris Miller and Guillermo del Toro may serve as a catalyst for Hollywood to embrace more diverse, imaginative, and artistically daring animated projects. The future of animation appears brighter than ever, promising a wealth of new experiences for audiences and a celebration of artistic freedom for filmmakers and animators alike.

#tmnt #Teenage Mutant Ninja Turtles

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disneytva · 11 months

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Summer's starting and is gonna be so good with some Squirrels and Tater 🐿️🐇🌰🇲🇽📔🖍️☀️

KIFF and PRIMOS billboards at Annecy Film Festival

📸Nic Smal and Natasha Kline

#Kiff #Disney Kiff #Primos #Disney Primos #Nic Smal #Lucy Heavens #Natasha Kline #Disney Channel #Annecy Film Festival #Annecy 2023 #Annecy Film Festival 2023

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akeussel · 11 months

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picturejasper20 · 1 year

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Nimona film adaptation is getting its world premiere on June 14 at the Annecy Film Festival! -World premiere screening at Theater Bonlieu on June 14th at 6:00 pm with a panel with creators. -“Making Of” session the day after on June 15 at 11:30 am at Petite Salle Bonlieu.

(Edit: The article got deleted, so the information could be false or incorrect)

Source: https://www.whats-on-netflix.com/news/netflix-unveils-animation-lineup-for-annecy-film-festvial-2023/

#nimona #nimona movie #nimona netflix #Animated films

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fallloverfic · 10 months

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New "Nimona" movie clip!

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Found in this new Collider article, along with some concept art. The clip connects scenes we've seen elsewhere (and stills) with new footage!!

The movie, based on the webcomic/graphic novel by ND Stevenson, is by Annapurna Animation and DNEG, and premiered on June 14 at the 2023 Annecy International Animation Film Festival in France, will show in limited theaters on June 23, and be up for streaming on Netflix on June 30! (More info here)

#Nimona movie #Nimona film #Nimona spoilers #ND Stevenson #Nimona comic #Nimona webcomic #Nimona graphic novel #Ballister Boldheart #Ballister Blackheart #Nimona #Ambrosius Goldenloin #Annapurna Animation #DNEG #Netflix #THIS IS SO GOOD #I NEED TO WATCH IT FORTY MORE TIMES #Youtube

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fearsmagazine · 1 year

Video

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UNICORN WARS | Official Trailer, Poster & Images

It’s Bambi meets Apocalypse Now in this provocative and strangely beautiful horror comedy from acclaimed filmmaker and illustrator Alberto Vazquez (Birdboy: The Forgotten Children), who uses its outrageous candy-colored premise to explore religious zealotry, the tortured legacies of military fascism, and the depths of the soul.

For ages, teddy bears have been locked in an ancestral war against their sworn enemy, the unicorns, with the promise that victory will complete the prophecy and usher in a new era. Aggressive, confident teddy bear Bluet and his sensitive, withdrawn brother Tubby could not be more different. As the rigors and humiliation of teddy bear bootcamp turn to the psychedelic horrors of a combat tour in the Magic Forest, their complicated history and increasingly strained relationship will come to determine the fate of the entire war.

GKIDS, the acclaimed producer and distributor of animation for adult and family audiences, announced it will release UNICORN WARS, the latest genre-bending animated feature for adults from Goya and Annecy Cristal-winning director Alberto Vásquez (Birdboy: The Forgotten Children) starting March 10, 2023. The technicolor feature will be released theatrically in select markets nationwide, and will also be available on demand from March 10, 2023.

The technicolor horror-comedy featured in competition at the 2022 Annecy International Animation Film Festival, and was an official selection at BFI London, Animation is Film, and Fantastic Fest. UNICORN WARS marks the next collaboration between GKIDS and Alberto Vázquez, following GKIDS’ local distribution of the Goya Award-winning feature Birdboy: The Forgotten Children and short film Decorado.

#youtube #film news #movie news #gkids #unicorn wars #alberto vásquez #technicolor #horror #comedy #animated

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animemakeblog · 2 years

Photo

“Garden of Remembrance” The Director Naoko Yamada's For Anime Movie Premieres in 2023

Avex Pictures launched the official website for Garden of Remembrance, director Naoko Yamada's latest anime film (Koe no Katachi, Heike Monogatari). The primary cast and a teaser visual were also published on the website (pictured). The film premiered in the Work in Progress section of this year's Annecy International Animation Film Festival last month. The film is set to hit theatres in 2023.

#garden of remembrance #naoko yamada #etsuko mizusawa #science saru #anime #anime movie #anime news

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canmom · 11 months

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L'Aventur de Canmom à Annecy - Mercredi 4: WTF 2023

WTF (read 'what the fuck' in a heavy French accent) seems to be a kind of annual collection of weird online shit. Titmouse is involved in some capacity, although I don't think they're necessarily the ones who picked the films. And while I did recognise one selection (umami had a film) most of it was new to me and there were some crazy good ones...

... but most of all the atmosphere of the late night screening was amazing. I got in at the last minute and somehow ended up in a reserved seat for Titmouse, since I guess they didn't show? Which meant I had one of the best views in the house. The theatre was completely packed and full of excitement.

So then this guy comes out in the skintight purple vest and cape and rainbow stockings. The boss of Titmouse comes on stage and picked up one of the paper planes to invite whoever threw it to come and bite a balloon in half (which would have been a better bit if the person actually did it).

Then came the directors of the films, mostly to tell jokes ("there's too much business and not enough fucking at Annecy" declared one director, instructing us to have sex tonight). After these guys... some Gobelins instructors came out to throw shirts into the crowd, people went absolutely nuts for these shirts. Then: films.

Actually a bunch of these are available online so... here, watch along x3

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To open we had this stop motion earworm, Du vélo à St-Malo, du kayak à St-Briac. By the second chorus, the audience was singing along. The images are a bit lolrandom but I can't deny it's infectious in its editing.

Next up came the debut of David by Patrick Ward, about a seriously injured footballer confronting his rival framed through the story of David and Goliath. Lots of little visual jokes that made it flow even if the overall thrust of the story remained a little opaque to me.

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Umami's Safe Mode was a natural fit; if you've seen an Umami film you know what to expect. Surreal character designs and a guy with a monotone voice. Looking forward to more of this series.

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The Rubbings of Trajectories by Cheng-Hsu Chung from Taiwan took things in a rather Adventure Time direction in its drawing style, full of wild perspective shifts and morphing. I was a little too caught up in the visuals to take a lot from the voiceover lol.

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Insomnie by Paul Utkay leaned on Stable Diffusion interpolation for its surreal shifting visuals. This was I think the only time, besides the one after this, I've seen AI in the festival, and right now the main use of AI seems to be like this, a visual effect.

Following this came Two Gracious Uncles Smooched To The Beat (currently password locked so I can't embed it) by Jon Dunleavy, a completely frenetic sendup of the whole AI art 事件. Rather than being made by AI it's mostly deliberately janky cgi, rapidfire jokes, and wrong subtitles as an extra layer, which made for a fun watch. The thesis was maybe something like, "this is all a bit silly". As a programming move, putting this right after the AI film was kind of genius.

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A Kind of Testament by Stephen Vuillemin was simply fantastic, absolutely the highlight of this collection. The framing device is that a woman stumbles on a website created by another older woman with the same name as her, consisting of incredibly elaborate animations based on her social media photos. As we watch more, we learn more about this mysterious animator, who died shortly after the protagonist contacted her. Ultimately though this framing device is just a vehicle for some really tight imaginatively grotesque shorts that gradually start to connect up more and more. I hesitate to call it ero-guro because it's not exactly ero, but it definitely put me in mind of e.g. shintaro kago. the framing device works just right, linking the shorts and providing a certain frame for interpretation - the animator is terminally ill, so jokes about foot killing parasites and regrets make sense - without being overbearing. honestly just a really great film, the perfect level of enigmatic. i hope i can show more than the trailer some day.

Internet Gaga by Reinhild Bidner slammed into a much faster pace, a pastiche of Radio Gaga by Queen with the music video consisting mainly of cutout animation and AI deepfake animation of memes. Two minutes was about the right length for this lol. But yeah, haha, the internet, what a mess amirite

Todo está perdido by Carla Pereira Docampo and Juan Francisco Jacinto Prados was a fascinating oddity though. Stop motion, with these wildly distorted models - built in forwards or backwards slants and birdlike eyes. The story concerns a suburban nuclear family where the mother lays eggs, which they mostly eat, but decide to fertilise one one day, resulting in a baby with a wrinkled head hatching. The B plot concerns their other child who gets a rat inside her skin by accident during surgery. As you can imagine it went for the squick reactions. I can't find an online video of this one but here's a previous project by the same directors.

From this point on things got pretty wild. First up we had Uncle Babysitter 2 by Tung Yin Ng aka Tungwood.

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as far as toilet humour goes? This was actually great, just relentless gleeful escalation. I got to chat a bit with Tungwood and his friends after the films, and funnily enough he was very shy and would run up to people saying 'souvenir' and give them a card for the film. It was very funny talking to a group of animators, which in my eyes is like the peak of the world's professions, and have them act impressed when i say I'm a game dev.

Anyway, this was a really fun short about a baby's adventure inside a man's stomach as the man desperately tries to pull him out. The breakneck editing really makes the stupid jokes work, it's kinda Imaishi in that way.

Granny X by DD Sheahan relaxed the pace only barely, telling the story of an old lady in a nursing home having a vivid lesbian fantasy that in the waking world leads to her careening around strangling nurses and stuff. It was fun visually, although the humour seemed generally a little meaner.

Monsterfuckers by the Tohu Animation Collective led by Ori Goldberg was something like a multi animator project with loops contributed by different animators around the vague prompt of monsters having sex. So this one's like, straight up porn but weird porn so it gets to be in here lol. The editing to the music was tight and many of the clips were really creative - but no sign of it online as yet so I can't show you.

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We were really on a roll at this point. The final part was the music video for Cool Party by Simon Medard for a band called Cocaine Piss, which pushed the jank factor to maximum. It didn't do a lot for me but it kept the energy going. After that we spilled out onto the lawn outside Bonlieu and everyone gathered in small groups. Not really wanting to just walk away, I inserted myself into conversations here and there, said some nice things to the showrunner, met Tungwood... and then at last time to go home, packed on the last bus like sardines.

Honestly, even if it could have been a little weirder to be truly 'what the fuck', this event was a blast. I mean you know how much I like this kind of thing lmao.

As for Thursday... haha god it's 2am. I'll write about it tomorrow... or maybe on Saturday... but the very short version is that I saw Art College 1994 (solid, donghua with a realist style and richard linklater energy), Kensuke's Kingdom (impressively elaborate adaptation of a Michael Morpurgo story, had a bit of an Iron Giant feel visually), White Plastic Sky (a very compelling scifi dystopian drama from Hungary in a rotoscoped style similar to A Scanner Darkly), stood in line for two hours for Mars Express and still didn't get in, watched a bit of Perspectives block 1 (mostly bad, it's the block for serious social issues rather than compelling storytelling) and then tried Graduation Films 3 (sadly could not live up to Graduation Films 2). So a bit of an unfortunate end to the day but that's how it be sometimes...

Tomorrow I've got another packed day so I'm gonna end up really behind on these writeups but stand by lol. Annecy is amazing, I don't want it to end...

#Youtube #Vimeo #l'aventure de canmom à annecy #annecy film festival #annecy #animation

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