Latest news with #AnnecyFestival
Time of India
19-06-2025
- Entertainment
- Time of India
Film on Deccani wool wins award at Annecy Festival
CHENNAI: Suresh Eriyat 's six-minute stop-motion animation film 'Desi Oon,' an animated film, won the jury award for commissioned film at the Annecy International Animation Festival 2025 held in France. Annecy Festival is considered the Oscars of animation. Desi Oon was the only Indian film to be selected from among 3,900 entries from 100 countries. The film was commissioned by Centre for Pastoralism (CfP) to help create awareness on Indian wool. 'Oon means wool, and Desi Oon means the kind of wool extracted from Deccani Deccani black sheep, which can be found mostly in Karnataka and southern Maharashtra, besides Tamil Nadu, Telangana and Andhra Pradesh,' says Suresh, whose Studio Eeksaurus has created the film. 'We've used only wool puppets throughout the film, so it's the wool which speaks for itself. However, working with the material and animating it was a challenge which took us a year.' Supported by Samagata Foundation, the film has been narrated by lyricist Swanand Kirkire, features music by Rajat Dholakia and sound design by Resul Pookutty. 'It's also a tribute to the shepherds who conserve the wool, presented through a character, shepherd Balumama, and the sustainable pastoralism that he practised. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Das tollste kostenlose Casinospiel des Jahres 2025 Merkur24 Jetzt spielen Undo Actual folk music of shepherds has been used for the film.' The film launched at the Deccan edition of the Living Lightly exhibition in Bengaluru in February 2025 and is available for viewing for free on YouTube. 'The screening was a multi-sensory experience, and we included different smells of sheep during the viewing. It will now travel through the country for screenings" "We hope the film will start conversations on the neglect Deccani wool has suffered for generations and the plight of the shepherds. They have been ignored and discarded in favour of acrylics and imported wools. Once a sacred bond between humans, animals and nature, wool now stands forgotten in the wake of urbanisation and industrial change,' says Suresh. CfP, based in New Delhi, works across the country to enhance demand for indigenous wool, which, according to them, has enormous potential in the production of textiles, for use in acoustics, thermal insulation, for packaging and as biofertilizer.
Yahoo
14-06-2025
- Entertainment
- Yahoo
Sentient Acorns, Badass Grandmas and Underwater Knights Feature Among MIFA's 2025 Feature Pitches
Annecy Animation Festival is filled with unmissable events, ranging from global premieres to niche boutique screenings. Near or at the top of that list are the MIFA Pitches, showcasing what indie directors and producers from all over the world have planned for the future of animation. An event carefully monitored by nearly every Annecy attendee, the sessions have more often than not proven to be the birthplace of true animated gems. More from Variety Key Latin America Animation Titles to Come Under the Spotlight at Annecy-MIFA's La Liga Focus 'Edmond and Lucy' Returns With Season 2 From MIAM! Animation: Feature Adaptation in Development Netflix Shares 'Stranger Things: Tales From '85,' 'In Your Dreams' First Looks in Annecy Initially split into four categories—feature Films, Short Films, TV Series & Specials, and Immersive Experiences—MIFA's 40th birthday also celebrates the addition of a fifth category dedicated to animated documentaries. In the Feature Films category, twelve film projects were selected this year at MIFA from no less than 201 candidates. Pitching at MIFA, where teams have ten minutes to dazzle potential partners, distributors, investors, sales agents and broadcasters alike, can prove tremendously valuable for such projects. Michel Ocelot's 1998 groundbreaking feature 'Kirikou and the Sorceress' was pitched at MIFA in 1991, while 'Heirloom,' an Indian feature presented last year in the same event, is now part of the Work-in-progress session, backed by a German co-producer. Last but not least, a Latvian cat created by indie director turned Oscar-winner Gints Zilbalodis was presented at the MIFA pitches back in 2021. Four years later, 'Flow' wrote a new chapter in European animation history. Here are our picks for five projects that stood out from this year's selection. What if children's animation was crafted by the children themselves? This idea drove director Filip Mašek to create 'Acorn's Adventure,' a smashingly beautiful CG project with forest characters designed by the daring imaginations of nature-loving children. Quido, a boy made of acorns, appears in Resinland, a village hidden deep in the forest where everyone seems to have a predefined purpose except for him. Suddenly, the village 's vital resource, resin, comes under attack from an unknown ring of thieves. So, Quido declares himself the hero and sets off on an epic mission to save the village along with daredevil race-driver wannabe Mary. Quirky characters such as posh champagne-cork Mayor or chestnut odd-looking villagers populate the luscious project, which has been built so far under the careful scrutiny of — you guessed it — children. 'This story is about acceptance and finding who you are', explained Mašek. As a teenager and Boy Scout leader, he was always amazed to see what stories children could create with twigs and acorns. Bringing this story to life with the same elements and the same energy resonated with him as well as Annecy's audience. Using Unreal Engine and Blender technology mixed with cutting-edge photogrammetry and motion-capture, the Czech-German co-production brings a teaser to Annecy, along with a second draft of the script. The project is looking for co-producers, broadcasters, investors and sales opportunities. Co-producer Kristina Husová concluded that their main goal was to foster this creativity and imagination. 'Our main wish is that children will run from the screening straight to the forest and use their limitless imagination to create their own 'Acorn's Adventures.' Annie/Emmy-nominated Shofela Coker ('Kizazi Moto: Moremi') and Nadia Darries ('Star Wars Visions: Aau's Song') dazzled Annecy's audience of professionals with 'Mami Wata,' a South-African 2D-CG hybrid animated feature film bringing forth the West African folk tale of Mami Wata. When the ancient water goddess threatens her town, Roukia, a silenced musician, must reclaim her voice to break a generational curse and save herself and her family. Describing their project as a 'thriller and a classic monster tale with a love story at its heart,' directors Coker and Darries blend their experience working in high-end environments with Nigerian and Southwestern African visual style to create what promises to be a gripping feature. Music, a key element within their project, will take the viewers from afro-beats to traditional Nigerian music, from afro-funk to modern dance. As a musical storyteller, Roukia focuses on the healing capacity of music and dance. 'Crocodile Dance' is currently in development and comes to Annecy looking for gap financing, co-producers, sales and distribution. Impressive character design and powerful animatics show true expertise of the directors' duo backed by South African Lucan Studio and Nigerian Coker Coop. Concluding their pitch, directors Coker and Darries emphasized Roukia's path to understanding her fear will be key in this narrative. 'Rather than slay the dragon with sword, fear and might, one might instead move like water and learn to dance with it, for fear does not trouble the sea.' Belgian veteran production company Vivi Film ('Les Triplettes de Belleville,' 'The Secret of Kells,' 'Titina') and Brussels-based Studio Souza presented 'Dreamwalker.' The project, which had already been showcased at Cartoon Movie, Europe's biggest co-production forum for animated films, follows Lucy, a lively 11-year-old girl who loves skating, water ballet and hanging out with her best friends. Everything changes when she starts suffering from a rare sleep disorder called narcolepsy. To prevent accidents from happening, her parents become very protective, limiting her freedom. As her condition turns even the simplest of everyday actions into a painful challenge, she starts to grow apart from her friends while trying to figure out who the mysterious nameless boy is who keeps appearing to her in her dreams. The teams' expertise shines in this lush 2d animated project, of which Director Rudi Mertens and producer Veerle Appelmans unveiled a teaser and dashing animation tests. In this heartfelt story about friendship, Lucy will learn to embrace her condition and find new meaning. With a finalized script, rough pre-boards, beautiful character designs and striking backgrounds, the production has already received development grants from Flanders Audiovisual Fund. Again relying on their teams' solid knowledge of the European animation landscape, Vivi Film has detailed plans to share for a 3-country co-production scheme and is looking for partners, international sales agents and distributors. Miyu Productions — which boasts two films in Annecy's feature competition this year, 'Death Does Not Exist' and 'Dandelion's Odyssey' — returns to MIFA pitches with Simon Rouby's second feature. Nine years after his directorial debut film 'Adama' won two prizes at Annecy, Rouby presented, with producer and long-time friend Emmanuel-Alain Raynal, a CG project aimed at family audiences, which Rouby described as 'Red Riding Hood in the Himalayas.' An idea that has followed him since he had to retell his own version of the known folk tale as part of his Gobelins/CalArts training, Rouby was lucky enough to accompany a geological expedition in the famed mountain range. 'Where I would just see rocks, those geologists saw a story,' explained Rouby, recalling a trip that allowed him to infuse his story with realism, capturing the essence of those rocky landscapes and remote villages. 'Pangea' tells the story of Chesa, a young girl who can predict earthquakes. After one of them weakens her village, she leaves to seek help from her grandmother, who lives as a hermit in the mountains. As she searches for the origins of her power, Chesa discovers that the earth is shaking because of the Dark Teeth, a landless people who feed on anthracite. Driven by their ever-increasing hunger, they dig into the earth and accelerate continental drift, threatening the world Chesa and her grandmother are striving to protect. Rouby's and Miyu's expertise combine in what appears as a solid project, with impressive visuals and a striking teaser that ravished Annecy's audience. The project, already backed up by the CNC and several regional funds for its development, is looking for additional partners. 'The Sunken Knight' opened the day's second pitching session with an animated bang. In a medieval village where children are forbidden to go near the sea, 10-year-old Anna forms an unlikely duo with her whimsical, mysterious grandmother. Together, they venture deep under the ocean to retrieve Anna's no-good younger brother Malo, kidnapped by the terrible Sunken Knight. Along the way, the duo will uncover the secrets of the lost city of Ys, a mysteriously submerged town somehow connected to Anna's past. Visual artist and comic book author Sébastien Cosset helms this promising French project backed by L'Incroyable Studio ('Bergères Guerrières,' 'Draw for Change'). A feature that can also count on talents such as acclaimed French screenwriter Fabien Velhmann, artistic duo Kerascoët ('Tobie Lolness') and both cute and funny animatics created by Oscar-nominated director Benjamin Renner, who also storyboards the project. An adventure-filled project with a strong visual identity and dazzling concept art, 'The Sunken Knight' amazed Annecy's audience with its distinct palette and lovable characters. The duo of Anna and her grandmother forms a perfect balance between the old woman's quirkiness and the young girl's down-to-earth approach. In bringing the viewers into the depths of the Atlantic Ocean, the team also manages to underline how important it is to preserve marine life today. A definite highlight of this year's roundup, 'The Sunken Knight' already has a full treatment and is looking for co-producers, distributors and broadcasters to board this one-of-a-kind project. Selecting five projects from the twelve features proved extremely difficult, as each had its own specific identity. All the films' primary information remains available on Annecy's website, and we encourage investors, broadcasters, and producers to dive deeper into this year's powerful line-up. Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar
Yahoo
14-06-2025
- Entertainment
- Yahoo
‘Anime is Niche No More': Crunchyroll EVP Mitch Berger Teases 2025 Slate at Annecy
Crunchyroll, a global anime brand and streaming service that recently topped 17 million subscribers, is consolidating ever more as a major entertainment player. As its platform now boasts the largest of dedicated anime libraries, Crunchyroll teams dedicate their energy to reaching new audiences via an immersive world of events, exciting theatrical releases, unique games, must-have merchandise, timely news, and more. More from Variety Kid Koala Talks Processing Grief Through 'Space Cadet' as His Debut Feature Sells Wide: 'People Keep Telling Me it Made Them Cry' (EXCLUSIVE) Miyu Backs Bittersweet Coming-of-Age Tale 'We Are Aliens' From Music Video Maestro Kohei Kadowaki (EXCLUSIVE) 'Odd Taxi's' Baku Kinoshita on His Melancholic Feature Debut 'The Last Blossom,' Premiering in Annecy Ahead of the simultaneous gigantic anime events that are Anime Expo in L.A. and Japan Expo in Paris, Crunchyroll's presence at Annecy is impossible to miss. From Bonlieu's main venues pillars with 'Demon Slayer' garments to Crunchyroll animes presented at the festival, the company is showcasing to professionals, students and animation enthusiasts alike their global hits as well as their new strategy. 'Anime is niche no more,' said Crunchyroll EVP of global commerce and head of theatrical Michel Berger as he introduced an Annecy Crunchyroll Studio Focus 2025 – a presentation that highlighted anime's meteoric growth and how Crunchyroll has fuelled that growth. 'Every time I'm able to come to Annecy, I truly feel at home,' he emphasized. 'It's an event and festival that not only embraces and celebrates the art of animation, but it's part of everyone's DNA.' For Berger, anime – which has had to free itself from the same 'genre' etiquette animation still has in some circles – is a unique storytelling medium that speaks to fans worldwide, powered by dynamic characters, stunning visuals and amazing new worlds that make a really emotional connection with an ever-growing audience. According to Crunchyroll's EVP, anime fandom will reach at least 1.5 billion by 2030, even without including Japan and China. And Berger isn't just looking into his crystal ball; he brought data to back it up. Surveying nearly 29,000 respondents from ages 13-54 in seven global markets, the latest Crunchyroll study —conducted by National Research Group (NRG)— underscored anime's growing role as both a cultural foundation and emotional outlet for younger audiences. According to the study, anime now stands shoulder to shoulder with the biggest icons in music and sports among Gen Z. 54% of Gen Z make their love for anime known, putting it ahead of Kendrick Lamar (48%), nearly on par with Beyoncé (56%), and just behind LeBron James (59%) and Taylor Swift (60%). The connection is even stronger among teens, with nearly 60% of 13–17-year-olds identifying as anime fans. 44% of general entertainment consumers from 13 to 54 identify as anime fans, surpassing —per Berger— other global genres like K-dramas and Bollywood, with regional nuances indicating emerging growth in markets such as the United Kingdom. Furthermore, social media platforms like TikTok, Instagram, and YouTube have transformed anime discovery and engagement. According to the study, 82% of fans discuss anime socially, with clips and reels now serving as Gen Z's primary discovery gateway. 'Anime isn't just something our audience watches', added Berger. 'It's something they feel.' With a four quadrant global fandom more and more diverse, anime faces a growing demand for stories that reflect a wide range of populations – including strong female leads, LGBTQ+ characters and narratives that can appeal to global audiences. The same worldwide fans who cast their vote a few weeks ago for the Crunchyroll Anime Awards, hailed by New York Magazine as 'the Oscars of Anime,' this year, more than 51 million votes were cast, concluding in a Tokyo-based ceremony that fans could also watch online. 'Solo Leveling,' a Crunchyroll-Aniplex-backed project produced by A-1 Pictures, took away Anime of the Year. Crunchyroll is now looking to expand its experience to offer their subscribers and fans more than just something to watch. From standalone games to music, collectibles, immersive events, and theatrical releases. Theatrical is a dear topic to Berger. Coming out of COVID, Crunchyroll put 'Demon Slayer: Mugen Train' into theaters and made over $500 million at the global box office, a theatrical run holding today the record as the highest-grossing Japanese anime movie of all time. And —according to Berger— the momentum continues to grow as younger audiences love anime as much as they want to experience it together. Earlier this week, Crunchyroll and Sony Pictures International announced they had acquired select international theatrical rights for the compilation film 'Jujutsu Kaisen: Hidden Inventory (Premature Death – The Movie') This beloved TV series —animated by award-winning 'Attack On Titan' studio MAPPA— turns into a cinematic experience that will delight fans all over the world this summer, powered by Crunchyroll in select European markets, Latin America and Australia. In the U.S., GKIDS releases the film on July 16. Berger concluded his presentation by sharing footage from the upcoming 'Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle'. The film is scheduled to be released by Aniplex and Toho on July 18, 2025, in Japan. Crunchyroll will distribute the film in international markets through Sony Pictures Releasing, hitting U.S. theaters on Sept. 12. Should Hollywood execs 'Forget Tom Cruise and Nicole Kidman' and rely on anime to save the box office, as Washington Post reporter Sonny Bunch suggested three years ago? Crunchyroll teams definitely think so. Two of Crunchyroll's anime are represented in the TV Films category at Annecy this year. 'Metallic Rouge', a sci-fi action-packed series created by 'My Hero Academia' production company Bones, is competing alongside beloved adaptation 'Anne Shirley', based on the late 1900s novel series 'Anne of Green Gables' by Lucy Maud Montgomery. The full NRG Crunchyroll study is available here. More to come… Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar
Time of India
11-06-2025
- Entertainment
- Time of India
Peter Sohn selected as director for third 'The Incredibles'; former director Brad Bird joins team as screenplay writer—fans excited
The third instalment of the popular animated film series 'The Incredibles' has finally found its director. , who has worked on creating blockbuster animated films like 'The Good Dinosaur' and 'Elemental,' will be taking on the behind-the-camera role for the upcoming project. Tired of too many ads? go ad free now Director for ' The Incredibles 3 ' announced Peter Sohn is going to take over as director for the third film of the 'The Incredibles' franchise. The announcement was made live during the Annecy Festival by the representatives of the film's production studio. worked on directing the first two films of the animated franchise. Not only that, but he also worked on the screenplays of the films. For the third project, Brad will be returning as the writer for the project, while Sohn, who has also been involved in the first two films while working alongside Bird, will be taking over the role of the director. About 'The Incredibles' franchise 'The Incredibles' focuses on the lives of a family of 'Supers,' i.e., humans who have superhuman strengths and use them to save the world from evil villains, one at a time. The main focus is on Bob and Helen Parr, who first live in the suburbs and masquerade as a 'normal' family along with their three children. They have been forced by a government order to hide their powers and status in the first film, while the latest project finally sees the reinstatement of their superhero status. Brad Bird was Sohn's mentor for a lot of projects and played a part in personally choosing Sohn to work on the third film himself. Accolades won by 'The Incredibles' Ever since their release in 2004, the film franchise has garnered a lot of success. Collectively, both of the films earned around 1.8 billion dollars, as per The Hollywood Reporter. 14 years later, the second sequel was released, which also became a huge hit upon its release. The second film alone garnered around 1.23 billion dollars at the time.
Yahoo
10-06-2025
- Entertainment
- Yahoo
‘Mary Anning': Swiss Animation Unearths the Childhood Backstory of a Legendary Fossil Pioneer in Annecy Playing Feature
Mary Anning has been part of paleontology's history since its very beginning. Yet this inspiring character's childhood remains largely unfamiliar to the public. A self-taught English fossil collector, Anning began her journey in the county of Dorset, England, in the small village of Lyme Regis, where she and her family discovered Jurassic marine fossil beds, one of the first major paleontological discoveries of the 19th century. Her story as a young, dedicated fossil collector inspired Swiss director Marcel Barelli, whose own passion for paleontology followed him into adulthood. Backed by his long-time collaborator and producer Nicolas Burlet (Nadasdy Films), Barelli felt it was the right time to embark on the journey of making a Swiss animated feature. More from Variety International Animation Unions Plan Protest Against AI at Annecy Festival: 'Generative Al Do Not Support Artists, It Destroys Them' Global Constellation Unveils Ambitious Animation Slate at Annecy (EXCLUSIVE) Tencent Video Strikes European Deal for 'Blades of the Guardian' With ADN (EXCLUSIVE) As 'Mary Anning' makes its world premiere this Monday at the Annecy Animation Festival, Variety spoke with Barelli about his debut feature, his eagerness to share powerful child-driven stories and the state of Swiss animation, which has a long history but still struggles to achieve industry-level status. How did you start your animated journey? My mother always pushed me to draw, saying that with a pen and paper, you can never be bored. But I never thought of it as a profession. I've always been a huge fan of cinema, not necessarily animation, because beyond Disney, I didn't really see what else there was. It was only a little later, once I decided to stop my chemistry studies, that I realized I wanted to make cinema. By pure chance, I discovered the works of Swiss animator Georges Schwizgebel, and that inspired me to start my own independent projects. Mary Anning is your first feature, after 16 years of making animated short films with Nadasdy Films. What compelled you to take this leap? After many years and many shorts, my producer Nicolas Burlet told me, 'Marcel, it is time for you to do something bigger.' I am a cautious type, going one step at a time. This felt like the next step in my career. Paleontology is another of my passions, and Mary Anning is a major figure in that field. Yet in every book about dinosaurs, she is used as the 'feminine quota' even though she never actually discovered dinosaurs, but other fossils. So I knew her story since I was little. Years ago, I had the opportunity to visit her village and her home, which has been turned into a museum about her life and paleontology. Fossil collectors still walk the shores of Lyme Regis today, and I thought this might be a good story to share with young and aspiring scientists. Mary Anning has been the subject of adult fiction recently, but your film is aimed at children. Can you elaborate on that choice? I love that young character, and above all, I realized in my research that there aren't many real young heroes brought to the screen. Besides Anne Frank, there are no real-life stories about children. We see many fictional characters, but almost no biopics focusing on childhood or children who accomplished great things at a young age. Even a film like 'Hola Frida!', built around Frida Kahlo's youth, is a way to bring forth a well-known figure who isn't remembered for her childhood accomplishments. With Mary Anning, I thought there was potential for such a story. Children are often overlooked by history, but in recent years, they've taken more space in public debate and politics, with figures such as Greta Thunberg. Sharing this striking story, almost an anachronistic one, of a girl from a low social background shunned by the educated class, in an era where women had few rights, yet who still manages to fulfill her desire for freedom and knowledge, that spoke to me. I hope it can speak to many children today. Her desires often clash with the world of adults, especially the Reverend's strict views on women and science. Why was it important to depict this opposition? Part of it was a choice, and part of it comes naturally once you start writing. She's young, he's the oldest character. It also embodies the rivalry between children's and adults' understandings of the world. Children are more open-minded and ready to accept change, to be amazed and to grasp transformation without clinging to the status quo. As was pointed out to me, and even if that wasn't planned at the beginning of the film, we live in a world where even scientific achievements are threatened. It feels crazy to me that certain things are now questioned, and it's disturbing to see this comeback in some societies. Regarding the visual style of the film, how was your collaboration with artistic director and graphic designer Marjolaine Perreten? This is the first film I've made that way, as I generally handle all the formatting. But I consider my style a bit cartoonish and naive, and I thought it didn't suit a much bigger project. I wanted a style that better suited the subject. Since Marjolaine and I are very good friends and colleagues, I naturally thought of her. I'm delighted she agreed. As a filmmaker herself, there was no guarantee she could take the time for this endeavour. In the end, she created the Bible, designed the visual style, directed the artistic vision, monitored the sets and managed everything perfectly. Her style brings forth great children's worlds, reminiscent of literature and picture books, with soft, round designs that balance the harsh nature of these cliffs of mud and clay swept by storms. Thanks to Marjolaine's style, the film doesn't necessarily soften the story, but it soothes the setting and clearly signals the intended audience. Can you elaborate on your directorial choices? While writing the film [with co-writers Pierre-Luc Granjon and Magalie Pouzal] and building it with Marjolaine, I had three films in mind: 'Billy Elliot' for the spirit, 'Portrait of a Lady on Fire' and Yasujirō Ozu's 'Good Morning,' which fascinates me for its rare portrayal of rebellious children in a domestic setting. Ozu has a unique way of staging and framing, especially for children, alternating wide shots and close-ups to convey emotion. For 'Mary Anning,' I opted for relatively simple staging, little camera movement, close-ups and profiles. This also stemmed from the lack of experienced animated feature teams in Switzerland. To manage with these constraints, we opted for 2D rigging and animated puppets in Toon Boom rather than traditional 2D. It's more of a TV series approach, but we tried to give the film a polished look. Industry people may notice, but I don't make films for the industry—I make them for the audience. These choices allowed us to focus on what mattered, without overreaching. In fact, if you remove the Belgian co-production from the credits—who handled rigs, mixing and voice recording—it's almost a short film crew. Very few people were involved, which kept the project at a human scale. The film's music has a striking uniqueness, rarely heard in children's features. What drove that rather 'punk' choice? It was one of the main debate topics during production. People love it, people hate it—and I love that it sparks such discussion. From the start, I wanted anachronistic music to match Mary's slightly punk rock style. I knew Shyle Zalewski's work as a graphic novelist and cartoonist, but I discovered their music by accident. I was quickly convinced. They sent me hundreds of tracks. I tried several, which were re-recorded, and I asked them to compose the end credits too. I don't know the exact musical terms, but we described it as punk, teen lo-fi rock—and I like it that way. Are there details in the film that people might miss that are important to you? Plenty, mostly nerdy paleontological ones. If you wait until the very end, you'll see the first-ever illustration of a prehistoric scene: Duria Antiquior, drawn by geologist Henry De la Beche in 1830, based on Anning's fossil finds. De la Beche was her friend and created the drawing to raise money for her research. There are many such details, like Ms. Philpot's drawings using fossilized ink, and other paleontological nuggets hidden throughout. What would you say is the state of Swiss animation today? How has it changed throughout your career?I can recount the history of Swiss animated features on my two hands, so bringing 'Mary Anning' to Annecy is a miracle. I've seen two trends: more talented artists emerging from art schools, but funding isn't keeping up. There's no longer enough support for short films like I made at the start of my career, or like Schwizgebel made. Recently, measures have been taken to reduce or limit access to funding. That's a real problem, not just for animation but the whole industry. Meanwhile, the number of artists and directors is increasing. If we want a real Swiss animation industry, we need to act. Not being in the EU limits access to MEDIA programs and international collaboration, making it harder to produce big projects like features. Even Oscar-nominated directors like Claude Barras still struggle. I think there's a lack of confidence in Swiss cinema from policymakers, not seeing the long-term cultural and economic value it can bring. With 'Mary Anning,' we succeeded. I hope we can do it again, with the same talented team. I love cinema, and I love sharing films with the audience, starting with my own children. I hope I can keep doing that for a long time. Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week
