Tuesday July 31st 2012, 4:14 am
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John K
John K

Everyone knows John Kricfalusi, or John K as he is better known, the creator of the legendary Ren and Stimpy Show.  After a string of commercial works John has begun a very personal animation project and you can be part of it.

Cans Without Labels is based on his dad, and John’s true life experiences from his upbringing.  He says he doesn’t want to take this project to the commercial studios because this is a film just for his fans.  This is where you come in.  Unfortunately, like most animators John is not rich so he has set up a Kickstarter Account.  As of this writing John K. has 1,309 backers who have pledged $51,347 of his needed $110,000 goal with 17 more days to go.

Drawing from Cans Without Labels
Drawing from Cans Without Labels

The ever generous John K. is not just taking.  For a pledge of $1.00 or more you will receive a DRM free digital copy of Cans Without Labels sent to you with John K.’s gratitude.  There are more fabulous rewards for your generosity moving up the scale at about $5.00 increments all the way up to a $10,000 pledge level.  For a donation of $10,000 you will receive a personal caricature done by John K. and he will “animate your ass” into Cans Without Labels!  You will also receive an esteemed Executive Producer credit along with a DVD of the film.  As a special gift you will receive a can without a label with your credit on it personally signed by John K.  SUCH A DEAL!!!!

Even if you can’t afford to support John financially with a contribution, be sure to go to his Kickstarter site (  You will be rolling on the floor with laughter as you listen to John K. tell the true story of his dad and Cans Without Labels.  He also revels some tidbits on the site such as  the fact that George Licker is based on his dad.

Remember, for a good time go to

ANNECY INTERNATIONAL ANIMATION FESTIVAL 2012 - 4 through 9 June 2012, Annecy, France
Saturday July 14th 2012, 8:11 am
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Annecy 2012 poster
Annecy 2012 poster

I always approach Annecy with mixed feelings.  On the one hand it is an opportunity to see so many dear old friends from all over the world, along with special programs that won’t screen at any other festival, but over the past few years it has become very commercial and shifted the emphasis away from short, independent animation to feature films.  With over 7,000 people attending the festival it has become harder and harder for people to get tickets to screenings that they want to see, and if you don’t book a room very early you could end up staying miles from the festival. This year, in spite of many potential difficulties, I did enjoy myself.

The big news of the week wasn’t about film per se, but was Serge Bromberg’s closing night announcement that after 14 years as Festival Artistic Director he is passing the artistic baton to Marcel Jean.  Serge wants to concentrate his efforts on his production company, Lobster Films which finds and restoring classic films such as his recent efforts in restoring missing footage to George Milies’ 1902 film A Trip to the Moon.  He did say that he “would see us all next year because I already have my ticket to the 2013 festival”.

The new Artistic Director, Marcel Jean, is a Canadian producer, director, and author who is probably best known as the producer of the 2009 short Sleeping Betty.  He has promised to “shake up a few habits and offer festival goers a host of surprises”.  Marcel is a familiar face on the festival scene and I think he will do an excellent job.

For the past few years I have felt that the selections in the  Short Film Competition have been lacking, with many of the best films relegated to Out Of Competition programs or even worse, rejected all together.  This year the concept of an international selection jury was replaced by the three man team of Laurent Million, Yves Nougarede, and Sebastien Sperer from the Creative Content department of CITIA.  I am pleased to say that they did a very good job and that the 5 programs of the Short Film Competition were by and large very strong.

I was very impressed by the great British puppet animator Barry Purves’ Tchakovsky, An Elegy.  The beautifully crafted Tchaikovsky puppet was so life like that I almost forgot that I was watching an animated film.  The attention paid to even the smallest detail of set design was a delight to the eyes.  The film is based on Barry’s adaptation of Russian producer Irina Margolina’s Tchakovsky’s Letters and is one of a series of animations about composers produced by the multi-talented Margolina.

Another puppet animation that moved me was Danish director Johan Oettinger’s Seven Minutes in the Warsaw Ghetto.  The story of an 8 year old Jewish boy living in the Warsaw Ghetto during World War II is based on a true event.  As hungry Smaek struggles to pull a carrot through a hole in the Ghetto wall, he is unaware of the two SS men on the other side following his every move.  The tragic climax of the film is intensified by stark black and white and the absence of dialogue.  Seven Minutes in the Warsaw Ghetto won a special mention from the short film jury.

The shorts competition was also full of delightfully humorous films.  Chinti by the very talented young Armenian director Natalia Mirzoyan made me smile.  I will never think of an ant in the same way again after watching this small ant try against tough odds to fulfil his big dream to build a miniature version of the Taj Mahal after finding a picture of the magnificent structure.  Natalia used different colors and textures of tea along with 2D computer techniques to create a unique visual effect. Unfortunately, the quality of the projection for this film on the big screen at the Bonlieu theatre was not sufficient to show the beautiful textures and colors of the tea that can be seen on the DVD version on a smaller screen. Instead it looked like rather bad computer animation.

US animator Matthew O’Callaghan’s cartoon took me back to my childhood when a trip to the movies always included a wacky short.   In Daffy’s Rhapsody, Matthew was inspired by the early 1950’s recording of Daffy’s Rhapsody, an old Mel Blanc song which was never animated.  He used Blanc’s original voice while creating a story around the song.

Elmer Fudd goes to the theatre and is surprised to find Daffy Duck on stage singing about the woes of always falling prey to hunters who shoot at him.  In true Elmer style, the urge to grab his gun and pursue Daffy is just too strong.  Throughout out the ensuing chase scenes Daffy sings on while trying to avoid the blasts from Elmer’s gun.  I’m usually not impressed with the current trend toward 3D animation but for once I actually forgot that I was wearing the glasses because the effect really enhanced the chase scenes.

PES’s Fresh Guacamole follows in the footstep of his clever films that use familiar foods, household items, and found objects as he gives us a cooking lesson.  This time PES shows us how to make guacamole in his own inevitable humorous fashion.

Sunny Afternoon by Austrian animator Thomas Renoldner is his analysis of avant-garde film and music video genres that explore taboos and clichés.  Thomas, a great champion of avant-garde film, first started this film 20 years ago and finally finished it this year.  When not making films, curating festivals, teaching and writing books, Thomas has put together a new DVD, Animation Avant-Garde DVD 01.  The DVD features films by such renowned animators as Andreas Hykade, Signe Baumane, and Max Hatter as well as upcoming young talent.  You can find a complete list of the films and animators along with how to order this excellent collection at

Czech animator Michaela Pavlatova has always been in the forefront of showing sexuality from the female point of view.  A new film full of her wickedly sardonic humour is always a treat.  Her latest erotic work Tram takes us into the fantasies and urges of a female tram driver whose imagination transforms reality into a surreal and phallic delirium.  The Short Film jury shared my delight in Tram and awarded it the Annecy Cristal, the top prize of the festival.  Michaela also received a second honour by capturing the Fipresci Award given by the International Federation of Film Critics.

I had already seen several of the 10 feature films in competition and the 15 that were screened out of competition, but there were a few new surprises.  Argentina has a long, rich history of animation, but for far too long South American animation has been virtually unknown to most of the world.  This is beginning to change and two of my favourite feature films at the festival were from South America. The Argentinean/Spanish co-production Anima Buenos Aires is made up of four separate stories by four different animators and delves into the heart and soul of that glorious city as it faces up to the onslaught of globalization.  The vignettes of Buenos Aries life are set to the strains of tango, evocative music of Argentina.

I saw a “work in progress” of the film last year and it really lived up to my expectations.  I particularly enjoyed the first piece Pissed by Dogs animated by Florence and Paul Faivre.  The story of a local butcher who is losing his customers when a powerful large chain market moves into his neighbourhood is an unfortunately all too familiar story. Pablo Rodrigues Jauregui’s Cloustropolis is a love story between two older children.  A naive, sheltered young boy falls in love with a street wise girl who spends her day creating beautiful graffiti all over the city.  The 4 pieces are linked together by the animated stencilled tango dancers that perform all over the city.  They were created by the award winning animator Juan Pablo Zaramella (Luminaris, Lapsus etc.)

Selkirk, El Verdadero Robinson Crusoe (Selkirk, The real Story of Robinson Crusoe) was a delightful surprise.  The almost true story of the castaway who inspired English writer Daniel Defoe is a Uruguay/Chile/Argentinean co-production directed and animated by Walter Tournier from Uruguay.   The stop-motion puppet animation is based on the true adventures of Scottish privateer Alexander Selkirk who was marooned on an island in the uninhabited Juan Fernandez archipelago off the coast of Chile.  Today the island is known as Robinson Crusoe Island.  The story is known by every Scotsman and I was told that it is also very popular in South America.

The film is designed for young children but with a good script and excellent puppets it is a film the entire family can enjoy.  It’s exciting to see a well made film from Uruguay and proves that with a good script and talented people, you don’t have to have a big Hollywood budget to make an entertaining film.  Both of the South American productions were screened out of competition.

Narrated from beyond the grave by the title character, Crulic – The Path To Beyond is a true story of the life and final days of a Romanian immigrant falsely imprisoned in a Polish prison.  Rulic died in prison while on a hunger strike protesting his innocence.  Director Anca Damian combines hand drawn images, collage, stop motion, and cut out animation to tell a tragic story that is beautifully written and visually powerful.  Crulic – The Path to Beyond was given the Cristal for Best Feature Film.

I am also very happy that Arrugas (Wrinkles,) Spanish director Ignacio Ferreras’ frank film about Alzheimer’s received a Special Distinction Award from the jury.  Producer Manuel Cristobal told me that the film will soon be released in United States and France.

Unfortunately, like many other animators and members of the press I did not get tickets for the opening night screening of Patrice Leconte’s latest film The Suicide Shop so I can’t tell you anything about it.  John Kahrs’ short Paperman produced by Walt Disney Studios also played on opening night so once again I can’t say anything about the film.  It is a shame because they were both films that I was looking forward to seeing.

As the festival has grown in size over the past few years, the problem of animators and the press not receiving tickets for the opening night ceremony keeps getting worse and worse.  These are the very people who deserve to and need to be there the most.  Animators work long and hard to create a film and for most of them, unless they are very lucky, their biggest reward is to have their work screened at a festival.  A ticket to the opening night screening is a small but important reward for their efforts.

Most members of the press spend their own money to attend Annecy, a very expensive resort city, to write about the festival.  This is not a holiday, we are working very hard.  If we can’t see a film or be at a major party or event we can’t report to our readers about it.  Nik and I did receive invitations to the pre-opening Mayor’s Reception and the opening night party at La Plage however.

At the Mayor's reception with Alexei Alexeev, Rao Heidmets and Fernando Galrito

At the Mayor’s reception with Alexei Alexeev, Rao Heidmets and Fernando Galrito

The Mayor’s Reception is a small gathering at the beautiful Hotel d’Ville (City Hall) with members of the juries and special guests.  It is an excellent time to chat with old friends before the crazy rush of the festival begins.

This year Annecy saluted Irish animation, so the reception was a lovely chance to catch up with my friend Darragh O’Connel who would be kept busy all week on the Short Film Jury.  Darragh, co-founder of the Dublin based Brown Bag Films, is a two time Academy Award nominee for Give Up Your Aul Sins (2002) and Granny O’Grimms Sleeping Beauty (2010).

Forty Frames of Green showcased 57 Irish animated shorts in four programs covering a wide range of styles and topics spanning the countries animated history from the 1930’s 3 minute Miclin Mac to the most contemporary work.  One program was devoted to imprisonment, a recurring theme in Irish animation, from psychological captivity to physical oppression. Tom Moore’s beautiful feature film The Secret of Kells, a lovely story about Ireland’s national treasure The Book of Kells was also shown.

The big treat for me however, was to see When the Wind Blows.  Jimmy Murakami uses irony and absurdity to illustrate the danger of ignoring the horrors of nuclear war in his portrayal of a British couple who live in the countryside and choose not to worry about the possibility of armed missiles landing around them.  Many people consider this 1986 feature film to be one of the greatest animated anti-war statements along side of Norman McLaren’s powerful Neighbors. Although When the Wind Blows never received a theatrical release, it was awarded the Annecy Feature Film Crystal in 1987.

Jimmy Murakami and Nancy
Jimmy Murakami and Nancy

Annecy has always been very good at honouring elder statesmen animators past and present.   The Big Sleep pays homage to those creative talents that left us in 2011.   Nobruhiro Aihara, Karen Aqua, Vincent Joseph Cafarelli, Zdenek Miller and Jean Giraud (Moebius) are gone but they certainly will never be forgotten by anyone who loves animation.  I like to think that the heavens are a bit more colourful and bright now that these five talented creators are up there shining down on us.

It’s always lovely to give thanks to a remarkable animator while he still with us. The delightful Danish animator Inni Karina Melby worked closely with the festival to pay homage to the renowned Dutch animator and jazz musician Borge Ring.  Borge is over 90 years old and no longer travels, but his daughter, Anne Micke Bovelett-Ring, introduced a screening of his work with some humorous and touching reminisces about her father.  Following Anne’s words Ring appeared on the screen in a video introduction to give us his own greeting.

It has been quite a while since I have seen his films on the big screen but the 1985 Academy Award winning Anna and Bella is as delightful as when I first saw it.  The film touches on a wide range of emotions in only 7 1/2 minutes as two elderly sisters relive the past over a photo album and a great deal of red wine.

Oh My Darling, nominated in 1978 for an Academy Award, follows the changing relationship between a daughter and her parents as she grows up and leaves home to start her own family.  A great source of delight to her parents, she goes from being a baby in the womb to young woman becoming a mother herself in a mere 8 minutes.

His most touching and personal film is Run of the Mill produced by Borge and his wife Joanike.  It is the sad story of a young man who grows up in a happy home but falls prey to drug use.  A drug dealer uses the young man’s curiosity about drugs to draw him deeper and deeper into the world of addiction.  As their son retreats into his own world, as though enclosed in a bubble, his parents aren’t able to penetrate the bubble and are forced to stand helplessly by and watch the tragedy unfold.

In February 2012 a devastating fire swept through Joanika and Borge’s home, destroying their lifetime of memories including his Oscar, which melted in the blaze.  With characteristic humour and panache the Rings choose not to look back but to move on into the future.

Borge is also well known outside of the animation community as a professional jazz guitarist, performing with violinist Sven Asmusses.  Sven is well into his 90’s and known as the fiddling Viking.  Ring has appeared on the Jazz Behind the Dykes record series as well as with a host of other jazz greats.

This year Ring was honoured at the Annies with the Windsor McCay Award.  The award is given to honour career achievement and lifelong service to animation.  I can’t think of a more fitting recipient.  Watching his films they are as fresh and topical as when they were made.  You can read more about his remarkable life and see his films at

The National Film Board of Canada is renowned for the high quality of the films they produce.  At their press reception they gave us a preview of their four films in competition and two in panorama as well as a look at new films in production.

Regina Pessoa’s previous film Tragic Story with a Happy Ending won the Annecy Crystal in 2006 so I was looking forward to seeing her latest work Kali le petit vampire which is co-produced by France, Portugal, Canada and Switzerland.  Her dark story of a very unusual boy trying to find his place in the world takes several viewings to begin to appreciate because it is a very complex film.  The story is told by an aged Kali as he remembers the day he finally made peace with himself.  Kali le petit vampire, third in Regina’s childhood tales trilogy, is narrated by Oscar Winning actor Christopher Plummer.

Regina Pessoa with her film poster

Regina Pessoa with her film poster

The NFB has the only Alexeeieff-Parker pin screen still in use. Michele Lemieux, inspired by a workshop given by renowned pin screen master Jacques Drouin, has made the first animation using the screen which had sat idle after Drouin’s retirement.  When I asked her why she had chosen this technique to create Le Grand Ailleurs et Elsewhere (Here and the Great Elsewhere) she said that she was fascinated by the painstaking skill and concentration required to work with it. The film is a mischievous, abstract look at the profound reflections of every man and the eternal quest for meaning.

Franck Dion added to the long list of award winning NFB films when his film, Edmond Etait un Ane (Edmond Was A Donkey) received a Special Jury Award from the Short Film Jury.  His film delicately probes the eternal issue of being different versus social conformity using 2D/3D photos and the computer.

Many of the films created at the NFB are still made on 35 mm film which is one of the reasons that they look so beautiful on the big screen.  Unfortunately the sound on the 35mm projector at the Bonlieu was not functioning properly and the sound was way off.   It was most noticeable during Bydlo directed by Patrick Bouchard.  The film was inspired by the fourth movement of Russian composer Modest Mussorgsky’s Pictures at an Exhibition so the music was an integral part of the film.  It’s hard to believe that a movie theatre like the Bonlieu would have a projectionist that does not know how to properly operate a 35mm projector and I’m afraid that it is a sad commentary on the state of the art of film projection.

I asked the NFB if they knew exactly what caused the problem and Monique Simard, Director of the French Program said, “We are still waiting to receive the copy of the film Bydlo (Patrick Bouchard) sent by the NFB to the Annecy Festival for the required technical checks. Other films co-produced by the NFB, such as Edmond Was a Donkey and Kali the Little Vampire, were submitted by our European co-producers. The Festival has been very helpful in investigating the cause of the problem.

One thing is certain: we are forced to acknowledge the hegemony of the DCP format to the detriment of 35mm this year at Annecy. The vast majority of films were screened in digital format and very few in 35mm. This is a very recent reversal, as it is well known that the Annecy Festival had always been the great defender of 35mm distribution. Lastly, it is the choice of the distributor, and not of the Festival, to release films in DCP, a trend that has grown over time. The NFB chose to distribute Bydlo in 35mm format.”

Attending Annecy means you will have a very busy week.  With over 500 films screened over the 6 days of the festival it is impossible to see everything, much less attend all of the special events and presentations.  Annecy is also Work in Progress sessions, conferences, Television and Commissioned Film Competitions, and Making Of Presentations and MIFA.

No trip to the festival would be complete without a visit to MIFA (International Animation Film Market).  Begun in 1985 MIFA has become one of the major meeting places for industry professionals.  This year producers, buyers, and distributors from 61 countries, with first time delegations from Russia, Taiwan, South Africa, and Brazil, showcased their latest productions and works in progress.

As MIFA continues to expand new services are added every year.  For 2012 a special screening room was available for presentation of projects and productions as well as a lounge set aside for software demonstrations.  MIFA is a world of its own and I see friends there that never make it around the lake to the rest of the festival so the chill out lounge is the ideal place to sit and find out about what their new projects are.

Annecy is not all about screenings.  There are plenty of parties which give ample opportunities to catch up with old friends and make new ones.  It was delightful to meet Bozidar Zecevic from Serbia who was a member of the FIPRESCI –International Federation of Film Critics Jury.  Bozidar is a fellow journalist and he sits on the ASIFA International Board with me but we had never met face to face.  We have a mutual close friend in Serbia so it was especially wonderful to get to know this delightful gentleman.

With fellow ASIFA Board member Bozidar Zecevic on Closing Night
With fellow ASIFA Board member Bozidar Zecevic on Closing Night

Every year I look forward to the German Reception co-sponsored by MFG Filmforderrung Baden-Wurttemberg, the Stuttgart International Festival of Animated Film, FMX, German Films, and the German Short Film Association.  Tuesday afternoon, a lucky group of guests was taken down the lake to a lovely restaurant where there was a sumptuous array of food and plenty of drinks.  Dining under the big shade trees lakeside is a wonderful opportunity to relax for a couple of hours away from the crazy rush and crowds of the festival.

A calm scene at the German picnic
A calm scene at the German picnic

The organizers of the Stuttgart Festival are always so busy that there is very little time to visit with them during their festival so this is the ideal time to catch up on all of their news.  At the picnic we learned the exciting new from Uli Wegenast, festival co-director, and his wife are expecting twins.  The Annecy+ Band, Nik Phelps, Rolf Bächler, Alexei Alexeev, and Veljko Popović provided music for us.

The Annecy Plus Band at the German picnic
The Annecy Plus Band at the German picnic

After the German reception, we rushed up to La Plage for the Disney barbecue, and finally got to see old friends Vilnis Kalnaellis and his son Reinis of Riga Films.  It was out first chance to meet Reinis’ young son, who wore an official festival badge in his pram.  As third generation of a Latvian film family he was definitely the youngest registered festival attendee.

Meeting the festival's youngest accredited participant
Meeting the festival’s youngest accredited participant

Wednesday we attended the Swiss Film Commission Cocktail Party, where I got to meet Rebekah Villon, ASIFA International Board member from Portand, Oregon.  It was wonderful to put another face to the ASIFA e-mails that I receive.

Each year Shelly Page, Head of International Outreach at DreamWorks is the “hostess with the mostest” at the DreamWorks picnic.  Rain didn’t dampen our spirits as we all ate and drank under umbrellas.  I was delightfully surprised to see my old friend Leo Hobaica, Assistant Dean of the School of Visual Arts at Cal Arts in Valencia, California.  When Nik and I lived in California we were invited to Cal Arts every year for their career day and the screenings of the student graduation films where we became friends with Leo. I had not seen him in many years so it was a pleasure to meet again.

The Dreamworks picnic, Shelly Page waving, 4th from right
The Dreamworks picnic, Shelly Page waving, 4th from right

Nancy with Leo Hobiaca and Claire Fouquet
Nancy with Leo Hobiaca and Claire Fouquet

This year, the festival screened two programs of Cal Arts alumni, tracing the school’s history from its founding in the 1970’s to the present. The legendary Jules Engles founded Cal Arts Experimental Animation program and was mentor to several generations of animators.  His influence young Cal Arts students was very evident in the two programs screened.

Thursday is always a full day of parties and not for the faint of heart.  We began in the early afternoon at the Nordic Party on the lawn outside the Hotel Imperial where wine and aquavit flowed.  From there we went on to the Dutch Party at the Cafe D’ Artes which has become the popular place to meet everyone in the evenings.  From there we went to the Croatian reception before we ended up back up at the Hotel Imperial for the Finnish party.  Every year the Finns go all out, building a sauna on the lake shore where we can sweat out the long day of partying.

Alexie Alexeev and Nancy mugging at the Nordic party
Alexie Alexeev and Nancy mugging at the Nordic party

Friday we had time to drop by the Japanese reception before we had to rush off to a delicious lunch with representatives of the Taipei Film Commission at the Moon Restaurant in La Plage.  I had almost no knowledge of Taipei’s active animation community so it was interesting for me to learn about their thriving industry.  For many years most of the work I saw from Asia, with the exception of Japan, was very mediocre but in the last couple of years I have seen some very impressive independent works coming from that part of the world.

The Japanese reception
The Japanese reception

Friday evening, Bill Plympton and I hosted our annual Annecy+ screening of works that were rejected by Annecy but that we thought were good and deserved to be seen.  The evening started with the Annecy+ Band playing to an overflowing crowd on the patio of le Code Bar.

Bill and Nancy introducing Annecy Plus
Bill and Nancy introducing Annecy Plus

Our four programs were packed with strong films and the audience vote for the three top films was very close.  They selected Patrick Schoenmaker’s The Itch as the favourite of the evening, followed closely by Murphy Was Here by Geoffrey Armfield.  Third place was garnered by Ornana Film’s Notes On Biology. 

Special thanks goes out to our stalwart projectionist Jonas Raeber and to Carole Martinato who lives in Annecy and took care of booking the venue, creating beautiful posters, very impressive programs and so many other little details that Bill and I cannot do because we don’t live there.  Also, big congratulations to Carole on her beautiful new son who I finally got to meet.

Jonas Raeber hectically running the Annecy Plus projection
Jonas Raeber hectically running the Annecy Plus projection

After rain off and on all week, Saturday dawned sunny and beautiful for the 11th Annual picnic, rounders game, and paddle boat race that Nik and I host on the lawn beside the lake.  After days of rushing around to screenings and social events it is so nice for us all to get together to relax, eat, drink, and play games.

The rounders game was started by Joanna Quinn several years ago.  I still don’t understand the rules but everyone who plays it has fun.  Several members of last year’s winning team were there to defend their title.  Sadly Joanna was not at Annecy this year because she is back in Whales finishing up her new film, but she sent a trophy, a bottle of champagne and warm greetings to the winners via Jamie Badminton of Karrot Studio in London.

The paddle boat race was a wacky chase around the island a-la Keystone Cops in boats.  Nik and the band stayed on land and played music while I got to ride on the back of a boat full of good strong young men.  They came to the race very prepared with water pistols for all of us to fend off the competition.

Lining up for the paddleboat race
Lining up for the paddleboat race

With Serge’s farewell and confirmation that the Bonleiu will be torn down this year the closing ceremony was particularly nostalgic.  After the ceremony it was back off to the now empty MIFA tents for the closing night party.

Aside from the problem with opening night tickets that many of us had and the sound on the Canadian films it turned out to be a good Annecy for me.  With a new director and no Bonlieu as a festival center Annecy 2013 will be an adventure full of changes.

See you all next June in Annecy!!!

Saturday July 14th 2012, 8:11 am
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The Goethe-Institut Italy is launching a contest for animated short films in occasion of the 200 anniversary of the Children and Household Tales by the Brothers Grimm.
Are you a young animator and do you want to accept the challenge to explore Grimms classics innovatively and transport them into today’s reality creating animated short films with a maximum length of 5 minutes?
Deadline of submission: August 24, 2012
First Prize: 1500 € audience award for each an Italian and German short
For more information and participation please consult the website:
The first videos have already been submitted and can be viewed or commented on our website!

Kurzfilmwettbewerb Grimm animiert – der Countdown läuft!
Du bist ein junger Trickfilmer und willst die Herausforderung annehmen, Grimms Klassiker in kurzen Filmen von max. 5 Min. Länge neu zum Leben erwecken, ins Hier und Jetzt übertragen?
Das Goethe-Institut Italien schreibt einen Animationskurzfilm-Wettbewerb für Studenten von Filmhochschulen und
Nachwuchskünstler bis maximal 35 Jahre in Deutschland und Italien aus.
Lade deinen Beitrag noch bis 24. August auf unserer Community-Website hoch.
Die ersten Videos sind bereits eingegangen und können auf unserer Seite angesehen, kommentiert und bewertet werden!
Die Jury, deren Zusammensetzung nun feststeht, wird die 10 besten Filme auswählen, von denen zwei wiederum den Publikumspreis von 1500 Euro gewinnen werden.

Announcing the Festival of European Student Animation - Belgrade, Serbia
Thursday July 05th 2012, 1:51 am
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Festival poster
Festival poster

This is a new student festival under the direction of animator and Renaissance man extraordinaire Rastok Ciric.  If he is involved I know that the festival will be well run.  Only European Student Films will be accepted for the competition but student films from other countries can be submitted for non-competition screenings at the festival.

Initiated by the Public Enterprise “Belgrade Fortress”, FESA – Festival of European Student Animation, was established in 2012 under the auspices of Serbian Ministry for Culture.
The main goal of the festival is to promote the art of animation from the European countries and to create conditions that will enable the younger generation to conquer new concepts and new technologies.
The Festival of European Student Animation is going to be held in the period of September 1th to 2nd 2012.
The Festival is comprised of Students Competition programs (film schools and single student authors)
This year’s competition theme is THE RITUAL in the widest sense of the terms.
Only animated films / works of European production not longer than 30 minutes will be accepted (using classical »frame by frame« or computer animation techniques or combining live action and animation (Animation being primary media).
Works completed in this Millenium will be considered eligible for this year’s festival.
Works coming from Non European Countries cannot be accepted for competition, but can be screened at the festival
if chosen by the Pre-Selection Committee.
One author can submit more than one film according to festival rules.
There is no entry fee.
For Pre-Selection films must be sent in MP4, AVI or MOV format.
The ENTRY FORM – please download from the festival website:
They should be sent to –
The Entry Form must be sent together with:
- digital copy of the film for Pre-Selection,
- two or more stills from the film (6 cm width, 300 dpi),
- film synopsis (maximum 500 characters)
- photo of the author,
- brief biography of the author and filmography.

Deadline for submission is July 15th 2012.

Digital copies sent for selection and competition will be kept in the Festival’s archive.


The Pre-Selection Committee and the Jury of FESA is constituted by people involved in animation such as filmmakers, critics, journalists, educators etc.
The Pre-Selection Committee consists of two members from Serbia and the Artistic Director of the Festival.
The Official International Award Jury for the Student Competitionconsists of three members from the Danube countries:
József Fülöp, Prof. Moholy-Nagy University of Art and Design, Budapest, Hungary
Karoline Riha, Lecturer, Vienna Art School, Austria
Rastko Ćirić, Prof. University of Arts, Belgrade, Serbia

The Participants will be informed about the results of Pre-Selection by e-mail before July 31st 2012.


The following official Festival Awards will be granted by the International Jury:
1. Prize of the festival for the Best Student Film
2. Prize of the festival for the Best technique
The International Jury is free to award 3 special diplomas by their own choice for the quality of a specific aspect such as: graphic style, music, script, characters, for a specific genre or point of view (mythology, social problems, fantasy, erotic, etc).
All the awards must be granted.


All the films need to have English subtitles incorporated, except if the spoken language in the film is English.

The participation (sending films for Pre-Selection and signing the Entry Form) in the FESA implies unconditional acceptance of the terms and conditions set forth in these Regulations. Films once applied for the festival cannot be withdrawn.
Festival confirms that all the authors’ rights, clearly indicated in the Entry Form, will be guaranteed.