Oscars 2022: Animation wins for ‘Encanto’ and ‘The Windshield Wiper’ + director interviews

by Ben Mitchell| 28 Mar 2022

Jorge Gutierrez to direct animated feature ‘I, Chihuahua’ for Netflix

by Ben Mitchell| 23 Mar 2022

Animasyros 2022, the Largest Festival of its Kind in Greece, is Open for Film Submissions

by Skwigly| 21 Mar 2022

Popeye the Sailor: The 1960s TV Cartoons – New Book Charts the Animated History of Popeye

by Skwigly| 15 Mar 2022

2022 BAFTA Award Winners: Encanto and Do Not Feed the Pigeons Scoop Top Prizes

by Calum Peissel| 15 Mar 2022

BFI present a major two-month Anime season from 28 March – 31 May 2022

by Aaron Wood| 15 Mar 2022

Netflix unveil ‘Wendell & Wild’ voice cast

by Ben Mitchell| 14 Mar 2022

Winners announced for the 2022 British Animation Awards

by Skwigly| 11 Mar 2022

Cardiff Animation Festival announces its full programme for April 2022

by Skwigly| 10 Mar 2022

Nexus Studios welcomes Director Alex Grigg to their commercial roster

by Skwigly| 09 Mar 2022

Cosm Studios to distribute Erick Oh’s acclaimed animated short ‘Namoo’

by Skwigly| 01 Mar 2022

ANIDOX:LAB ’22 Call for Applications

by Skwigly| 28 Feb 2022

New research makes recommendations for action on accessibility in animation

by Skwigly| 24 Feb 2022

Marion Claret to lead Dandelooo’s animation studio Ooolala

by Skwigly| 23 Feb 2022

Cinesite appoints former LAIKA senior exec Bradley Wald as Animation COO

by Skwigly| 18 Feb 2022

Kong Studio create animated sequences for new series ‘Billy Connolly Does’

by Skwigly| 15 Feb 2022

Women In Animation announces recipients of 2022 WIA Scholarships

by Skwigly| 11 Feb 2022

Oink, Where Is Anne Frank, and Turning Red Feature in 25th New York International Children’s Film Festival

by Skwigly| 11 Feb 2022