Stuttgart International Festival of Animated Film 2025: A Showcase into the World of Animation
Skwigly
On Tuesday evening, 6 May 2025, the 32nd edition of the Stuttgart International Festival of Animated Film (ITFS) – Germany’s largest animation film festival – was officially opened at Gloria 1 cinema. At the Festival Opening, directors Heike Mozer and Annegret Richter welcomed the audience in the sold-out auditorium, joined by State Secretary for Culture Arne Braun (Ministry of Science, Research and the Arts), Stuttgart’s Lord Mayor Frank Nopper, and Michael Kaiser, Managing Director of the Stuttgart Region Economic Development Corporation (WRS). One message was clear: more than ever, film festivals are essential spaces for intercultural exchange and creative inspiration.
The evening before, on 5 May, the Stuttgart Animated Week kicked off with a state reception held in the White Hall of the New Palace. With its three key, parallel events — ITFS, Animation Production Days, and FMX – Film & Media Exchange — the full spectrum of animation is on display. The combination of festival, marketplace, and conference creates a unique platform for animation projects from around the world.
Arne Braun, State Secretary at the Ministry of Science, Research and the Arts, emphasised:
“I believe the creative industries have a key role to play in shaping the future of our region. This is where new ways of thinking are born, where creatives constantly bring forth fresh ideas — and where new jobs are created. This is especially true for the field of animated media.”
He pointed out that since 2010, the number of VFX and animation companies in Baden-Württemberg has nearly tripled, and their turnover has increased eightfold. He added: “The Stuttgart Animated Week — with the International Festival of Animated Film, the FMX Conference, and the Animation Production Days — is our showcase to the world. And at the same time, a magnet for talent, visionaries, and international decision-makers. Animation, VFX, and games are no longer just about entertainment.”
New Features and Programme Highlights
With around 500 short and feature-length films, master classes, studio presentations, a new Professional Afternoon tailored to the industry, and numerous networking opportunities, the ITFS continues to be a major draw for the international animation scene. Audiences keen to get hands-on can take part in interactive activities at the Schlossplatz Activity Area – from themed days on democracy and borders, to drawing and animation workshops, and exhibitions.
Alongside established formats and competitions, the 2025 edition introduces several new elements that will be visible throughout the festival. This includes a new date for the awards ceremony: this year, the prizes will already be presented on Saturday evening, 10 May.
“With the big awards ceremony moving to Saturday night, we’re creating a fresh dynamic for the festival — which benefits all our guests, as we’re able to screen the winning films the next day. With a colourful family programme, we’re turning the festival Sunday into a dedicated audience day,” said Heike Mozer, ITFS’s Managing Director.
This year’s AniMovie competition features six outstanding international animated feature films, each notable for their exceptional storytelling and artistic quality. Among them is MEMORY HOTEL by German director Heinrich Sabl — a complex work he developed over more than 25 years. The AniMovie Award, endowed with €3,000, is sponsored this year by SWR (Südwestrundfunk).
“The AniMovie competition highlights the rich variety and artistic ambition of today’s animated features. We’re excited to have a German entry in the running, and we are thankful to SWR for recognising the genre — it’s an important and encouraging signal for the industry,” said Annegret Richter, ITFS’s Artistic Director.
Focus Switzerland – and on Stop Motion
This year’s focus country is a close neighbour: Switzerland. The country is represented by outstanding films, projects and insights, and a large delegation attending both the ITFS and the APD. A free exhibition at the Festival Centre, featuring sets and puppets from the Swiss stop-motion film SAUVAGES, builds a bridge to this year’s thematic focus on stop motion.
Annegret Richter notes: “This year, we’re seeing a noticeable increase in stop-motion and puppet animation, both in competitions and across other festival formats. There’s something compelling about this tactile approach to animation — the attention to craftsmanship, the patience it demands. In today’s fast-paced, digital, and AI-driven world, it offers a welcome contrast and a sense of calm.”
Following the festival’s official opening, the first block of the International Competition (IC), Where We Come From, was screened. Seven animated short films, created using various techniques, explored themes of political change, personal decisions, and unique perspectives.
Among them: award-winning animation artist Richard Reeves, who employs a centuries-old method of drawing directly onto film. His experimental short FUSION (Canada) was created without using a camera or musical instruments. Also featured: THE WILD-TEMPERED CLAVIER by Anna Samo (Germany), a stop-motion film that comments on the pandemic and war through a highly original visual approach – painted on rolls of toilet paper in homage to direct film techniques, including drawings on 35mm film reels.