© Global Constellation

The first second of Viva Carmen! is an explosion. The sound cracks through the speakers, saturation fills the screen, the aftermath is rowdy and busy – all of the hallmarks of a classic action movie detonation. In reality, the opening frames of Viva Carmen! depict a knife slicing through the crispy crust on a loaf of bread in a bustling 1840s Spanish tavern. Except, the bread is a colour that no bread would be, neither does the person cutting it map onto any realistic human form we’re familiar with, even the table the bread is being cut on takes on an abstractness that dilates the pupils of the viewer, as if they really were watching the climax of a Michael Bay movie. 

The experience of watching the other 99% of Viva Carmen! is exactly like this. Events both mundane and essential are depicted with such majesty, an art style with a gravitational pull so strong that it has you peering into the corners of this world, desperate to be a true fly on the wall of the story. Those with a keen eye on French animation will be familiar with Viva Carmen!’s style from 2023’s Annecy Cristal-winning Chicken For Linda!, directed by Chiara Malta and Sebastian Laudenbach. Carmen is directed by Laudenbach alone, but he brings with him an evolved form of the experimental artstyle depicted in Linda. 

Viva Carmen! is an adaptation of the 1875 opera Carmen, something that has been adapted for the screen time and time again since the early days of the medium. If anyone was going to bring something unique to such an ancient tale, it was going to be Laudenbach. Instead of the titular character, Laudenbach’s adaptation focuses on a boy named Salvador, the assistant to an old, blind blade sharpener who gains prophetic insights into what fate has in store for the wielder of the weapon. Once Salvador learns that fate has a gruesome end in store for a local woman named Carmen, he engages in a battle with destiny to save her. 

What Viva Carmen! shoots to depict, and what Chicken For Linda scarcely touches on, is nighttime and shadow. Linda mostly eschews the depiction of the shadows cast by objects surrounding the characters and is almost entirely set during daylight hours, apart from one stunning sequence set in a late car ride home. In Viva Carmen!, shadows cannot be escaped. The shapes cast by buildings, trees and other people are constantly sitting on top of our characters, a bold move in a film where colour is so distinct. 

In Viva Carmen!, human skin tones aren’t a thing, at times neither is the human form. Laudenbach’s style abstracts the shape of a person so far beyond what should be recognisable, yet each character feels human, their emotions easily communicated. People are simply made up of block colours and thick, loose outlines. Salvador is often depicted between the ranges of a plumb purple and a bronzish yellow, where he lies on that spectrum depending on how much shadow he lies in. All of the characters exist on their own spectrum of colour throughout the movie, a big change from Chicken For Linda where each character would own a colour, the audience able to understand who is who based on that alone. Viva Carmen! abides by this one law of physics – that colours change in shadow, in sunlight and in moonlight. 

© Global Constellation

That inconsistency is a huge part of the thematic underpinning of Viva Carmen!. One colour cannot be used to describe a whole person the same way that a single adjective couldn’t describe your whole personality. Viva Carmen! is about the shades that exist within us, our capacity for good and evil that can lie dormant, no matter how much that varies from our outside perception. Salvador may seem like a peasant assistant to an old man, but is shown to have an incredible musical bent. His friend Belén is mostly shown as a heartless thief, but is revealed to have depths to her emotional capacity we would never expect. Viva Carmen!’s prettiness has a purpose. 

It is during those nighttime scenes where the visuals become more than just pretty frames from a movie and become astonishing standalone pieces of art. One conversation between Carmen and her lover José is framed in an unforgettable way. Carmen atop a bell tower, José speaking through the bars of a jail cell, a gap between them filled by the purplish blue of the sky – it’s majestic. 

While its visuals and subtext remain compelling throughout, Viva Carmen!’s actual text feels much weaker. In his attempts to avert fate, Salvador learns to let go and understands that fate is inevitable, that there’s fear, but also comfort, in knowing that certain things are preordained. There’s nothing wrong with that message, but it is unsatisfyingly stated at the end of the movie. 

© Global Constellation

Viva Carmen! also falls into a trap laid for many adaptations of very old work where the events of the story are so familiar that the film doesn’t feel the need to explain why they happen. For example, we know that Carmen and José fall in love, but little effort is put in to depict the details of that romance. This makes the characters feel weaker and the passion that the story should have ended up feeling too contrived. 

It’s possible that none of these problems feel urgent while watching Viva Carmen! because everything else about it is so entrancing. Whether it’s the act of bread being sliced, or a standoff in the town square, the abstract, sketchy, colourful, constantly shifting look of Viva Carmen! makes it one of the most fascinating and accomplished films to grace this year’s Annecy programme. 

Viva Carmen! is scheduled for theatrical release in France on December 16, 2026. Official theatrical release dates outside of France have not yet been finalized.

The post “Viva Carmen!’s Prettiness Has a Purpose” – Annecy 2026: Viva Carmen! Review appeared first on Skwigly Animation Magazine.

Gervais stepped out onto the stage to introduce the first two episodes of the series. The fans were clearly in the room, disarming the comedian with a rendition of ‘happy birthday’ which seemed to take him genuinely by surprise. It was interesting seeing Gervais in this capacity during both the introduction and the following Q&A masterclass, his Golden Globes persona, his stand up style and his eager talk show personality were all set aside. This was a creative, talking to a room full of creatives.

Alley Cats is centred around Gus (Gervais) a fat, horrible beast who spends his days causing havoc because that’s what cats do. The show uses this conceit to its advantage, allowing the ensemble to deliver huge expletive fuelled tangents aggressively trying to say the worst thing imaginable and largely succeeding. Revealing why cats make the perfect foil for this series Gervais said “I’ve loved cats all my life, they’re perfect little creatures – tiny but they think they’re lions.”

The series distils the Gervais approach to comedy, delivering nearly a full episode of swearing and verbal oneupmanship concluding with a life lesson. What makes a welcoming difference to this formula is that Gus isn’t the cleverest cat in the group exasperated by the cruel reality of life. Gus has flaws and will constantly make a fool of himself, returning Gervais to similar ground to The Office, however Gus is the antithesis to David Brent, where Brent would make a fool of himself to be loved, Gus makes a fool of himself arrogantly trying to assert his dominance.

The characters of the cats are played to match the voice actors range with Tom Basden playing Ponce, a pampered house cat, Andrew Brooke is Fang, who’s keen to show the rest who is boss, David Earl plays Puke, the mangiest of the group whose questionable behaviour and stories are enough to give the rest of the unshakable ensemble pause for thought. Diane Morgan plays the straight talking but dull witted Olive, Kerry Godliman plays Lara, the object of Gus’s limited affections and Jo Hartley portrays a stray kitten taken under the wing of the crew. If we return to The Ricky Gervais Show, an animated series where Gervais and Stephen Merchant picked apart the meandering thoughts of Karl Pilkington, you get some idea of the relationship Gus and Fang have with Ponce and Puke as they encourage vitriol in one another.

Alley Cats. (L to R) David Earl as Puke, Jo Hartley as Kitten, Diane Morgan as Olive, Ricky Gervias as Gus, Andrew Brooke as Fang, Tom Basden as Ponce, in Alley Cats. Cr. Courtesy of Netflix © 2026

“It’s a sitcom” Gervais says of the show “I don’t like the term Adult Animation as it takes you to a different place”. However, critics of ‘animated radio’ style of animated sitcom might find cause for complaint here as the format often leads to the furry gang doing little apart from speaking. In defence of the animation, Blink have done a superb job in adding variety to the urban locations that the cats find themselves in, so don’t expect Family Guy style exchanges set in the same living room set with just the mouth moving.

When pressed on why make an animated sitcom the answer was “I don’t have to do hair and makeup. The cats are not going to age as I just get older and fatter, I can just sit in a chair and make this forever.” The show itself is grounded in a reality that is distant from traditional cartoon sitcoms, aiming for a more dramatic edge, particularly with the soundscape. “Everything’s realistic, apart from the cat’s talk, but everything else, it’s just, it’s just real and naturalistic.”

Pursuing the sitcom status of the show Gervais said “Sitcom isn’t about plot and clever lines and jokes, it’s about character, and if you love the characters, you can watch them do anything – you can watch them do nothing” taking the idea further he added “Watching Homer Simpson just trying to read something. I could watch that for half an hour, because you love them.” The show does mark an exciting moment for British animation as British Animated Sitcoms are very rare. Alley Cats captures a modern take on Britain with an animated edge and whilst it is fuelled by swearing, the language is delivered for the sake of the characters, and not done to garner outrage to boost audience figures which we saw with misguided Family Guy rip off Full English, which all but killed the prospect of any further British Animated sitcoms being produced back in 2012.

There was a lot of affection paid towards co-director Elliot Dear and the team at Blink who directed the animation and appear to have taught the writer/director a lot about the process, “I didn’t understand the beginning, they said things like ‘the line boils slightly differently’ (I thought) What are you fucking talking about? So it was big learning curve for me,”

Alley Cats. (L to R) Jo Hartley as Kitten, Diane Morgan as Olive, Ricky Gervias as Gus, David Earl as Puke, Andrew Brooke as Fang, Tom Basden as Ponce, in Alley Cats. Cr. Courtesy of Netflix © 2026

The closeness between Elliot Dear and Ricky Gervais came through as they devised a way to work together to ensure that everything was staged correctly using analogy, references, jokes and live action references “I hope Elliot never loses his phone, because there’s videos of me crawling around the floor.” The auditorium were treated to two whole episodes that set up the story as well as clips from suture episodes, including a scene set to “There is a Light That Never Goes Out” by The Smiths, where the lyrics of the song mirror a date that Gus and Lara go on. “I had to write a nice letter to Morrissey and Johnny Marr, and they both said yes”.

Is it funny? Yes. The audience at Annecy lapped it up. The cast exemplify the idea that cats are horrible creatures to fantastic, hilarious effect. The jokes won’t be for everyone as they pay no regard to taste and decency, but that’s exactly what you sign up for when you press play. It’s not just a show about swearing cats, the bridges between the swear laden set pieces construct a cohesive story that’s worth following. Though the cats are funny, there is genuine humanity woven throughout the series. The delivery of more earnest moments may seem on the nose as they contrasts the humour so fiercely in these short episodes, but on the whole Alley Cats is a very engaging series and a cast of characters that you want to spend time with. “you create your own heroes and villains as role play for the soul” Gervais said when describing his writing process “that was the important thing I said to everyone on the cast and crew, I just want people to love these cats. If they love these cats, we’ve done it.”

Alley Cats lands on Netflix 7 August 2026

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Netflix has become a go-to destination for animation in all its forms, with more than 130M members around the world watching a variety of animated titles every month. And anime fandom continues to grow at Netflix where programming topped more than 1.5B views in 2025.

Today’s announcements follow an unprecedented year for Netflix Animation, with the triumphant KPop Demon Hunters taking home a history-making two Oscars® and becoming Netflix’s most popular film of all time, spending over a year in Netflix’s Global Top 10*; 13 Annie Awards wins including three for Love, Death + Robots; and Ultraman: Rising nabbing the Children and Family Emmys for Outstanding Animated Special and Sound Mixing & Sound Editing for an Animated Program.

Film

IN WAVES

IN WAVES – Cr: Courtesy of Netflix © Silex Films – France 3 Cinéma – Gao Shan Pictures – Charades productions – Panique! – 2026

Release date: December 11, 2026

Logline: In Los Angeles, AJ, a shy teenager, meets Kristen. She lives for surfing; he loves skateboarding and drawing. They fall madly in love, and a happy future seems within reach. But everything changes when Kristen faces a sudden illness. Together, they face adversity, driven by the strength of their love, their friends, and their newly shared passion for surfing and the ocean.

Director: Phuong Mai Nguyen
Writers: Fanny Burdino, Samuel Doux (Based on the graphic novel by AJ Dungo)
Producers: Priscilla Bertin, Judith Nora
Cast: Will Sharpe, Stephanie Hsu

RAY GUNN

RAY GUNN – Raymond Gunn (Sam Rockwell) and Venus Nova (Scarlett Johansson). Cr: Skydance Animation ©2026

Release date: December 18, 2026

Logline: In Metropia, a gigantic city in an alternate future as seen from 1939, private eye Raymond Gunn is drawn into a case involving aliens, murder and a multimedia star named Venus Nova.

Director: Brad Bird
Producers: John Lasseter, David Ellison, Dana Goldberg, and Lisa Beroud
Cast: Sam Rockwell, Scarlett Johansson, Tom Waits
Animation Studio: Skydance Animation

THE RIBBON HERO

Release date: August 8, 2026

LOGLINE: Yuki Igarashi, regarded as one of the industry’s most versatile animators, directs the film. He first drew wide attention for the sophisticated animation he handled alone as key animator on the ending sequence of Jujutsu Kaisen Season 1. His directorial debut, Star Wars: Visions – Lop & Ochō, received high praise in Japan and abroad for its delicate storytelling and dynamic action scenes. THE RIBBON HERO marks Igarashi’s first time directing a feature-length film.

Bringing together a team of highly skilled creators, the film depicts the story of a lone hero who chooses to defy a harsh destiny, set in a delicately crafted world and brought to life through polished action.

Director: Yuki Igarashi
Inspired By: “Princess Knight” by Osamu Tezuka
Original Character Design: Kei Mochizuki
Character Design Cooperation: Mai Yoneyama
Animation Character Design: Issei Arakaki
Art Director: Cedric Herole
Production Company: Twin Engine
Animation Studio: Outline

STEPS

STEPS – (Top to Bottom) Lilith (Ali Wong), Cinderella (Amanda Seyfried) and Margot (Stephanie Hsu). Cr: Netflix Animation © 2026

Release date: November 20, 2026

Synopsis: Think you know Cinderella’s “evil” stepsisters? Think again. Sick of living in Cinderella’s shadow, Lilith (Ali Wong) steals the Fairy Godmother (Bette Midler)’s magic wand and hijacks the Royal Ball with her sister Margot (Stephanie Hsu), breaking the Cinderella story as we know it and dooming the kingdom to the tyrannical rule of Priscilla (Nikki Glaser), a villainous schemer who swoops in and snatches the throne. Now, Lilith must team up with Cinderella (Amanda Seyfried) to fight biker trolls, outrun evil henchmen, and escape the Screaming Woods on an epic quest to save the kingdom, but most importantly, their relationship.

Produced by: Amy Poehler, Jane Hartwell, Kim Lessing. Poehler and Lessing producing for Paper Kite Productions.
Screenplay By: Ava Tramer, James Madejski, Jen Chuck, Dana Schwartz, Felicia Ho
Story By: Ava Tramer, James Madejski, Dana Schwartz, Felicia Ho, Riki Lindhome, Kate Micucci
Cast: Ali Wong, Amanda Seyfried, Stephanie Hsu, Nikki Glaser, Bette Midler
Animation Studio: Netflix Animation Studios

Series

ALLEY CATS

Alley Cats. (L to R) Jo Hartley as Kitten, Diane Morgan as Olive, Ricky Gervias as Gus, David Earl as Puke, Andrew Brooke as Fang, Tom Basden as Ponce, in Alley Cats. Cr. Courtesy of Netflix © 2026

Release date: August 7, 2026

Synopsis: Alley Cats is a sitcom created by and starring the multi-award-winning Ricky Gervais. The adult animation follows the trials and tribulations of a group of feral British cats from all walks of society, who seek companionship while ruminating on everyday life. From the funny to the absurd, the series is packed with Gervais’ signature style of heart and social commentary that audiences have come to expect.

Creator and Director: Ricky Gervais
Co-director: Elliot Dear
Executive Producers: Ricky Gervais of Derek Productions, Steven Hamilton Shaw of Shush Creative. James Stevenson Bretton and Ben Lole for Blink Industries.
Producer: Hugo Donkin
Production Designer: Tang Heng
Cast: Ricky Gervais, Tom Basden, Andrew Brooke, David Earl, Kerry Godliman, Jo Hartley, Diane Morgan, and also featuring Natalie Cassidy and Tony Way
Animation Studio: Blink Industries

GHOSTBUSTERS: NIGHT SHIFT

Ghostbusters: Night Shift – Visual Development Art. Cr: Sony Pictures Animation ©2026

Release date: 2027

Logline: New York City, 1994 — Five years after the Ghostbusters took the Statue of Liberty for a walk, a new wave of supernatural terror hits the Big Apple, forcing a group of scrappy, young New Yorkers — untrained, underappreciated, and kinda sorta responsible for the problem — to put on proton packs, face their fears, and bust some ghosts.

Executive Producers: Ben Hibon, Elliott Kalan, Jason Reitman, Gil Kenan, Amie Karp, and Dan Aykroyd

THE ONE PIECE

The One Piece (Image: Netflix)

Release date: February 2027

Original manga by: Eiichiro Oda (Weekly Shonen Jump, Shueisha)

Synopsis: Produced by WIT Studio, THE ONE PIECE is a brand new anime adaptation starting from the very beginning of the original manga’s East Blue saga. Separate from the TV anime series that has charged full speed ahead over the course of more than 25 years, this series taps into the expressive potential of modern technology to offer a familiar yet fresh take on the adventures of Luffy.

Director: Masashi Koizuka
Assistant Director: Hideaki Abe
Series Composition: Taku Kishimoto
Character Design & Chief Animation Directors: Kyoji Asano, Takatoshi Honda
Creature Design & Image Boards: Yasuhiro Kajino
Prop Design: Eri Taguchi
Action Animators: Ken Imaizumi, Shuhei Fukuda
Art Director: Tomonori Kuroda
Animation Producer: Ryoma Kawamura
Animation Studio: WIT STUDIO

*The first non-Disney/Pixar animated film ever to win more than one, and Netflix’s second animated film to win the Oscar in 4 years.

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Yet with 94 professional shorts spanning across six categories, 43 students shorts and 35 commissioned films, Annecy’s 2026 batch is a strong one, confirming the medium’s endless possibilities and the diversity of global animation.

In this piece, we take a closer look at nine shorts from the official competition, both professional and graduation films. Shorts that caught our eye and peaked our curiosity beyond must-see titles by Don Hertzfeld, Hisko Hulsing and Anca Damian’s latest contributions, without passing any judgment (that will be up to Annecy multiple juries). In a word, shorts that are remarkable in the way they explore the animated medium, both narratively and visually.

Image courtesy of Annecy Festival

“When the Sea was Calm,” Mamuka Tkeshelashvili (Georgia)

After working as a film technician for many years, Mamuka Tkeshekashvili became an animator in 2015 (“Sunset”). Eleven years ago, he brings “When the Sea was Calm” to Annecy, premiering as part of the Official competition. The Georgian director brings us back to 1992, at the eve of the Abkhazia war, when a young boy experiences first love before witnessing the destruction of his idyllic life.

With its and ever-moving camera, complex settings and strikingly vibrant stop-motion, the film takes its viewers right down in the streets with its characters, at the heart of the growing conflict. And in doing so, “When the Sea was Calm” goes beyond its local context to provide a powerful message about forced migration.

Image courtesy of Annecy Festival

“Daughters of the Late Colonel,” Elizabeth Hobbs (United Kingdom, Germany)

How does one cope with losing an ill-tempered, controlling father figure? In her latest visually striking paper hand-drawn short, BAFTA nominated director Elizabeth Hobbs (“The Debutante,” “I’m OK”) tries to answer this question from the point of view of two middle-aged sisters finding themselves at a loss. An unexpected visitor sparks the courage in them to begin their lives anew, in this merry, colorful, rude yet lyrical modernist short story of the same name, written by Katherine Mansfield in 1920. It’s the fifth time that Hobbs has a short in competition at the French event, a testimony to the importance of Hobbs’ works in the indie animation community.

Image courtesy of Annecy Festival

“The Little White Queen,” Théo Hanosset, Mathieu Georis (Belgium, France)

Plunged into the warm darkness of a summer night, the streetlights of uneventful Belgian small town Ottignies illuminate cars floating in the air. The next morning, a crop circle in the shape of an hourglass appears on the city’s main square, now a parking lot. Two teams of pelota ball, a local sport driven out by cars more than 30 years ago, confront each other, causing the traffic to stop, and the lives of Ottignies’ inhabitants to take an unusual turn.

With its blend of 2D computer, chalk and paint-on-glass animation, “The Little White Queen” stands out as a pamphlet against our speedy way of life, instead pushing its audience to stop, take a breath, and enjoy the little things.

Image courtesy of Annecy Festival

“Fingerbang,” Yeonwoo Kim (South Korea)

Blending everyday life with a fantastic yet eerie twist, “Fingerbang” takes us along the strange journey of a woman following a mysterious finger into a surreal realm, where a tender yet unsettling touch slowly begins to twist her reality. As the black-and-white 2D computer animated short untangles, the Hongik University graduate questions the nature of relationships, dependency and loss. A frightening downward spiral that keeps its audience on its toes, and will make you question your own relationship with your fingers.

Image courtesy of Annecy Festival

“Please,” Anna Mantzaris (Finland, France, Norway, Sweden, Czech Republic)

Within Miyu Distribution impressive Annecy slate (out of the 94 professional shorts, 14 are handled by the French top distributor), “Please” stands out as an ambitious stop-motion co-produced between 5 European countries, following various characters craving affection in a bustling city, all searching for a relationship and finding themselves caught up in situations that are comical, absurd, funny and touching. Deeply universal, this take on love in a crumbling world is a powerful statement against individualism, and a fitting follow-up for Mantzaris’ graduation short “Enough”, which has been screened at over 200 festivals worldwide and has received more than 40 international awards.

Image courtesy of Annecy Festival

“My Bellyaching Skin,” Étienne Bonnet (France)

One of the funniest voice in French animation, Étienne Bonnet (“Craque Ganache,” “L’Horizon du bout du nez”) brings a short in competition for the first time, with the third part of his autobiographical comedy. After tackling his teeth adolescence problems and his short-sight issues, Bonnet gets down to his bowel challenges, When his body suddenly started breaking out in a rash, the artist-to-be naturally assumed at first that it was a skin problem. But, as he explains in this yet again crackingly funny 2D animated short, the itching actually had something to do with my stomach.

Image courtesy of Annecy Festival

“Mis-Angel,” Wyatt Carson (United Kingdom)

A love story between two people who will never meet, “Mis-Angel” is Wyatt Carson’s graduation film from the Royal College of Art, blending multiple techniques (Clay, cut-outs, paint on glass and puppets) and spanning across genres. In this experimental narrative short, a transgender girl explores an overlap of gender and sexual fantasy as she recalls a brief interaction with a stranger at a bus stop. Evanescent shapes and bodies blend to blur the lines between reality and imagination, in this skilfully crafted film with a tender message of self-acceptance.

Image courtesy of Annecy Festival

“Night Song,” Karla Castañeda (Mexico)

Directed by animation veteran Karla Castañeda, “Night Song” fits perfectly into the flourishing landscape of Mexican stop-motion. In an imaginary landscape of predators and victims, a boy and his mother exist and are sustained only by each other’s love, until tragedy strikes. The film shows the tenuous balance between pain and art, and how loss nurtures our inner songs to lead us to acceptance and forgiveness. With delicate and highly complex puppers blending perfectly with vast settings and 3D animated backgrounds, the short is a statement of what stop-motion can convey as a medium, in terms of emotions.

Image courtesy of Annecy Festival

“Acid City,” Jack Wedge, Will Freudenheim (USA)

Presented in the Perspectives section, Acid City unveils itself as a 3D animated 12-minute documentary about a fictional city in the middle of a great acidic ocean. The film follows a film crew over the course of one day, as they interview and document what life is like in the isolated city. Composed of real interviews conducted across New York City embodied by a large palette of colorful characters, as well as fictional ones, the film is a thought-provoking exploration of the city’s resilient and self-sufficient nature, as well as its relationship to water and extreme heat through both a practical and spiritual lens.

Annecy 2026 runs until Saturday 27 June.

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Alley Cats is an adult animated sitcom created by and starring the multi award-winning Ricky Gervais. The series follows the trials and tribulations of a group of feral British cats from all walks of society, who seek companionship while ruminating on everyday life. From the funny to the absurd, the series is packed with Gervais’ signature style of heart and social commentary that audiences have come to expect.

Later this week, Ricky Gervais will also attend Annecy International Animation Film Festival on Thursday 25th June for a discussion of the upcoming series, which features his signature style of heart and social commentary that audiences have come to expect. As part of the discussion, Netflix will also give a world exclusive sneak peek of the first two episodes, ahead of the series premiere.

Alley Cats. (L to R) David Earl as Puke, Diane Morgan as Olive, Jo Hartley as Kitten, Ricky Gervais as Gus, Tom Basden as Ponce, Andrew Brooke as Fang, in Alley Cats. Cr. Courtesy of Netflix © 2026

The 6x15min series, which follows the trials and tribulations of a group of feral British cats who seek companionship while ruminating about the struggles of everyday life, features a bold 2D animation style produced at the UK-based award-winning Blink Industries and boasts a cast that includes Ricky Gervais, Tom Basden, Andrew Brooke, David Earl, Kerry Godliman, Jo Hartley, Diane Morgan, and also featuring Natalie Cassidy and Tony Way.

I don’t think I’ve ever been so excited about a trailer. I can’t wait for everyone to get to know these cats.

-Ricky Gervais (Creator/Writer/Director, Alley Cats)

Alley Cats is co-directed by Elliot Dear, produced by Hugo Donkin and exec produced by Ricky Gervais (Derek Productions), Steven Hamilton Shaw (Shush Creative) as well as James Stevenson Bretton and Ben Lole (Blink Industries) with production design by Tang Heng.

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Pikkuli and Starlight Reindeer (Dandelooo)

Among the company’s key announcements for Annecy is the acquisition of international sales rights to Pikkuli and Starlight Reindeer, a new animated feature produced by Finnish studios AittoFlow and FIlmkompaniet.  The film is currently in production and scheduled for a theatrical release in Finland this October, with Gebeka Films targeting a Christmas 2027 release in France.

Based on the hit preschool TV series which aired in more than 40 territories worldwide, the 80-minute animated family feature follows the adventures of a brave and determined  little bird Pikkuli in a heartwarming story celebrating friendship, courage and resilience.

It’s almost Christmas in Sunny Moor Woods.  The children wait for Starlight Reindeer, the magical creature who brings gifts and joy.  But when the adults decide to cancel Christmas and the magical star fades away, a stubborn little bird named Pikkuli sets off on a winter adventure with friends to find the Starlight Reindeer and bring back the light.  Through icy landscapes, courage and friendship are tested – and the children discover that the true magic of Christmas comes from togetherness.

The acquisition further strengthens Dandelooo Cinéma’s animation lineup, alongside Acorn’s Adventure a new 3D/CGI family feature produced by Czech studio Pure Shore and German animation house Fabian&Fred, currently scheduled for release in 2028.

Dandelooo Cinéma has also secured a number of new international sales for Born in the Jungle, which has been selected for its worldwide premiere at Annecy.

Recently completed, the 72-minute animated feature has added a raft of new distribution deals  across Europe, including Filmladen (Austria), Gebeka Films (France), Arthouse Traffic (Ukraine), Fivia with MegaCom Film (multiple territories across Southeast Europe), CAY Films (Romania and Moldova), Paradiso Films  (Belgium, Luxemburg and the Netherlands), Risi Film (Portugal), Satine Film (Italy), Outside The Box (Switzerland) and Featherstone (Vietnam).

Co-produced by Atom Art (Latvia), Letko (Poland) and Hausboot (Czech Republic) and targeted at 5- to 8-year-olds and for family audiences, Born in the Jungle is inspired by the book by award-winning Latvian author Luīze Pastore and by the real-life adventures of explorer Aleksander Laime and his family.

At its heart, Born in the Jungle is a story about family, kindness, acceptance and learning to take responsibility for one another and the world around us.

During late 1950s in Venezuela, nine-year-old Elizabeth’s summer break takes a wild turn when her little brother Leo vanishes into the jungle.  She must swap her books for bravery not only to find her brother but also to rescue a mystical furry animal from captivity and bring him back up to the legendary Tepui mountain.

Emmanuèle Pétry, Head of International Sales and Acquisitions at Dandelooo, said:

We are thrilled to bring three new family films to Annecy this year.  Together with our recent acquisitions and new sales, these titles demonstrate the continued growth of our theatrical slate and our commitment to building a strong international presence for high-quality animated features.

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(Image provided by the NFB)

Films and artefacts from the National Film Board of Canada (NFB) collection are featured in the new Musée du cinéma d’animation, which opens this month as part of the Cité internationale du cinéma d’animation in Annecy, France. Under a partnership agreement, many of the NFB’s iconic works and archival treasures will join the museum’s permanent exhibition.

The first institution of its kind devoted to the history, techniques and many forms of animation, the museum offers visitors a uniquely immersive journey through the evolution of this art form around the world.

For over 85 years, the NFB has helped shape the language of animation by offering artists a space for experimentation and innovation, encouraging the kind of creative freedom that has inspired generations of filmmakers around the world. Seeing these works, objects and glimpses into the creative process take their place in Annecy’s Musée du cinéma d’animation is a testament to the lasting impact of our filmmakers and the special bond we share with the Annecy International Animation Film Festival, where NFB productions have earned awards throughout the years. We’re delighted to see our work showcased in this remarkable setting and thank our partners at CITIA.

–Suzanne Guèvremont, Government Film Commissioner and Chairperson of the National Film Board of Canada

A journey into the heart of creation

The museum’s permanent exhibition brings together some 20 audiovisual installations designed to showcase the richness and diversity of animation. Among them, an immersive installation consisting of seven themed screens offers a sensory journey through the history of animation, highlighting emblematic NFB films by Norman McLaren, Ryan Larkin, Michèle Cournoyer, Jacques Drouin, Michèle Lemieux, Paul Driessen and other key figures in the field.

The exhibition also features an exceptional selection of artefacts from the NFB’s collection, offering privileged insight into the working methods, experimentation and inventiveness that have shaped the history of animation in Canada.

Pride of place is given to Norman McLaren, with his series of pedagogical montages for Blinkity Blank (1955), Le merle (circa 1959), Neighbours (1952) and Begone Dull Care (circa 1949, co-directed with Evelyn Lambart), as well as artefacts—handwritten and typed notes, collages, photographs, sketches and various experiments on paper—that illuminate his creative process.

Visitors can also discover materials related to Synchromy (1971), including a rare box of handmade sound cards created for McLaren’s pioneering research into synthetic sound, and demonstrations of cut-out animation, working sketches and other materials that reflect his commitment to passing on his expertise.

The collection also includes a watercolour drawing by Ryan Larkin for Walking (circa 1968), as well as two drawings by Ishu Patel for Paradise (1984), one created in watercolour, the other using a backlit pinhole technique.

An essential contribution to the history of animation

Internationally renowned for the diversity of its storytelling and the wide range of techniques explored in its production units, the NFB has established itself as a leader in animated film. Its excellence is recognized by the Academy of Motion Picture Arts and Sciences across all categories, its productions have garnered 79 Oscar nominations and won 12 Oscars, and the NFB received an Honorary Academy Award in 1989 for “overall excellence in cinema.”

The NFB also holds a uniquely historic position in the Academy Award for Best Animated Short Film category. To date, the NFB has received 39 nominations. According to the Academy’s official database, the NFB ranks second in total nominations—just behind Disney (51) and ahead of MGM, Warner Bros. and Pixar.

A history closely linked to Annecy

Since the festival’s inception in 1960, more than 350 NFB films have been included in the official selection, winning 66 awards, including nine Grand Prix du Festival (today known as the Annecy Cristal). Renowned filmmakers like Theodore Ushev, Regina Pessoa, Caroline Leaf, Ishu Patel, Wendy Tilby, Amanda Forbis, Chris Landreth, Co Hoedeman, Pierre Hébert and Joanna Quinn have all been honoured at the festival.

The post Annecy 2026: NFB films and artefacts on display in Annecy’s new Musée du cinéma d’animation appeared first on Skwigly Animation Magazine.

©2026 Pokémon. ©1995 – 2026 Nintendo/Creatures Inc./GAME FREAK inc. TM, ®Nintendo.

Phil Rynda, Director of Original Animation at The Pokémon Company International, joined Aardman’s Sarah Cox, Chief Creative Director, to share behind-the-scenes insights on the project’s development and creative collaboration. Featuring never-before-seen footage from the pilot and in-development production materials, offering the audiences in attendance an early look at Sirfetch’d and Pichu in action, while teasing further details that fans will no doubt be eager to unpack.

It was also revealed that the brand-new adventure is set in Pokémon’s ‘Galar’ region, which shares many geographical similarities with the real-world United Kingdom – a fitting backdrop for a collaboration with Aardman, one of Britain’s most celebrated animation studios, and the regal personality of Sirfetch’d. The panel also touched the project’s distinctly British sense of humour, which is long associated with many of Aardman’s best-loved productions.

It’s an honour to take part in Aardman’s panel at Annecy and talk about the shared commitment to quality, strong storytelling, memorable characters and a genuine respect for audiences and fans. This project gives us a unique opportunity to tell stories from the point of view of Pokémon, made possible by Aardman’s extraordinary craft, remarkable artistry. Their warmth, and affection for this much-loved Pokémon cast are evident in every brilliantly crafted frame.

-Phil Rynda (Director of Original Animation, The Pokémon Company International)

Sarah Cox, Chief Creative Director at Aardman added:

Aardman are delighted to bring the vivid physicality of Stop Frame animation into the Pokémon world. Director Tom Parkinson and team have created a hand-crafted spin on the wonderful Pokémon we all know and love with comedic storytelling that celebrates the quirks, eccentricities and charms of our heroes as they explore Galar on a delightfully offbeat Quest. Aardman and Pokémon share a strong commitment to creativity and talent on this shared quest of our own to bring joy to audiences across the world.

For future updates on Pokémon Tales: The Misadventures of Sirfetch’d & Pichu, visit pokemon.com

The post Annecy 2026: Pokémon and Aardman share new look at ‘Pokémon Tales: The Misadventures of Sirfetch’d & Pichu’ appeared first on Skwigly Animation Magazine.

Image: WIA

The milestone 10th annual WIA WORLD SUMMIT will take place on Monday, June 22^nd at the Impérial Palace Hotel (Allée de l’Impérial, 74000 Annecy) at the Salle de l’Europe and will feature a day-long symposium of panels and focused conversations spotlighting key thought leaders, filmmakers and executives from around the world discussing gender justice – a system of equity and fairness for people of all genders, gender identities and presentations. This year’s event will be recorded and available to the general public at a later date via the WIA website.

Over the last 10 years, I’ve been privileged to witness real, tangible change across the animation, gaming and VFX industries, and I’m proud that conversations sparked on the WIA World Summit stage have helped shape and support that progress. While the industry continues to navigate a period of significant change and contraction, moments like this remind us why community, visibility, and advocacy matter so deeply. As we celebrate the women and nonbinary creators who blazed trails and broke down barriers, we’re also looking ahead with optimism and determination for the next generation of change still to come.

-Marge Dean (President, WIA)

For the past ten years, Annecy and WIA have shared the same commitment: helping build an industry that is more open, more representative, and that finally gives full space and visibility to the half of humanity that for too long was not equally represented. Over the last decade, things have moved forward. Real progress has been made, even if there is still a long way to go. This partnership has never been symbolic for us. It reflects values we deeply believe in. It is essential to continue creating opportunities, visibility and concrete support for women, and we are determined to keep building new initiatives and meaningful actions in that direction. I would like to warmly thank WIA, Marge Dean and all the teams who have carried this important movement over the last decade, and who have helped Annecy and WIA speak with one united voice.

-Mickaël Marin (Chief Executive Officer, CITIA)

The official program for the day will be as follows:

Welcome from WIA and Annecy Festival

WIA President Marge Dean and CITIA CEO Mickaël Marin welcome viewers and attendees, followed by an introduction to the day’s events by WIA Secretary/Inclusion Chair Julie Ann Crommett.

SESSION 1 | 10 a.m. – Enduring Voices, Essential Work

Description: This panel spotlights creators over the age of 60 who are producing bold, relevant work in animation. In an industry that often centers emerging voices, the conversation highlights artists whose creative output remains vital and evolving. Panelists, including Florence Miailhe (Director), Imogen “Mo” Sutton (Animation Masterclass, Producer/Director) and Joanna Quinn (Beryl Productions International Ltd, Director), will share insights into their current work and creative practice, and how they continue to contribute to the medium today. The conversation celebrates the creative force of artists whose work spans decades.

SESSION 2 | 11 a.m. – Directing Animation Today

Description: Moderated by Holly Edwards, President of Skydance Animation, this panel brings together feature animation directors across the globe whose work reflects a range of creative and production approaches. Elshadai-Gabrielle Dawit Tedesse (Arma, Creative Director, Writer, Editor), Matisse Gonzalez Jordán (Director), Lauren Montgomery (Director at Paramount Animation) and Alyce Tzue (Netflix, Director) will share insights into their current projects, creative process, and the ways they develop and realize their vision through different pathways. The conversation explores how these varied approaches shape the work itself, offering a look at both the creative and practical journeys behind directing feature animation today.

SESSION 3 | 2:30 p.m. – Short Films and Fresh Perspectives

Description: This panel, moderated by Meredith Shea (Chief Membership, Impact, and Industry Officer for the Academy of Motion Picture Arts and Sciences), brings together directors of short films selected for this year’s festival, spotlighting a range of creative approaches in animation. Karla Casteneda,  Catherine LePage,  Kat Messing and Agnes Patron (Sacrebleu Productions, Director) will share insights into their creative process and how they use short form to explore ideas and experiment. The conversation highlights the short film as a space for fresh perspectives, creative risk-taking, and original work.

CLOSING FIRESIDE CHAT | 3:30 p.m. – From Then To Now: A Conversation with Bonnie Arnold

Description: This closing fireside chat features two-time Academy Award® nominee Bonnie Arnold, a prolific producer and past elected Board of Governors and Vice President of the Academy of Motion Picture Arts and Sciences, whose leadership and vision helped shape a pivotal chapter in WIA’s evolution. In conversation with Justin Johnson, Head of  Programme for the British Film Institute, Bonnie will reflect on both her creative journey and her role in WIA’s transformation, as well as the changes across the industry and the work still ahead as WIA marks its 10th World Summit at Annecy.

Stoking the sense of community beyond our day-long symposium, for the second year, WIA will be hosting a picnic meet-up at Jardins de l’Europe the afternoon of Wednesday, June 24. It’s a great way to connect with other attendees and professionals in a relaxed environment.

Talented South Korean artist Jisoo Kim created this year’s powerful WIA World Summit Art. Kim’s talent has won her various awards and accolades, including receiving a CalArts full scholarship from LAIKA and numerous international animation awards.

The post WIA celebrates 10 years of the WIA World Summit at Annecy appeared first on Skwigly Animation Magazine.

When best friends Bobby and Romy accidentally open a portal to evil, their tranquil coastal town transforms into a hotspot for terrifying creatures of doom. As the ordinary teens navigate this extraordinary mystery, they face off against literal and inner monsters in this epic comedy that combines thrills, chills, and emotional spills.

The series stars Max Mittelman as Bobby, Madison Calderon as Romy, Noel Gibson as Kim, Jon Bailey as Doug, and Zehra Fazal as Jenny.

The Doomies (Disney+)

The Doomies is produced by Academy Award®-nominated studio Xilam Animation for Disney Television Animation and co-created by Andrès Fernandez, Pozla (aka Rémi Zaarour), and Henry Gifford. Fernandez directs all 22 episodes, and Xilam’s Marc du Pontavice serves as producer.

The Doomies is in competition at the 2026 Annecy International Animation Film Festival in the TV Films category. The episode Night of the Fishing Dead was selected from more than 2,400 submissions and will be screened alongside other official selections from June 21-27.

The post Disney+ drops official trailer for ‘The Doomies’ appeared first on Skwigly Animation Magazine.

NFB lineup at a glance

• International premiere in official competition: Catherine Lepage’s new animated short Ultra Strong is produced and executive produced by Christine Noël, who is also co-producer of the Academy Award–winning NFB short The Girl Who Cried Pearls.
• Work-in-progress animated feature: Brigitte Archambault and Eva Cvijanović’s The Shiatsung Project, co-produced by Embuscade Films and the NFB.
• MIFA: Telefilm Canada/NFB networking event with Suzanne Guèvremont, Government Film Commissioner and Chairperson of the NFB.
• Women in Animation World Summit: Catherine Lepage joins the Short Films and Fresh Perspectives panel.
• Eight NFB films showcased in the festival’s Animated Thrills and Chills program.
• Annecy Classics section: Gilles Penso and Alexandre Poncet’s Frenetic Arts documentary Walking with Animators features a strong NFB presence, with a wealth of archival material provided by the NFB’s legendary archives unit.

Taking place this year from June 21–27, the Annecy Festival is the world’s largest event dedicated to animated films.

Ultra Strong (Dir. Catherine Lepage, image provided by the NFB)

Official Competition | Short Films

Ultra Strong by Catherine Lepage (9 min 35 s) | INTERNATIONAL PREMIERE
Produced at the NFB by Christine Noël

This candid and self-deprecating autofictional story by Catherine Lepage invites us to reexamine our youthful ideals—from Cinderella to Iron Maiden.

With the special participation of Bruce Dickinson, legendary singer, songwriter and frontman of Iron Maiden, who plays an idealized version of himself in both the English and French versions of the film, and narration and original music by Régine (Arcade Fire).

Catherine Lepage—director of the 2019 NFB animated short The Great Malaise—used an almost all-female crew for Ultra Strong. In addition to Régine (narration and music composition), the team included sound designer Sacha Ratcliffe, animator Rachel Samson and editor Xi Feng.

Ultra Strong received the Special Mention for Best Animated Film and the People’s Choice Award at the 2026 Sommets du cinéma d’animation in Montreal.

Works in Progress | Feature Films

The Shiatsung Project by Brigitte Archambault and Eva Cvijanović
Producers: Félix Dufour‑Laperrière (Embuscade Films), Christine Noël (NFB) and new AMPAS member Jelena Popović (NFB). Associate producer: Nicolas Dufour-Laperrière (Embuscade Films).
Executive producer: Christine Noël (coproducer and executive producer of the Academy Award-winning NFB short The Girl Who Cried Pearls).

In a suburban bungalow surrounded by an impenetrable wall, a woman lives alone with a talking screen as her sole companion and guardian. The screen fulfills most of her wishes without ever revealing the purpose of her existence.

Co-directors Archambault and Cvijanović (Hedgehog’s Home, 2017) will be joined by producers Félix Dufour-Laperrière and Jelena Popović, and assistant director Bren López Zepeda. This work-in-progress presentation will be moderated by animator and film educator Vivien Forsans.

The Shiatsung Project (Dir. Brigitte Archambault/Eva Cvijanović, image provided by the NFB)

MIFA

NFB/Telefilm Canada networking event: “Networking opportunity with Canada”
Tuesday, June 23, 7 to 9 p.m. – Garden Party (located in the Impérial Palace park). By invitation.
Join Suzanne Guèvremont, NFB Chairperson, and Julie Roy, Executive Director and CEO of Telefilm Canada, at this invitation-only event to explore new partnership opportunities and celebrate Canadian animation.

Short Films and Fresh Perspectives panel | WIA Summit
Catherine Lepage will take part in Short Films and Fresh Perspectives, a panel bringing together short-film directors to explore diverse creative approaches in animation.
Moderated by Meredith Shea, Chief Membership, Impact and Industry Officer at the Academy of Motion Picture Arts and Sciences (AMPAS), the session is part of the 10th WIA World Summit, which celebrates the talents and visibility of women and non-binary animation creators.

Animated Thrills and Chills
This program at Annecy 2026 celebrates the true force of animation: It’s not a genre, it’s a language that brings out the full potential of cinema. The program includes eight NFB films spanning three themes:

• The Trenches by Claude Cloutier—presented as part of “The War, Yes Sir.” Cloutier is also a member of the jury this year, in the Graduation Films & Off-Limits Short Films category.
• The Tender Tale of Cinderella Penguin by Janet Perlman and Sleeping Betty by Claude Cloutier—both presented in “It’s a Good Storyline”.
• Land of the Heads by Cédric Louis and Claude Barras, Batmilk by Brandon Blommaert, Sainte Barbe by Cédric Louis and Claude Barras, A Monster’s Calling by Louise Johnson, and Bone Mother by Dale Hayward and Sylvie Trouvé—all screening as part of “Little Thrills.”

Walking with Animators | Annecy Classics category
Filmmakers: Gilles Penso and Alexandre Poncet
Production: Frenetic Arts
National Film Board of Canada archival footage is featured in the documentary Walking with Animators—a project eight years in the making. It includes more than 70 interviews, among them one with Eloi Champagne, the NFB’s Head of Technical Direction and Production Technology, as well as several conversations with filmmakers Theodore Ushev, Regina Pessoa and Joanna Quinn. The film features nearly 130 excerpts from works from around the world and has received support from leading studios and top-tier schools, including Walt Disney, Pixar, Warner Bros., Netflix, Miyu, Folimage, Aardman Animations, Aardman Academy—and, of course, the National Film Board of Canada.

NFB support for Canadian independent filmmaking at Annecy
Three animated shorts by independent filmmakers that received production assistance from the NFB’s Aide au cinéma indépendant du Canada (ACIC) and Filmmaker Assistance Program (FAP) are also screening at Annecy.

In Official Competition:
Marcy Page’s Virgin Fandango (producers: Blue Dada Productions and Ciclope Filmes)—FAP
Blessed, directed and produced by Birute Sodeikaite—FAP

In the Perspectives competition:
Julie Charette’s La comète (producer: Embuscade Films; distributor: La Distributrice de films)—ACIC

The post The NFB at the Annecy Festival: A Diverse Lineup of Films, a Feature WIP, MIFA Activities and More appeared first on Skwigly Animation Magazine.

Kiri and Lou Go Raaa! (© Stretchy)

Leading kids’ entertainment specialist CAKE and New Zealand’s award-winning animation studio Stretchy announce the much-anticipated animated feature Kiri and Lou Go Raaa! will have its world premiere at the 2026 Annecy International Animation Film Festival in June.

The film will screen on Wednesday 24 June at 2.30pm at Bonlieu Petite Salle, followed by a Q&A with voice actors Jemaine Clement and Olivia Tennet, alongside animation director Antony Elworthy. Additional screenings will take place on Tuesday 23 June at Pathé 5, and Thursday 25 June at Pathé 9 & 10 at 9.30am.

Based on the BAFTA-nominated, internationally acclaimed animated series, the 60-minute prequel movie follows Lou, a gentle purple creature with an embarrassingly stretchy trunk, as he rescues Kiri, an ungrateful little dinosaur, from a flood — sweeping the pair into the greatest adventure in prehistory. Along the way, they discover that you can find friendship in the wildest places.

New Zealand’s first stop-motion animated feature film, Kiri and Lou Go Raaa! is handmade by Stretchy in association with the New Zealand Film Commission, NZ On Air, and Hinterland, and will be theatrically distributed in New Zealand and Australia by Vendetta Films, with CAKE handling the rest of world.

Grounded in warmth, humour, and emotional honesty, Kiri and Lou Go Raaa! combines sculpted clay characters with richly textured paper-built environments made entirely at the Stretchy Studio in Ōtautahi Christchurch.

Kiri and Lou Go Raaa! (© Stretchy)

Featuring the voices of Jemaine Clement (Flight of the Conchords, Moana, Rio, What We Do In the Shadows) as Lou and Olivia Tennet (Lord of the Rings, Power Rangers RPM) as Kiri, Kiri and Lou Go Raaa! is written and directed by Harry Sinclair with visual development by Ant Elworthy (Pinocchio, Isle of Dogs, Ma vie de Courgette, Coraline) and music and songs by Don McGlashan in collaboration with Harry Sinclair (The Front Lawn).

Kiri and Lou has quietly built a global audience, and the feature is the natural next step for the brand. Annecy is exactly where it belongs, in front of buyers who understand what this property can do theatrically and on platform. We’re looking forward to taking it out from there.

Ed Galton CEO, CAKE

Kiri and Lou Go Raaa! has been crafted with enormous care by a dedicated team of artists sculpting its evocative stop-motion world frame by frame. This recognition from Annecy 2026 is a proud moment for everyone who has helped bring this world to life.

Producer Fiona Copland

With Annecy’s Présente section focusing on family-oriented animation, this is the perfect World Premiere for Kiri and Lou Go Raaa!. Both this film and the acclaimed series preceding it have a distinctive voice, a deep sense of care for young audiences, and world-class talent behind them. We’re delighted by the film’s selection for the world’s leading animation festival and can’t wait for longtime fans and new viewers to fall in love with Kiri and Lou Go Raaa!

Chris Payne, NZFC Deputy CEO & Head of Co-Production and Incentives

The post Kiri and Lou’s Big Screen Debut, Kiri and Lou Go Raaa! Selected for Annecy appeared first on Skwigly Animation Magazine.

A full rundown of Netflix’s Annecy activity includes:

STEPS Netflix Animation © 2026

Steps Work-in-Progress session at Salle Pierre Lamy on Tuesday, 23 June with directors Alyce Tzue and John Ripa, art director Dan Casey, and head of character animation Jason Figliozzi, who will share their creative insights on the re-imagining of the classic Cinderella tale, told from the perspective of one of the so-called “evil” step-sisters.

The One Piece Netflix Animation © 2026

Also on Tuesday, Netflix will host a dedicated Anime Studio Focus titled “Netflix Anime: Bold Stories, Boundless Worlds” at la Salle de la Volière. As the home for anime with more than 150 million Netflix members around the world choosing to watch it, this session is set to be a must-see showcase of the very best of anime for every taste and mood, whether you’re a hard-core fan, casual viewer or a beginner to the medium.

Bass X Machina Netflix Animation © 2026

Buckle up for an in-depth look at the upcoming slate led by THE ONE PIECE, Sparks of Tomorrow, THE RIBBON HERO; as well as anime-inspired series Blue Eye Samurai’s season 2 and Bass X Machina.

Charlie vs. the Chocolate Factory Netflix Animation © 2026

Next on Netflix Animation: from Ghostbusters to Brad Bird’s Ray Gunn returns to Théâtre Bonlieu on Wednesday, 24 June. Executive producers Jason Reitman, Gil Kenan, and showrunners/Executive Producers Ben Hibon and Elliott Kalan will unveil a world exclusive preview of next year’s Ghostbusters series produced in partnership with Sony Pictures Animation. And visionary director Brad Bird will take to the stage and provide a very personal insight into his animated feature Ray Gunn, his 30+ year in the making passion project produced at Skydance Animation; this conversation will be moderated by stop-motion legend, Peter Lord, Co-Founder and Creative Director of Aardman who are also celebrating their 50th anniversary this year. Additionally, the session will feature glimpses at THE ONE PIECE series and the Charlie vs. the Chocolate Factory animated film.

Ray Gunn Netflix Animation © 2026

A masterclass with multi-award-winning comedy genius Ricky Gervais at Théâtre Bonlieu follows on Thursday, 25 June. Ricky serves as creator and director on his upcoming adult comedy series Alley Cats and will participate in a moderated conversation. Audiences will also get an early look at two episodes ahead of its debut on Netflix on Friday, 7 August.

Ally Cats Netflix Animation © 2026

THE RIBBON HERO will have its world premiere as part of the festival’s Annecy Presents programming.

The Ribbon Hero Netflix Animation © 2026

To celebrate the first anniversary since KPop Demon Hunters became a global and cultural phenomenon, there will be an outdoor sing-along screening on Wednesday, 24 June by Lake Annecy.

And finally, Sparks of Tomorrow (Episode 1), Long Story Short (Episode – “Shira Can’t Cook”) and Love, Death + Robots (Episode – “How Zeke Got Religion”) will compete in Annecy’s Official TV Films Competition.

Annecy returns 21 to 27 June 2026

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