Naoko Yamada’s ‘The Colors Within’ (Credit Gkids)

Sometimes, being at Annecy means going from one end of the city to another to catch a screening. And sometimes, even though venues are very close, it’s the screenings that take you far away. Such was the case with this year’s The Colors Within, which I discovered just after the not-so-great-yet-interesting Hazanavicius animated debut, The Most Precious of Cargoes. Because unlike the latter, which to me seems to miss the actual specificity of the medium, Naoko Yamada’s latest film fully discloses within seconds how much she is a master of her craft.

The Colors Within follows Totsuko, a high school synesthete student who perceives the world through a different palette. People, places and sounds light with wonderful and joyous colors around her, making her life a whimsical fantasy, and a beautiful mess. A student in a catholic boarding school, one day she gets  – literally and metaphorically – struck by classmate XXXX, an instable kid struggling in silence with her teenage life and the inability to fulfill her grandmother’s expectations. Kimi Sakunaga, just before Kimi decides to drop out abruptly. Wanting to reunite with the mysterious and silent girl, Tostuko sets out on a journey throughout the city, where she finally finds Kimi working for a local bookshop. They reunite, and decide to form a band with Rui, an undergraduate who dreams of composing music but whose mother expects him to take over the family clinic. Together, this trio sets out on a journey of self-discovery through music, friendship and love.

As unpretentious as it is, Yamada’s characters bring tenderness and profound emotions to this simple tale of adolescence, reuniting once again with writer Reiko Yoshida, with whom she previously worked on The Silent Voice. The beauty of the animation, mixing 2D and 3D, shines through Totsuko’s synaesthesia, setting the tone of the film as early as the first sequence. From then on, music and colors will provide much needed breathing moments for the characters, who feel more often than not locked into an adult world full of expectations, rules and pressure of various kinds. Where in other of Yamada’s films, the children themselves were their own metaphorical enemies, The Colors Within revolves around the weight of expectations and how to cope with them as a teenager, stuck between childhood’s innocence and the bleakness of adulthood. Characters often seemed locked within the very frame, facing their own frighteningly plain future without the opportunity to turn back. For Kimi, Rui and Totsuko, who already feel out of place, this perspective is truly terrifying. But while Yamada doesn’t shy away from the harsh realities of adolescence, each and every character in the film has layers of compassion and sympathy hidden under their toughened skin. Because every adult remembers that they once were at the very same point, clueless and lost. And from their place, they can say now with a gentle smile on their face that in the end, everything will be okay.

Naoko Yamada’s ‘The Colors Within’ (Credit Gkids)

Taking her time to build this message throughout a slow-paced and calm narrative, Yamada weaves animation, music and colors with the utmost precision. From the beautiful rehearsals of the band to the simplest transition over a peaceful coastline. Through the music created by Kimi, Totsuko and Rui themselves, the trio bring us along on their journey of self-discovery, with truly heartfelt moments and contemplative sequences. I would personally spend hours listening to the melancholic melodies of Rui’s Theremin, and then dive myself into the energy of Totsuko’s keyboards. Helmed by Kensuke Ushio for his third collaboration with Yamada, the score mirrors perfectly the turmoil of emotions the characters go through, ending beautifully with an animated concert for the ages. I defy anyone to survive the last minutes of the film without a gentle planetary humming.

Beautifully animated, The Colors Within will speak to parents and children alike, reaching the inner children of the former while appealing to the ever constant concerns of the latter. Sometimes, all you need to lighten your world is just a touch of color, which may be closer than you think.

The post ANNECY 2024: The Colors Within Review | Naoko Yamada’s Latest Feature Reaches Your Inner Child Through Music & Colour appeared first on Skwigly Animation Magazine.

Joining Woods is a talented cast including Carl Tart (Ground Crew) as overqualified sound engineer Carl, Caitlin Reilly (Loot, Hacks) as put-upon researcher Fabian, Charlie Bushnell (Percy Jackson and The Olympians) as fratboy intern Chase, J. Smith-Cameron (Succession, Rectify) as widowed boomer and co-exec producer Barb, with Mike Judge himself as the voice of hippie/Port Authority sex worker-turned-culture critic Sandy.

With this week seeing the show’s fifth episode ‘Yoghurt Week’ screening in competition at the Annecy International Animation Film Festival as part of the festival’s TV Films programme, Skwigly leapt at the chance to do our best NPR host impersonation and interview co-creators Zach Woods and Brandon Gardner to learn more about this unique and compelling series.

To start at the start, it’d be great to hear how you folks came together having sort of working together came up with the concept for the show.

Zach Woods: I had worked with Mike Judge on Silicon Valley, and he had observed how solidly and deeply I embody the archetype of the obnoxious, over-educated coastal schmuck (he didn’t put it that way, but I could read between the lines). And we’re pals, me and Mike, and he was like “Would you ever want to make a show or you play an NPR host?”, because I also ask people questions a lot, I think because I’m generally curious about people and probably prefer to ask them questions than to be asked questions. So he’d noticed that I have a tendency towards ‘interviewing’ people and that I have the unfortunate affectations of the NPR set, and so he was like “Would you want to do a show where you interview people as an NPR host, and maybe it’s a mix of stop-motion and live-action, because he was a big fan of Space Ghost I know. And so then Brandon and I, who have worked together for a long time, talked about it, and the three of us started fleshing out the world. And that’s that.

I guess for the benefit of our readers outside of the US., can you explain what NPR is, that kind of differentiates it from your common or garden variety of radio?

Brandon Gardner: Yeah, I’d be curious as to what the international comparisons are for it. But in the United States, most media is not public media and it’s very influenced by corporations and profit. And NPR is a sort of magical place in that it’s listener-supported radio. The reputation in the United States, I think, is that it’s sort of a more liberal media source, but also like a gentle, ‘touchy-feely’ way of getting news – but they also have entertainment programs and all sorts of different coverage. And when we were thinking about doing an NPR show and setting it in that world, it’s also sort of a satire, less of NPR itself than of the sort of people who listen to NPR, which is like Zack and myself, and the reputation of people who listen to NPR is often that we’re these sort of progressive do gooders, but at the same time, often in our real lives don’t actually measure up to our professed values.

In The Know © 2023 Peacock TV LLC. All Rights Reserved.

Yeah, I was sort of curious if the characters were drawing from life experience, people you knew? Is it mostly then just yourselves ,or aspects of yourselves?

ZW: Another characteristic of people of that particular demographic is narcissism. So of course it is populated solely with versions of us!

BG: I think it’s a mix. I think when Zach and Mike and I were first talking about this show, we were telling stories about ourselves and things we’ve done and also things we’ve witnessed in other people. And then the same thing, when we started our writers room, like one thing we talked a lot about with the writers in what ways we all related to the characters, and who in our lives that we knew that were like the characters – and we tried to borrow as much as we could from us and real people so that it didn’t feel like these two-dimensional stereotypes of a type of liberal person.

I definitely felt a certain connection to Lauren. I’ve been doing podcast interviews for about 12 years, and there are certain temptations, I think, to kind of inject yourself into the narrative of the interviewee or put your own agenda on it (a bit like I’m doing now). I think it’s also kind of multigenerational, there are different age groups that are lambasted, it’s not so much boomers taking a pop at Gen Z or vice versa, it takes shots in every direction.

ZW: That’s so kind.

BG: Yeah, that’s nice that that came across.

ZW: There’s a quote that I think about very often from the actress Cherry Jones, where she said that theater is where we confront each other with our shortcomings; I’ll show you mine, you’ll see yours reflected from the stage. And if all goes well, we’ll have a night of laughs and catharsis and go back out into the night feeling, in some way, comforted. I’m paraphrasing, but I really believe that hypocrisy and being disappointing and morally shabby in instances, those are the things that don’t make you a bad person; it just makes you a person who is sometimes bad, which is all people as far as I know! I mean, I have a limited sample size, but I think rather than trying to make jokes to imply a distance between people like that, and people like us, it’s all people like us, I think. So if you’re saying it doesn’t sort of parse out the losers and the winners, that’s nice, because we don’t want to do that.

Yeah, it sort of feels like everyone’s kind of trying to do their best. And it’s a very interesting confluence of things – it’s a sitcom, it’s kind of a radio show in itself, kind of a magazine show with the interview segments, and you’ve got your workplace politics, the social satire aspects. Most apropos for us would be the stop-motion angle, and obviously Mike Judge has a pretty solid track record with animated sitcoms, was that something he brought to it, or were you all into the idea of having it be animated?

BG: It was his initial idea. He told us that he’d always wanted to do a stop-motion show, that he just loves stop-motion and hadn’t been able to do it yet. And so he brought it up to us as an idea of like “Hey, what do you guys think of this? Would you be interested?”, and we thought about it. I think besides the fact that the show – and I feel that, because I’m not responsible for it, I can say this – is so beautiful, like we just we just love how it looks. But also, when we were first thinking about it, we thought “Oh, stop motion. This is also sort of thematically sort of perfect for our show, that the type of characters we have, with these large heads and fragile bodies, are so well-represented by puppets. I also think, at least in the United States, that when people think of stop-motion, maybe because it’s used in Wes Anderson movies sometimes, that there’s a ‘twee’-ness to the form for people that I think also sort of fits the NPR world.

In The Know © 2023 Peacock TV LLC. All Rights Reserved.

You mentioned Space Ghost before, and yeah, that definitely popped into my mind. I was kind of interested in how you actually go about creating those interview scenes. Were they completely ad-libbed?

ZW: Yes, with the exception of the one where Fabian interviews Jorge Masvidal, the cage fighter. That was scripted because it’s basically a narrative arc in the episode. But even in that one, he improvised, I would say probably 50% of what made it to the screen.

BG: A lot of the specifics, yeah.

ZW: And then the only other thing that we ever asked people to fabricate was at one point we said during Tegan and Sara’s interview, we said “Could you please pretend to be nauseous and leave?” But aside from that, everything was improvised.

BG: The beauty of it is that Zach will speak to them in character, where they’re only seeing a picture of the puppet. They’re hearing his voice and he’ll speak to them for about an hour. We have two great editors, but one of them, Kelly Lyon, she would take that hour and find the best three minutes, and also sort of artfully have it feel like one question is leading into the next one organically, even though they might have been separated by 20 minutes in the actual interview.

In general, how do the guests respond when this concept is pitched to them, being interviewed by an animated puppet and, I guess, having to play it as straight as possible? Was everyone’s game for it or was there some resistance?

BG: Everybody who did it, I think, was very game for it. I was sort of amazed by how well all of them just started acting like this was a real interview and didn’t seem uncomfortable with any part of it. Especially some interviews like Mike Tyson and Roxane Gay, where the Lauren characters is bringing up their personal lives so much, they’re so game to go with that and treat him like he’s a real person with real problems. We were like, looking for certain types of guests, like we were asking all these different athletes, and I think a lot of them were a little nervous about what exactly this was, or if we’d be making fun of them. The thing we tried to tell everybody was that the joke would always be on Lauren, and that we just needed them to be themselves.

In The Know © 2023 Peacock TV LLC. All Rights Reserved.

The animation as a whole, it’s so strong, and especially considering it’s generally not an action-packed series…

ZW: How dare you, Ben!

BG: It’s not?!

You have so much being communicated with the body language, and they’re really incredible performances, the puppet craftsmanship as well is really nice. It felt, to me, quite different. Was the animation studio Shadow Machine?

ZW: Yeah it was Shadow Machine, and that place is a magic place. If anyone who encounters this interview has a chance to work with Shadow Machine, I highly recommend it. It was all animated in their kind of batcave up in Portland, Oregon, and it’s just all of these people who are such artists, both in the sense that they have cultivated an incredibly difficult technique and craft. And also in terms of their orientation towards the world and their work. No one becomes phenomenally wealthy or famous for being a stop-motion animator, the only reason to do that job is because you love that job. And it requires patience, both in the micro of how animating requires patience, and I have to assume it requires patience in the macro, in terms of finding opportunities where you can actually do it and be solvent in your life. It’s funny, I have friends who are dancers, you know, very talented dancers, and so they remind me of each other in a weird way, the dancers who tour the world doing these incredibly beautiful performances, but are never in pursuit of fame and fortune. It was the same sort of thing with Shadow Machine, and they’re so talented.

In The Know © 2023 Peacock TV LLC. All Rights Reserved.

Yeah, there are some names in the credits that I was happy to see. The animation director Brian Leif Hansen has an incredible CV – Pinocchio, Laika, My Life as a Courgette was one of my favorite films of the last ten years…

ZW: I’m so glad you brought that up. Truly, I’ve watched that movie like a million times. Céline Sciamma is actually a huge influence on Brandon and me, because she gave this BAFTA talk that really changed the way we write actually. And then they did the American version, which is cool and everything but, at the risk of being like an NPR cliche, it’s like “the French version was better” – but it is! (Laughs).

BG: Yeah, and to just jump off your compliment for Brian, every single shot we talked about with the animator who was animating it, with Brian next to them. We just had so much trust in all the animators, who are all geniuses, and then also in Brian to have ideas that we wouldn’t think of, because we don’t know stop-motion, and sometimes translate what we were going for if we were talking to them as actors. There’s something that, when we first heard it, I was very scared, which is that in stop-motion, you have one take because it’s so time consuming and expensive to reshoot something. You talk to them, they go shoot the scene, then you see it later and that’s the scene, right? Unless something really terrible happened, you have to go with it. And within a few weeks, their work was so consistently amazing I relaxed, and it was like, “Oh, they’ve got it”. A lot of that was how good the individual animators are, but it’s also trusting that Brian’s overseeing everything, and making sure that everything fits together.

ZW: I think this is something that maybe doesn’t get touched on all the time, but it’s so important to shout out when it happens: Brian had such rigorous standards for the quality of the animation, and such passion, but he was also the team leader. And the way he led was so nurturing, where there were the most experienced, seasoned animators, and then there were people who had literally never done it before, professionally. His quiet leadership of people was so humane, and so artistically exciting. I think that is really so important. You know, it’s like a teaching hospital – you’re doing the thing, but you’re also teaching the thing – and he was a great, great leader in that way.

BG: He cares so much about it being as good as possible, but he also has to be the one who has an eye on how quickly they’re moving. I think the one thing when we’ve talked to other animators that do stop-motion and are like “that’s crazy”, is how fast they worked, that they did these six episodes, which I guess is about three hours of of animation, in like eight months. That’s so fast. So he was the one who was both like, nurturing these animators and making sure they’re doing their best work, but also making sure they move quickly and don’t slow down, or else they would run out of money and the show would be over.

In The Know © 2023 Peacock TV LLC. All Rights Reserved.

Do you plan on doing more with these characters? Another season, maybe, moving forward?

ZW: I don’t know…it takes a long time, it’s the kind of thing where even if we were to start today, it would be a while before they ever appear in any viewable forum. It’s interesting, Brandon and I were talking about it too, that with the election coming, it would be a totally different endeavor. Not a bad one, or a good one necessarily, but different, because it would come out after the election, but you would create it before.

BG: Yes, you’d have to imagine “What will the world look like?” Or what would the United States at least feel like next year? And it’s like, “…I dunno!”

In the Know “Yogurt Week” is screening this week at the Annecy International Animation Film Festival in the TV Films in Competition 5 programme:

The complete series is currently available to watch in the US on Peacock.

The post In The Know | Interview with Zach Woods and Brandon Gardner appeared first on Skwigly Animation Magazine.

Situated within an idyllic, lakeside, medieval French town with a castle on one side and a palace on the other, its easy to see why the event has been attracting animation fans of all persuasions for over 60 years.

Annecy gets bigger every year, with new venues popping up to host the huge programme of events and screenings. If it’s your first time or even if you’ve been before it can be a daunting experience, with lots of weird customs and unexpected things to deal with – but fear not for your old pals at Skwigly are here to give you a guide to Annecy whatever year you are planning on attending!

1. Book accommodation early! Keep a good relationship with the person you book with so you can get the same place next year if you like it.
2. Wear sensible shoes – there is a lot of walking from place to place so a good pair of trainers with memory foam will keep you floating from event to event.
3. Wearing insane shoes that only an idiot would wear? There are regular coaches up to MIFA from the Bonlieu, save your feet!
4. The MIFA marketplace is a rush of postcards, leaflets, information and freebies. Head up there and indulge in demonstrations, meetings and presentations.
5. Bring an umbrella and sunglasses, the weather can be unpredictable. You’re likely to find yourself using both at the same time.
6. Book tickets for events online AS SOON AS POSSIBLE and book your favourite things first. Don’t go in order, these tickets go quicker than Glastonbury so if you want to make the big Pixar screening book it the second it becomes available.
7. See the student films in competition screenings as late as you can, they’re usually filled with the filmmakers and their cheering cohorts. The energy in the room is amazing!
8. Don’t forget the parties! There are plenty of free meet ups such as FSTVS. Every country hosts their own party so you won’t be far from a small bar chock full of people spilling into the streets. They are a great way to meet peoples so try to get invites to as many as you can.
9. A ticket does not guarantee entry to an event, be sure to get to your event early and join the ‘I have a ticket’ queue. They start letting people without tickets into events with 5 minutes to spare.
10. Likewise if you don’t have a ticket for an event it can be worth joining the ‘I don’t have a ticket’ queue, though the more popular the event the less likely you are to get in. Annecy have a guide here.
11. Don’t be alarmed by the weird popping and farm animal noises people make before the screenings start, or the tendency to scream LAPIN! when people see a rabbit on screen. This is all part of the Annecy experience.
12. You WILL get hit by a paper aeroplane. Sorry about that.
13. Save room in your suitcase for whatever goodies you buy from BDfugue comic book shop in the Bonlieu.
14. Saturday there is a picnic, pedalo race and rounders game by the lake. Bring your own food and booze and a musical instrument if you have one for an informal, entertaining and laid back end to the Festival.
15. Throughout the week there are late night open air screenings that take place next to the lake and on the Monday after the festival those still in the town are treated to a screening of all of the winning films on the same screen.
16. Eat Raclette at least once whilst you’re there. They literally scrape melted cheese onto your plate, but it’s okay because you’re on holiday.

Above all else try and have fun! The experience flies by and you’ll be back at the airport before you know it ready to head home, so make the most of every moment and ‘bon festival!’

Annecy International Animation Film Festival returns 9-15 June 2024 Keepo your eyes peeled on Skwigly for coverage of the event!

The post The Skwigly Annecy Survival Guide appeared first on Skwigly Animation Magazine.

The Annecy Festival has been an integral part of my life for more than 30 years and many key moments in my artistic career have happened here. It is a great honour to be invited to design the Festival poster for a second time, especially as Portugal is this year’s guest country. To create this image, I drew on my deep love for Annecy, for Portugal and its history, but also the fact that I’m a woman. Hence, a woman is at the heart of the poster’s image as a tribute to them. They are endowed with supernatural powers, these unsung, overshadowed heroines and devoted their entire lives to their families. And yet, they still sing and dance.

In the clear Annecy Lake waters or in our Portuguese ocean, this woman represents the balance between grace and power in the face of adversity. She is both a swimmer and dancer as she sings in her long dress. A reference to the fado, an expression of the balance between exhilaration and solemnity, intertwines with red carnations, a symbol of the democratic revolution celebrating its 50th anniversary this year.

Regina Pessoa

The Festival has shared a special relationship with Regina Pessoa for many years. We collaborated with this talented artist and director on the poster in 2015 and have been delighted to see her win several awards for her work. With Portugal as our guest country this year, it was only natural to invite Regina to design the poster for this edition.

Marcel Jean, Annecy Festival

Annecy Festival will be taking place between 9-15 June 2024, while Mifa will be taking place 11-14 June 2024.

About Regina Pessoa

Regina Pessoa was born in Coimbra, Portugal, in 1969. She studied painting at the School of Fine Arts – University of Porto.

In 1999, she directed her first film The Night using an animated engraving technique on plasterboard. Then, working with a variety of animated engraving techniques, she created and directed auteur films including, Tragic Story with Happy Ending in 2005, Kali the Little Vampire in 2012 and Uncle Thomas – Accounting for the Days in 2019, which won countless awards and distinctions in major international film festivals and events such as the Annecy Cristal 2006, Grand Prix for an Animated Short SXSW 2007, Jury Award Annecy 2019, Annie Award 2020 Best Animated Short Subject, etc.

Her films are shown all over the world, including in important art museums, such as the solo exhibition “Tragic Story with Happy Ending” at the drawing biennale “To the Very Last Drawing” at the Museum of Modern and Contemporary Art in Rijeka, 2009; at the Musée de l’Orangerie as part of the exhibition “The Cruel Stories of Paula Rego”, in 2018/2019; and at the Museum of Fine Arts of Asturias, with “Four Discreet Windows”, a video installation about her work in 2023.

With a distinct and creative personal artistic vision expressed not only in her films but also through illustration, painting and drawing, she is currently developing her next film, Mother Faces at Ciclope Filmes Studio owned by her and her partner Abi Feijó, situated on the grounds of their Museum of Moving Image – Casa Museu De Vilar.

The post Regina Pessoa Celebrates Portugal for Annecy Festival 2024 Poster Design appeared first on Skwigly Animation Magazine.

Closing the Festival was the awards ceremony which awarded categories of Feature films, Short films, TV and commissioned films, Graduation films and VR works.

Feature films

Cristal for a Feature Film
Le Petit Nicolas – Qu’est-ce qu’on attend pour être heureux ?
Directed by: Amandine Fredon, Benjamin Massoubre

Le Petit Nicolas – Qu’est-ce qu’on attend pour être heureux ?

Jury Award
Interdit aux chiens et aux Italiens (No Dogs or Italians Allowed)
Directed by: Alain Ughetto

Interdit aux chiens et aux Italiens

Jury Distinction
My Love Affair with Marriage
Directed by: Signe Baumane

My Love Affair with Marriage

Jury Distinction
Saules aveugles, femme endormie (Blind Willow, Sleeping Woman)
Directed by: Pierre Foldes

Saules aveugles, femme endormie

Gan Foundation Award for Distribution
Interdit aux chiens et aux Italiens (No Dogs or Italians Allowed)
Directed by: Alain Ughetto

Contrechamp Award
Ikuta no Kita (Dozens of Norths)
Directed by: Koji Yamamura

Ikuta no Kita

Contrechamp Jury Distinction
Chun Tae-il: A Flame That Lives On
Directed by: Jun-pyo Hong

Chun Tae-il: A Flame That Lives On

Short films

Cristal for a Short Film
Amok
Directed by: Balázs Turai

Amok

Jury Award
Steakhouse
Directed by: Spela Cadez

Steakhouse

Jury Distinction

“For its beautifully crafted animation and its great physical experience”

Anxious Body
Directed by: Yoriko Mizushiri

Anxious Body

“Jean-Luc Xiberras” Award for a First Film
The Record
Directed by: Jonathan Laskar

The Record

“Off-Limits” Award
Intersect
Directed by: Dirk Koy

Intersect

TV and commissioned films

Cristal for a TV Production
My Year of Dicks
Directed by: Sara Gunnarsdottir

My Year of Dicks

Jury Award for a TV Series
Dos pajaritos
Directed by: Alejo Schettini, Alfredo Soderguit

Dos pajaritos

Jury Award for a TV Special
The House
Directed by: Emma De Swaef, Marc James Roels, Niki Lindroth Van Bahr, Paloma Baeza

The House

Cristal for a Commissioned Film
Save Ralph
Directed by Spencer Susser

Save Ralph

Jury Award for a Commissioned Film
Aline
Directed by Wes Anderson

Aline

Graduation films

Cristal for a Graduation Film
Persona
Directed by: Sujin Moon

Persona

Jury Award
A Dog Under a Bridge
Directed by: Rehoo Tang

A Dog Under a Bridge

Jury Distinction
Maman, il a quoi le chien ? (Mom, What’s up with the Dog?)
Directed by: Lola Lefevre

Maman, il a quoi le chien?

VR works

Cristal for the Best VR Work
Glimpse
Directed by: Benjamin Cleary, Michael O’Connor

Glimpse

Jury Distinction
Goliath: Playing With Reality
Directed by: Barry Gene Murphy, May Abdalla

Goliath: Playing With Reality

Jury

The 2022 Feature films Jury consisted of Tomm Moore (Cartoon Saloon), Charlotte De La Gournerie (Sun Creative Studio) and Frederic Myor (Cinémathèque Suisse) The Contrechamp feature films Jury were Felix Dufour-Laperriere (Embuscade Films), yonfan (Far Sun Film Co Ltd) and Ilze Burkovska Jacobsen (Bivrost Film). Heading up the Short films jury were Jean Labadie (La Pacte), Adriaan Lokman (Lokman Space) and Saskia Von Virag (Virage Film). The Off Limits, Graduation Films and Shorts Jury was covered by Ron Dyens (Sacreblue Productions), Olivier Calvert (Sound Designer) and Maria Anestopoulou (Animasyros International Animation Festival). The TV and commissioned Films Jury contained Laurence Herszberg (Festival Series Mania Lille Hauts-De-France), Michael Frei (Playables) and Cesar Cabral (Coala Filmes). And donning headsets to juror the VR works were Ramsey Naito (Paramount Animation & Nickelodeon Animation), Rita Mbanga (Sunrise Animation Studios) and Chris Nee (Laughing Wild/Netflix)

Annecy Festival’s 47th edition returns from 12th to 17th June 2023 and will feature a celebration of Mexican Animation.

The post Annecy 2022: Award Winners in Full appeared first on Skwigly Animation Magazine.