Porky Pig and Daffy Duck, one of the greatest comedic duos in history, are making their hilarious return to the big screen in the sci-fi comedy adventure.

From Warner Bros. Animation, director Pete Browngardt, and the creative team behind the award-winning Looney Tunes cartoons, Looney Tunes: The Day the Earth Blew Up stars Porky Pig and Daffy Duck as unlikely heroes and Earth’s only hope when facing the threat of alien invasion. The movie unfolds a rich Porky & Daffy story that fans have never seen before: In this buddy-comedy of epic proportions, our heroes race to save the world, delivering all the laugh-out-loud gags and vibrant visuals that have made the Looney Tunes so iconic, but on a scope and scale yet to be experienced.

Looney Tunes: The Day the Earth Blew Up (Warner Bros./Vertigo Releasing)

The film is written by Browngardt with Darrick Bachman, Kevin Costello, Andrew Dickman, David Gemmill, Alex Kirwan, Ryan Kramer, Jason Reicher, Michael Ruocco, Johnny Ryan and Eddie Trigueros, with a cast that includes Eric Bauza, Candi Milo and Peter MacNicol.

That’s not all folks! Porky Pig and Daffy Duck, one of the greatest comedic duos in history, are making their hilarious return to the big screen in the first-ever fully animated Looney Tunes feature film created for a cinemagoing audience. The dynamic duo become Earth’s only hope when their antics at the local bubble-gum factory uncover a secret alien mind-control plot. Faced with cosmic odds, they must save their town and the world while not driving each other totally looney.

Looney Tunes: The Day the Earth Blew Up (Warner Bros./Vertigo Releasing)

Looney Tunes: The Day the Earth Blew Up comes to UK cinemas from February 13th

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The net proceeds will fully repay WildBrain’s Senior Secured Credit Facility (including all fees), leaving over $40 million cash surplus. These funds, plus annual interest savings and incremental balance sheet capacity, will fuel growth in:

• Wholly owned franchises, including Strawberry Shortcake and Teletubbies;
• Expanding the Company’s premium digital content network and ad footprint (YouTube, FAST, AVOD); and
• Investing across emerging technologies to drive innovation and efficiencies.

Under the agreement, WildBrain also remains a multi-year partner to Peanuts for key services, including:

• Exclusive licensing agent through WildBrain CPLG for consumer products in all current territories across Europe, the Middle East, China, and Asia Pacific (excluding Japan & ANZ);
• Exclusive production studio for new Peanuts content-including the previously announced feature film-under an expansive partnership with Apple TV, recently renewed through 2030; and
• Distributor of WildBrain-produced Peanuts content and continued management of the Snoopy YouTube channel.

Josh Scherba, President and CEO of WildBrain, said:

Over the past several years, we’ve successfully executed a strategy to drive growth for our own and partner entertainment properties, harnessing our capabilities across franchise management and consumer products licensing, content distribution on our premium digital network, and production at our studio. The strength of this platform has been proven by the growth in revenue we’ve driven for Peanuts, achieving a record high for the brand in fiscal 2025. Selling our stake in Peanuts crystallizes the brand’s value, eliminating our debt and providing capital flexibility to reinvest in high-growth, high-margin opportunities, especially for IP that we own outright, such as Strawberry Shortcake, Teletubbies and others in our deep portfolio, such as Degrassi, Inspector Gadget and more.

Sony has been an excellent partner on the Peanuts brand for many years, and we’re confident that Charlie Brown, Snoopy and the gang are in good hands. Since we originally acquired the brand in 2017, we have materially grown its audience through an expansive partnership with Apple TV for new content, including a new feature film currently in production, and also through growing a robust licensing program across Europe, the Middle East, and Asia Pacific. We’d like to thank Tim Erickson and the Peanuts Worldwide team, as well as the Schulz family, for their incredible collaboration on these endeavors. We look forward to working with them and the Sony team as valued partners to continue driving global growth for Peanuts in the years to come.

Transaction History & Returns

• 2017: WildBrain acquired 80% of Peanuts and 100% of Strawberry Shortcake for $448 million
• 2018: WildBrain sold 39% of Peanuts to Sony for $236 million
• Total sale proceeds and distributions to WildBrain from owning Peanuts: $1 billion+

EBITDA directly attributable to WildBrain’s 41% ownership stake in Peanuts was $27 million in Fiscal 2025. Including certain consolidation benefits, WildBrain’s recognized EBITDA in respect of its 41% ownership stake in Peanuts was $43 million in Fiscal 2025. Interest savings alone are more than double the free cash flow WildBrain earned from its stake in Peanuts over the last 12 months.

Refinement and simplification to focus on high-growth, high-cash generative opportunities

Over the past three years WildBrain has demonstrated the power of its platform to drive meaningful growth across the kids’ digital ecosystem, first with Peanuts, and now more recently with Strawberry Shortcake and Teletubbies. WildBrain is leaning into this strong foundation of success to double down on its high growth opportunities driven at scale across its platform. The transaction announced today is expected to provide the Company with the capacity under an optimized capital structure to invest approximately $50 to $100 million in growth opportunities to enhance its strategic platform and drive significant shareholder value.

With a clean balance sheet, the Company’s capital allocation priorities center on long-term value creation, including scaling its wholly owned franchises, expanding its premium digital content network and advertising footprint, investing in emerging technologies to drive innovation and efficiencies, and evaluating opportunities for share buybacks and disciplined bolt-on acquisitions.

Scherba continued:

At WildBrain, we are building the family entertainment company of the future, propelled by beloved franchises scaled across our unique, integrated platform. In the past year alone, we’ve delivered nearly 200% growth for Strawberry Shortcake and more than 60% for Teletubbies. Our flywheel strategy drives fandom and brand affinity, turning that into high-margin, repeatable profit. We have built a successful, brand-agnostic platform, and I’m confident we can replicate the success of Peanuts to unlock the value of our deep portfolio of IP. Going forward, as we lean into key opportunities to accelerate growth, we will continue to look for strategic ways to simplify and focus our global business.

WildBrain further simplified its business in recent quarters through the closure of its broadcast television channels in Canada, as previously announced, which has unburdened it from ownership restrictions under Canadian broadcast regulations, providing greater strategic flexibility and opportunities for the Company as it optimizes long-term shareholder value. As a result of this change, the Company has removed its variable voting structure, previously applicable to non-Canadian shareholders, and has simplified its share structure to a single voting class of Common shares for all shareholders, as approved by WildBrain shareholders at its annual and special meeting on December 18, 2025.

The Company has undertaken a number of strategic actions in the past 18 months, with this transaction representing the most material. As the Company continues to evolve its operating model, it intends to pursue several initiatives to create efficiencies, as well as re-segmenting its financial reporting to better reflect the business post-transaction. As a result of these changes, Fiscal 2026 guidance is being paused.

Nick Gawne, WildBrain CFO, said:

This transaction marks a pivotal moment for WildBrain as we look to the future. By deleveraging, we can now redeploy cash flows from debt service into strategic investments that not only accelerate growth in our franchises and premium digital content network but also allow us to invest in technologies to streamline operations and drive margin expansion. We remain highly confident in the growth potential of our core business, and by improving our capital structure, this transaction enables us to better demonstrate the strong cash-generation characteristics embedded in our business model.

Investor webcast

The Company will hold an investor webcast with presentation on December 19, 2025 at 10:00 am ET to discuss the transaction and strategic road forward for WildBrain. Listeners can join the webcast at the following link:

https://www.gowebcasting.com/14568

The webcast will also be archived at the above link, and the slide presentation and transcript will be archived on WildBrain’s website at wildbrain.com

All dollar values expressed in Canadian currency unless otherwise specified.

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Both films represent different approaches to contemporary auteur animation: Hurikán is a deep-fried Prague romance driven by distinctive humor, while I Died in Irpin is an autobiographical testimony of a toxic intimate relationship set against the outbreak of Russia’s full-scale aggression against Ukraine.

We secretly hoped that at least one film out of the 113 qualified titles might make it onto the shortlist. But achieving such a double was something we never dared to dream of. I congratulate all the filmmakers and thank the funds, co-producers, and partners for their support. You don’t get Christmases like this every year…,

Martin Vandas, Producer of Maurfilm

When I learned that my film had been shortlisted, it brought me a spark of hope that I had been deeply missing recently. This is not about triumph. It is about realizing that my very personal story of survival is now becoming part of a vital global conversation. And I am eternally grateful that the Academy is not turning away from Russia’s aggression against Ukraine.

Anastasiia Falileieva, Director 

I Died in Irpin © MAUR film

Jan Saska is a man of (moving) images and usually speaks very little. The shortlisting of Hurikán, as recognition of his work and that of a broad team from several European countries, means a great deal to him and he sums it up simply: ‘Super!’ The nine years that have passed since the shortlist of our previous film Happy End show that working on short films does not take a short time, but it is worth it.

Kamila Dohnalová, Producer

Hurikán © MAUR film

I Died in Irpin was produced by Alena Vandasová and Martin Vandas (Maurfilm, CZ), Juraj Krasnohorský (Artichoke, SK) and Anastasiia Falileieva (Plastic Bag Studio, UA), financially supported by Czech and Slovak Audiovisual Funds. The world premiere happened at the 2024 Annecy International Animation Film Festival and earned its first Oscar-qualifying awards at Bucheon International Animation Festival (BIAF) in October 2024 followed by five more Oscar-qualifying prizes at Clermont-Ferrand ISFF, Cinanima IAFF, Fest Anča IAFF, Manchester AF, and Animateka IAFF.

Hurikán was produced by Czech producers Kamila Dohnalová (Last Films), Martin Vandas and Alena Vandasová (Maurfilm), in coproduction with Antoine Liétout and Ivan Zuber (Laïdak Films, France), Juraj Krasnohorský (Artichoke, Slovakia), and Mladen Đukić (AEON Production, Bosnia and Herzegovina) with support from national and regional funding bodies across all co-producing countries. The world premiere took place at the Annecy IAFF in 2024, where the film won the Audience Award, and consistently received enthusiastic audience responses during its festival run. It was screened at more than 150 international film festivals, including Clermont-Ferrand ISFF, Sundance, SXSW, and HollyShorts Film Festival, where it received an Oscar-qualifying prize for Best Animated Film. The public can watch Hurikán on the MIYU Distribution Vimeo channel.

Following the announcement, all shortlisted films are available to stream on the Academy Screening Room for all Academy members for viewing. Nominations for the 5 Oscar® animated short films will be announced on live broadcast the 22^nd of January 2026.

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MOVE Summit, Scotland’s animation and VFX gathering, returns this year to the historic Pleasance Courtyard and other Edinburgh venues from 18th – 21st February 2026, now taking place over four days rather than the usual three. The conference brings together industry leaders, creatives & practitioners, broadcasters and commissioners, students and educators in Edinburgh, to celebrate the year’s most outstanding animated and visual effect projects, industry successes and inspire the next generation of artists.

Returning this year will be our dedicated Emerging Talent Day (Wednesday 18th February) dedicated to students with a programme focused on Industry-ready skill development. Following hot on its heels will be our two Industry Days (Thursday 19th and Friday 20th February) bringing together delegates from all over the UK and beyond and highlighting Scotland’s work to global audiences.

The industry programme includes; inspiring creative talks, workshops, the exhibition (including recruitment fair, demos, information stands, software and hardware vendors marketplace and more), the Business@MOVE strand of sessions, our portfolio reviews and 1:1 meetings (giving attendees the opportunity to meet commissioners, creative agencies, funders and industry experts), competitions and much more.

And returning also is our live pitching showcase, The Big MOVE Pitch, which gives shortlisted creatives the opportunity to pitch their show concept live, on stage in front of industry experts and the opportunity to win £1,000 to take their project to the next stage and more.

And for the first time, extending MOVE Summit to four days, is our dedicated Screenings Day (on Saturday 21st February) which will give attendees the opportunity to watch the best of Scottish, UK and International Animation. We look forward to introducing the full screenings programme in the new year. Screening sessions are included in any pass combination that includes attendance on at least one industry day.

First Guests Announced for MOVE Summit 2026

Todd Harris

TODD HARRIS, creator, director, and showrunner of the limited series EYES OF WAKANDA, the only extension in the Black Panther universe not directed by Coogler himself. Before this Todd spent years designing action for some of the most iconic movies in the world – AVENGERS, JOHN WICK, DEADPOOL, SPIDER-MAN, BLACK PANTHER, and SINNERS earning deep respect from top filmmakers across Hollywood, standing out as a narrative driver who has a rare grasp of character, world building, and kinetic action. Above all, he’s a true cinephile and filmmaker with something to say – all in the name of telling fresh, bold stories.

Natalie Adams

Natalie Adams has over 25 years’ senior management level experience in IP development, TV production, international distribution, financing and new business development in Kids & Family animation. She is currently SVP Business Development for Triggerfish Animation and Executive Producer for Tiger Aspect Kids & Family, overseeing the original series Stan & Gran for Milkshake! and Nickelodeon UK.

Natalie spent over seven years at Jellyfish Pictures (2018-2025), initially to oversee its newly established Original Kids’ Content Division before earning promotion to Managing Director – Animation & Originals, and latterly as Managing Director of Originals. Prior to that she spent almost six years at Platinum Films as Head of Global Strategy.

Her credits include DogMan (DreamWorks), Wolf King (Netflix Series), The Twits (Netflix Features),
Matt Hatter Chronicles (ITV) and Everything’s Rosie (CBeebies).

Jon Mason

Jon Mason is the Founder and Managing Director of Jollywise, a Brighton-based digital studio specialising in animation, children’s media, and interactive storytelling. With more than 25 years in digital entertainment, Jon has created award-winning work for global brands including Disney, BBC Studios, Warner Bros., Nickelodeon and Cartoon Network.

He is the creator and executive producer of Stan & Gran, the international animated preschool series currently airing on Channel 5’s kids block Milkshake!. Inspired by Jon’s own childhood adventures in nature with his grandmother, the show celebrates curiosity, wildlife, and the magic of intergenerational relationships.

Alongside Jollywise’s digital work, Jon now focuses on building original IP, expanding Stan & Gran internationally, and exploring new formats, from preschool Roblox worlds to motion-driven games for young children. Based in Sussex for over 20 years, Jon champions storytelling that helps kids learn, laugh and connect with the natural world.

MOVE Summit 2026 is made possible thanks to the generous support of the event’s funders and partners, who include Screen Scotland, Cahoots Studios, ScreenSkills, Eyebolls, Praxinos, Wild Child Animation, Halon, Milkshake! And Paramount.

The full conference agenda and guestlist is expected to be released within the next month. Visit https://movesummit.co.uk for more information and watch out for announcements across our social
media channels.

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Produced by Hanna-Barbera Studios Europe, the series builds on the dynamic legacy of The Amazing World of Gumball with its signature blend of eclectic media styles, including 2D and 3D animation, CGI, puppetry, photorealism, and live action. Created and executive produced by Ben Bocquelet, the quarter-hour episodes deliver sharp meta-humour and a vibrant visual style that has become a hallmark of the franchise.

Since its launch, The Wonderfully Weird World of Gumball has delivered strong performance across Cartoon Network’s international channels and engaged fans on digital platforms, including YouTube, TikTok, and Roblox. The series continues to connect with children and families around the world, reinforcing its position as one of the most innovative cartoons in kids’ entertainment.

The Wonderfully Weird World of Gumball has proven completely irresistible to families and fans across the globe, making it the easiest of decisions to say an emphatic yes to this new season. I am thrilled to continue to work with Ben, Sarah and the hugely talented Gumball team on bringing more Wonderful Weirdness to our Cartoon Network audiences internationally.

Vanessa Brookman, GM, International Kids, Animation and Franchise

Gumball has been a massive success for the studio and it’s been so gratifying to see fans enthusiastically welcome these characters back to their screens. Ben Bocquelet, Erik Fountain, Matt Layzell, and the incredibly creative team were instrumental to its success, and I’m excited we get to deliver even more wonderful weirdness. Thankfully, this time fans won’t have to wait seven years.

Sarah Fell, SVP & Studio Head, Hanna-Barbera Studios Europe

Building on the legacy of The Amazing World of Gumball – famed for its humorous depictions of the imperfect realities of growing up where the ordinary becomes extraordinary – The Wonderfully Weird World of Gumball continues the tradition of sharp wit and inventive storytelling. With its self-referential and meta-comedic roots, fans can look forward to more misadventures featuring the wonderfully dysfunctional Watterson family and the quirky classmates of Elmore Junior High, and the eccentric residents of Elmore.

Originally launched in 2011, the franchise began when creator Ben Bocquelet transformed a collection of rejected commercial characters into one of the most beloved animated series of all time. Several characters from Elmore are inspired by Bocquelet’s own family!

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LITTLE AMÉLIE © Maybe Movies, Ikki Films, 2 Minutes, France 3 Cinéma, Puffin Pictures, 22D Music

Presenting episode 119 of the Skwigly Animation Podcast!

In this episode we welcome Liane-Cho Han and Maïlys Vallade, who join the podcast to discuss their film Little Amélie or the Character of Rain.

The world is a perplexing, peaceful mystery to Amélie until a miraculous encounter with chocolate ignites her wild sense of curiosity. As she develops a deep attachment to her family’s housekeeper, Nishio-san, Amélie discovers the wonders of nature as well as the emotional truths hidden beneath the surface of her family’s idyllic life as foreigners in post-war Japan. Adapted from the autobiographical novel by Amélie Nothomb and brought to life in the completely original animated style of directors Mailys Vallade and Liane-Cho Han, LITTLE AMÉLIE OR THE CHARACTER OF RAIN tells a tender, poignant and visually stunning story about the healing power of human connection.

ANNECY 2025: Little Amélie or the Character of Rain – Review

Also discussed: The launch of Skwigly pal Gareth Cavanagh‘s Square Window podcast, The Simpsons x Fortnite crossover and the cursed history of Simpsons video game tie-ins, Mike Judge’s laudable reboots of King of the Hill and Beavis and Butt-Head, recent festival funtimes at Encounters, Overlap, MAF and LIAF and preview the year’s animated holiday specials. We also review Michel Gondry’s Maya, Give Me a Title, Common Side Effects, Smiling Friends and Beryl, the new book from Joanna Quinn and Les Mills.

The post Skwigly Animation Podcast: Winter 2025 – Liane-Cho Han & Maïlys Vallade appeared first on Skwigly Animation Magazine.

Promising two nights of genre-busting technology and creative inspiration, RENDR, which is supported by Northern Ireland Screen, Arts Council of Northern Ireland, Belfast City Council and Visit Belfast, takes place from 12-13 February at Portview Trade Centre in East Belfast.

Over 30 speakers from across the creative industries will deliver keynote presentations across two evenings and two main stages: the RENDR Stage and BLOCK stage. Alongside live and interactive demonstrations of new technology, digital art and gaming experiences, RENDR also offers aspiring creatives the opportunity to participate in industry workshops and have their portfolios reviewed by studios and top creative professionals.

Building on its mission to connect Northern Ireland with global creative innovation, RENDR has announced an early line-up of internationally recognised speakers, including Belfast-born CG Supervisor James Carson from Sony Pictures Imageworks, whose most recent credit includes the global phenomenon KPop Demon Hunters for Sony Pictures Animation and Netflix.

Carson joined Imageworks in 2015 and has worked on both animated and live-action projects, including the Academy Award-winning Spider-Man: Into the Spider-Verse, Smurfs: The Lost Village, The Angry Birds Movie 2, and Alice Through the Looking Glass.

Also announced is Jay Worth, the Emmy-winning VFX supervisor known for his highly-acclaimed work on projects such as Westworld, Lost, and most recently Amazon Prime’s episodic adaptation of Bethesda Game Studios’ Fallout series.

Other speakers on the bill include Giovanna Ferrari from Irish animation studio Cartoon Saloon, who served as head of story and animation director on the Oscar-nominated feature My Father’s Dragon; Tobias Weisner, a compositing supervisor at WēTā FX, who worked on HBO’s Last of Us Season 2; and digital media pioneer Matthew Scott, the founder of Playhuman, the digital entertainment platform on a mission to redefine traditional engagement and linear storytelling.

Alongside experts in VFX, RENDR will also have a multidisciplinary focus and shine a spotlight on practical effects. Camille Balsamo-Gillis, co-founder of ProMachina, the Los Angeles-based practical FX production company, will share insights on the process of creating the miniatures for the film and TV industry, including examples from their work on The Fantastic Four: First Steps.

From Limerick’s Studio Odyssey, one of Europe’s largest model-making studios, Mark Maher, whose credits include The Hobbit trilogy, will talk about his role as head of department prop making on Netflix’s Wednesday season two.

RENDR director Michael Weir said:

We’re really proud to be at the heart of our growing creative sector to help incubate new ideas. RENDR is for the artist, the developer, the student, and the industry veteran. It’s a space where creativity and technology collide in spectacular fashion to connect the island with the global creative community and inspire – maybe even challenge – the next generation to push at the boundaries of possibility.

Early bird tickets for standard entry, concession and VIP access are available now. More speakers will be added to the line-up over the coming weeks.

For more information and to book, visit rendrfestival.com

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Although he was a certified grandmaster of the surreal, and frequently characterised as a maker of challenging films, the true defining quality of David Lynch’s work is its power to connect with audiences. He crafted distinct dreamscapes, through his rich visuals, idiosyncratic music choices and haunting sound design, that are charged with human emotion, moving us to both frightening and nostalgic places and taking us on journeys to examine and understand the darkness that lurks under everyday pristine facades. Lynch embraced a spectrum of creative outlets. Unarguably one of the most influential filmmakers of the last 50 years, David Lynch’s brilliance reshaped cinema, television, music, art and the internet, leaving his mark and creating some of the most iconic moments that continue to reverberate in popular culture. Lynch challenged our perceptions of what art could be, and whatever his medium, he was an artist of pure singular visions without compromise. His very name an adjective that has entered the cinematic lexicon.

The season, curated by BFI Lead Programmer Kimberley Sheehan and Head of Cinema Programme Justin Johnson, includes his great masterpieces screening at BFI Southbank, BFI IMAX as well as a selection available on BFI Player, his innovative short films and playful digital experiments, documentary portraits, plus a series of contextual events and a TWIN PEAKS inspired immersive installation.

Throughout his career, Lynch harboured an enthusiasm for short-form work and animation. He embraced the digital video early and was a pioneer of using the internet as a creative medium. THE SHORT FILMS OF DAVID LYNCH on 11 January will present six of his shorts, including The Alphabet (1968) and The Grandmother (1970) followed by all eight episodes of his animated web series DUMBLAND (2002).

• Six Men Getting Sick
  USA 1967. Director David Lynch. 4min. Digital
• The Alphabet
  USA 1968. Director David Lynch. 4min. Digital
• The Grandmother
  USA 1970. Director David Lynch. 34min. Digital
• The Amputee – Version 1 and Version 2
  USA 1974. Director David Lynch. 9min. Digital
• Premonitions Following an Evil Deed
  USA 1995. Director David Lynch. 1min. Digital
• DumbLand Episodes 1-8
  USA 2002. Director David Lynch. 34min. Digital

For a full list of events as part of the BFI’s January season DAVID LYNCH: THE DREAMER, visit whatson.bfi.org.uk

The Animated Worlds of David Lynch

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When Nia becomes lost in the forest in the middle of a snowstorm, she has no choice but to make a deadly bargain with a spirit. The Ghost saves her, but at a cost beyond comprehension. Nia must travel deep into the heart of the dark forest of eternal winter to face the evil creature and save her father.

The film was commissioned by S4C for their 2025 Christmas schedule and is also supported by the Welsh Government via the Creative Wales Skills Fund. The Creative Skills Fund is a key part of their mission to grow a stronger, more inclusive creative workforce in Wales.

Through Cloth Cat Academy, we put together a Production Traineeship programme, selecting six talented animation trainees to step into the heart of our independent studio here in Cardiff. The project provided each of them with the chance to gain their very first production credit whilst earning a living wage. Our successful candidates spent eight weeks on production, gaining invaluable experience working as Moho animators under the professional supervision and guidance of industry expert Dani Abram.

The fairy tale story of The Ghost of Midwinter was originally conceived of and directed by the Managing Director of Cloth Cat, Jon Rennie. The script was written by the award winning Welsh novelist and scriptwriter Manon Steffan Ros (The Blue Book of Nebo). The cast includes BAFTA Award Winner Nia Roberts (Hinterland, The Crown) as the Ghost, her daughter Agnes Evans (Annibendod, His Dark Materials) as Nia, BAFTA Nominee Matthew Gravelle (Broadchurch) as the father. BAFTA Award Winner Eiry Thomas (The Bench, Y Swn) stars as Mam-gu and Rhys Llywelyn Evans voices Idris, Nia’s brother. The original soundtrack was composed and produced by Emmy winning composer Brollyman (Nature, Lemur Street).

Sioned Geraint, S4C’s Children and Learners Content Commissioner says, “Among the gifts under the S4C Christmas tree this year, is a journey to the mythical world of The Ghost of Midwinter. The Christmas schedule is one of the highlights of the calendar at S4C and we look forward to bringing this film to the screen this Christmas.”

Director Jon Rennie says, “We’re delighted that S4C and Creative Wales have been so supportive of Cloth Cat’s first broadcast film, and I’m so excited to bring to the screen a story I’ve been wanting to tell for many years. Providing experience for newcomers to the industry is at the heart of Cloth Cat’s mission and it’s a fantastic way of bringing new Welsh stories to the world.”

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During its ongoing festival run, which has included stops at Annecy, Encounters, Pictoplasma, Animator Festival, Etiuda & Anima, Imaginaria and our own Skwigly Screening at Manchester Animation Festival, the film recently qualified for Academy Award consideration with its Jury Award win at New Hampshire Film Festival. Skwigly took the opportunity to speak with Anne about this milestone and the journey of the film’s production.

Thank you for speaking with Skwigly today. To start with, I’d be keen to hear about what drew you to art and animation, and what your formative influences were?

Thanks a lot for your interest in my work. As a kid I loved drawing and sculpting weird creatures from clay and paper maché (I still do). I took a short detour in studying art history, where I was fascinated by surrealist painters and tribal art from around the world, but soon discovered that I enjoy making art much more than talking about it. When I attended an animation workshop in Poland I was immediately hooked, especially by stop motion animation. It felt like magic to make my creatures come alive. After this workshop l teamed up with two friends to make our first claymation short from scratch in their living room, and eventually endend up studying animation at the School of Art and Design in Kassel. One of the early influences during this time was the work of the Brothers Quay, which strongly changed my perspective on storytelling.

Can you tell us a bit about the animation (and, by extension, stop-motion) scene in Berlin? Is there a strong community and industry in that part of the world or does it feel like more of a niche?

There is a very supportive and strong community of independent animation artists. Berlin even has its own Animation Festival. If you want to meet fellow animation people, it’s a great place to be. But there is no big animation industry, especially not for stop motion. I’ve been lucky to work as a puppet maker for Germany’s iconic stop motion tv series Our Little Sandman over the last three years, but that’s a rare opportunity. Otherwise I mostly work for international clients.

Image: Anne Breymann

Following from this, the credits for Radix mention assistance from the German Federal Film Board and the Berlin Senate Department for Culture and Social Cohesion. Can you tell us a bit about these organisations and how they’re set up to assist artists such as yourself?

I’m very grateful for both their support. The Berlin Senate Department for Culture and Social Cohesion provided me with a four-month artist grant, which gave me the freedom to explore different ideas. The first drafts of the story and design for Radix were created during this time. The production was supported by the German Federal Film Board through reference funding. This is a system where your film collects credits every time it’s selected in certain festivals, and those credit points can be turned into funding for your next project. So the budget I had for Radix was generated through the festival success of my previous short film Nocturne. It was still a very small budget though. I submitted Radix to two more film funding institutions, but got rejected.

We’ve previously featured your film Nocturne on the site, a film that shares many aesthetic traits with your latest film Radix that also proved very popular. Looking back on the experiences of both projects, what are some of the main ways you’d say you’ve grown as an artist and storyteller in the intervening years?

It wasn’t my intention, but I feel like Radix is somehow a continuation of Nocturne. They’re both situated in a world that I’ve been creating in my head over a long time. I feel very much at home in this world, and sometimes I need to escape there from reality and surround myself with strange and magical creatures. The experiences of both projects were similar, I even mostly worked with the same small team (sound designer Michal Krajczok and cinematographer Björn Ullrich). But I think over the years I’ve learned to trust myself a little more and just follow my intuition, and also to let go of control and trust the amazing people I work with.

Cinematographer Björn Ullrich (Image: Anne Breymann)

Some of your other earlier work has used digital 2D and cutout animation; is this a medium you might return to at some point, or do you imagine yourself sticking with stop-motion films in the future (Ekke Nekkepenn, for example, appears to be a hybrid of stop-mo and 2D approaches)?

Most of my commissioned animations are done in digital cutout or hybrid techniques. This is mostly a practical decision to adapt to clients’ timeframes and budgets, and also to make it possible for me to work from anywhere. Ekke Nekkepenn, a short film about a dark Frisian folktale, was a commissioned film for De Kraak, a traveling multimedia exhibition featuring folktales from the sea. For this project I worked in a hybrid technique with handcrafted relief puppets from clay and paper, which I photographed, and then animated in the 2D animation program Moho. I don’t think I’ll ever stick to just one technique, maybe I’ll try live action puppetry next.

As well as animated films, you’ve produced stunning standalone pieces and posed illustrations using puppets. Does this go hand in hand with how you approach animated storytelling, or is it its own separate skillset to tell stories in single, static images?

It‘s my favourite way to tell a story in just one image, because it gives me so much freedom. I can create these photographs spontaneously, without the time, planning and budget I‘d need for an animated short film. I usually draw a very rough sketch, and then I just start creating. To me those puppet illustrations (I never really know what to call them) are like stills from a film that doesn’t exist. Maybe this sounds strange coming from a filmmaker, but I personally enjoy more looking at still than moving images, because I can take as much time as I want to discover all the details.

As mentioned, Radix continues in a similar vein to prior works in its embracing of folklore and mystic elements. Was the concept of its two main characters and their interactions rooted in any pre-existing mythology at all?

I’m very much inspired by mythology and folktales, but Radix isn’t based on any existing mythology, it‘s a rather personal story.

Image: Anne Breymann

It notably draws upon a recurring visual motif across your work wherein creatures and plant life appear to be biologically entangled – branches emerging from or within body parts, for example. Does this imagery hold any particular symbolism or weight to you personally?

My films are all created very intuitively, and sometimes I‘m surprised myself that I keep coming back to the same motives such as masks and roots. For me the branches stand for something rooted deep inside ourselves, something that changes and evolves, but is mostly hidden, and only comes out in certain situations. I‘m very much inspired by plants and animals, but also by everyday‘s human behavior and interaction.

When making this kind of film, do you pre-plan out the story in a traditional sense (script, storyboard) or is it more of a stream-of-consciousness approach? Or something different entirely?

It always starts with something visual, a drawing or a sculpture, which I create without a plan. The story and the characters develop simultaneously. I wish I could make the entire film this way, but once I get to the point where I apply for funding, I have to make a storyboard and precise plan. When animating I work with an animatic, but try to shoot as much chronologically as possible, so I can still be open to changes and new ideas.

From a technical perspective, I’d love to hear more about what goes into the crafting of the puppets themselves; do you use standard rigs and materials or do your films require something more bespoke?

The puppets of Radix are actually made from very simple materials. The armature is built from wire, balsa wood and brass, the feathers are made from paper, and the faces are sculpted from polymer clay with glass eyes. I prefer to use materials that I can spontaneously adjust during the making, as the characters’ design often evolves while I‘m making them. I like my puppets to be visibly tactile, with imperfections and rough textures.

Image: Anne Breymann

The interplay of light and dark – indeed, the use of light as a whole – is fascinating to observe within the film. The internal lighting effects read as though they were created in-camera as part of the puppet designs themselves, was that the case?

Most of the lighting effects are indeed created in camera. The glowing creature for example was made from white paper and transparent plastic with fairy lights and LED wires inside. The only lighting that was done digitally was the glowing of the leaves, because they were so tiny. I made them from paper and wire, and Jonatan Schwenk animated them one by one in stop motion, and later composited them into the film. The overall lighting of the film was done by cinematographer Björn Ullrich.

What sort of demands on your time and circumstances does a project like this have on you as an independent artist? Did you have access to a studio space/resources or was it a home setup?

I worked on Radix over the course of two years, while simultaneously doing commissioned work, and it was sometimes hard to juggle both. I’m very lucky to share a studio in Berlin with eight artist friends. Their company kept me sane while I was animating all day on my own behind black curtains.

Image: Anne Breymann

From screening the film for recent major UK events including the Encounters Film Festival and Manchester Animation Festival, I’ve been able to enjoy firsthand an enthusiastic response from audiences. How have you found Radix’s festival journey so far, and has it yielded any valuable interactions/opportunities?

I‘m happy to hear that, as I‘ve only managed to attend a few screenings in person, but I hope I’ll have more chances to travel and actually meet the audience. Radix is running very well in festivals and received some awards. I get kind messages from people who have seen it in a cinema somewhere around the world, which always makes me happy. One of the good interactions that happened is this interview with Skwigly

Having recently qualified for Academy Award consideration following its recent win at New Hampshire Film Festival, do you have immediate plans for Radix as far as keeping it in contention (upcoming screening dates etc)?

Radix is a self-produced film, and I don‘t have the means for a campaign or screenings beyond film festivals. I think it’s already great to be on on the longlist, and don’t have very high hopes for more.
I‘m planning to release Radix online soon though. The trailer gained a lot of attention on social media, and I know that many people have been waiting to finally watch the film.

Beyond Radix, are there any other projects you have out in the world, or in the pipeline, that readers should keep an eye out for?

At the moment I’m creating narrative sculptures and creatures for several exhibitions next year.

For more on the work of Anne Breymann, visit annebreymann.de

The post Radix | Q&A with Anne Breymann appeared first on Skwigly Animation Magazine.

Lumo the Lapland Reindeer (Lapland Studios)

Lapland Studios today announce a brand new animation series Lumo the Lapland Reindeer, a 30-episode series focusing on the story of Lumo and his discovery of the magical Lapland World. The series follows four characters, focusing on targeting pre-school children in a heartwarming display of curiosity, exploration and discovery. Designed to show children that every new experience, big or small, is an adventure and part of growing up.

The series production, led by Head Of Lapland Studios; Chris Battle, will air its first episode on Friday 12th December and drop 2 episodes weekly. The launch of Lapland Studios division marks a monumental year for The Lapland Group, with the launch of the Store and Foundation divisions, alongside the sell-out Live event which attracts over 400,000 families at sites in Ascot and Manchester, each festive season.

Lapland Studios represents a major step forward in our mission to bring the world of Lapland to more families globally. By expanding beyond the live experience, we are able to scale our storytelling to more children, in ways that were never possible before. Lumo The Lapland Reindeer is the first animation by Studios, and we are thrilled to begin this next chapter of growth.

-Chris Battle (Head of Lapland Studios)

Lumo The Lapland Reindeer, a direct to digital series which which will air via YouTube Kids, has been developed alongside TeamFalco, using audience affinity to form the concept for this platform. The creative was developed in-house at Lapland Studios under the direction of Chris Battle, Creative Production by Melissa Czaja, previously of WildBrain and James Baker, Chair of Lapland Studios, and previously President of Red Arrow Studios. The animation is by Kulfi Collective.

Our purpose has always been to nurture and celebrate belief in Father Christmas to make Christmas wondrous for families. There can be no belief without story, so expanding the Lapland Universe via Lapland Studios feels like a natural evolution. Lumo the Lapland Reindeer if the first of many stories that will help us share the magic with children everywhere.

-Mike & Alison Battle (Founders, The Lapland Group)

It’s exciting to work with a team that actually engages with the nuances. YouTube is crowded, so helping the Lapland creative team cut through the saturation for Lumo with our audience affinity insights and discovery-driven creative was exactly the kind of focused, YouTube-first work we like to do.

-Nico Lockhart (Managing Director, TeamFalco)

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With two weeks still to go until Christmas, there’s still time to pick up the perfect gift for that special animator in your life. Or, if you’re an animator yourself, maybe you’re already thinking about what to spend those gift vouchers on from your nan come the new year…

Skwigly has you covered! 2025 (and late 2024) has been a bumper year for the release of animation-related books. We have picked out 10 of the stand out titles. Read on for our list of Essential Animation Books of 2025, in no particular order:

Beryl (£22.75)

This book offers an in-depth look into the creative process of director Joanna Quinn and screenwriter Les Mills.
Through revealing and often hilarious anecdotes, you’ll learn about Joanna and Les’s creative backgrounds and how they develop their ideas. With comprehensive behind-the-scenes insights, you’ll see how they take the initial concept of an idea to final production.
Buy from Amazon.co.uk

Studio Ghibli: Architecture in Animation (£27.78)

Learn how Studio Ghibli brings its vibrant worlds to life through hundreds of pieces of concept art, sketches, and background paintings that illuminate the historical, architectural, and personal inspirations behind such iconic buildings as the bathhouse from Spirited Away, Howl’s moving castle, and Satsuki and Mei’s country home from My Neighbor Totoro.
Buy from Amazon.co.uk

The Art of Wallace & Gromit: Vengeance Most Fowl (£30.63)

Explore the world of Aardman’s 2024 film with The Art of Wallace & Gromit: Vengeance Most Fowl. This captivating book offers a behind-the-scenes look at the film’s creation, featuring concept art, Nick Park’s sketches, and interviews with key crew members. Explore the meticulous craftsmanship and boundless creativity that bring Wallace and Gromit’s latest adventure to life.
Buy from Amazon.co.uk

Intimate Animation (£37.49)

Join Skwigly’s very own Ben Mitchell and Laura-Beth Cowley (and of the Intimate Animation podcast) as they take you on a tour of the landscape of contemporary animated films that deal with themes of love, intimacy, relationships, anatomy and sexuality – and the incredible artists behind them.
Buy from Amazon.co.uk

Animation for the People: An Illustrated History of the National Film Board of Canada (£32.59)

A celebration of the influential and Academy Award–winning animators of the National Film Board of Canada. Featuring interviews with filmmakers and animators, behind-the-scenes insights, and original artwork from iconic shorts like The Sweater and Neighbours, this book reveals how the NFB became a hub of innovation, collaboration, and artistic freedom.
Buy from Amazon.co.uk

On the Animation Trail: 20 Years of Animation Festival History (£42.99)

Documenting more than 20 years of travels, this book will appeal to all those with an interest in animation. If you are a young animator and want to know what festival life is like, this is the book for you. If you are a seasoned veteran and want to bring back some memories of festivals past, this book should bring some smiles to your face. Read our review here.
Buy from Amazon.co.uk

ANIMATION ME: An illustrated memoir with Pencils, Pixels & Arnie (£14.61)

In ANIMATION ME, Tony – a British Academy Award-winning animator, author and teacher – tells his fascinating and unique life story – from art school and early career struggles, to becoming a recognized master animator in his own right. This is a perfect book for students, professionals, or anyone interested in how a great tradition was once practiced.
Buy from Amazon.co.uk

The Art of Elio (£23.59)

The Art of Elio presents the story behind the newest film from Pixar Animation Studios. It highlights the stunning artwork from the film’s creation, including character designs, storyboards, color scripts, and much more; plus, exclusive interviews with the creative team along with behind-the-scenes details.
Buy from Amazon.co.uk

Tim Burton’s The Nightmare Before Christmas: The Ultimate Visual History (£29.93)

What’s this?! Why, a tour through the story of Disney Tim Burton’s The Nightmare Before Christmas, featuring behind-the-scenes details about stop-motion animation, concept art, removable inserts, and more.
Buy from Amazon.co.uk

Disney The Art of Moana 2 (£20.99)

The Art of Moana 2 is a behind-the-scenes hardcover book showcasing the development art, character designs, storyboards, and color scripts from the Disney film, featuring exclusive interviews with the creative team, and offering deep dives into the artistry, character aging, and visual storytelling of Moana’s new voyage.
Buy from Amazon.co.uk

The post 10 Essential Animation Books of 2025 appeared first on Skwigly Animation Magazine.

Boats awaiting filmmakers at the evening screening

Each year, Anibar brings together a vibrant global community of animators, artists, and storytellers. You can submit until 31 March 2026, through FilmFreeway.

Anibar celebrates diversity in animation in voices, visions, and techniques. They welcome animated short films (up to 30 minutes) completed after 1 January 2025, in any style or genre. Eligible films can compete in one of six categories:

The post Kosovo’s Anibar International Animation Festival is now open for submissions appeared first on Skwigly Animation Magazine.

From multi-Oscar-nominated and BAFTA-winning producers Magic Light Pictures, The Scarecrows’ Wedding is the latest festive adaptation of a Julia Donaldson and Axel Scheffler classic following in the footsteps of The Gruffalo, Room on the Broom, Stick Man, Zog, and last year’s Tiddler.

This year’s film tells the enchanting story of two devoted scarecrows, Betty O’Barley and Harry O’Hay, who dream of the perfect wedding. But when Harry sets off to fetch one last thing for the big day, a smooth-talking rival, Reginald Rake, swoops in with plans of his own leading to unexpected mischief, danger and a race against time.

The half-hour animated special features an all-star cast including Jessie Buckley (Wicked Little Letters, Wild Rose) as Betty O’Barley, Domhnall Gleeson (About Time, The Paper) as Harry O’Hay, and returning favourite Rob Brydon (Gavin & Stacey, The Trip) as Reginald Rake, all led by Sophie Okonedo (Slow Horses, Hotel Rwanda) as the Narrator.

The post Magic Light Pictures and the BBC reveal exclusive ‘The Scarecrows’ Wedding’ trailer appeared first on Skwigly Animation Magazine.

STEPS – (Pictured) Lilith (voice by Ali Wong). ©2025 Netflix, Inc.

Alongside the image, Netflix confirmed that Ali Wong and Stephanie Hsu will lead the voice cast as sisters Lilith and Margot—characters who are far less villainous than their storybook reputations suggest. Directed by Alyce Tzue and John Ripa, Steps follows Lilith as she teams up with Cinderella (and a surprisingly dreamy troll) to restore their fractured fairytale and prove that even so-called villains deserve their own happily-ever-after.

This story is, at its core, about two very different sisters—one who fits perfectly into this fairytale kingdom and one who doesn’t—realizing they’re more alike than different. It’s such a personal story for me because, growing up as an awkward, artsy Taiwanese kid in suburban New Jersey, I often felt like an outsider, like “happily ever after” wasn’t meant for me. I wanted to create a film for everyone who has ever felt like they didn’t belong—and show how a single act of kindness can change everything.

Alyce Tzue, Director

When I was introduced to Steps, I saw that it contained incredible artistry, beautiful storytelling, and most of all, that it had something important to say to the world. It’s like nothing else I’ve worked on in my 30 year career in animation. Steps also has an incredible first-time filmmaker in Alyce Tzue, who brings a totally unique voice and point of view. She’s championed this story about belonging that I’ve found to be both resonant and inspirational, and I feel privileged to be by her side on this journey.

John Ripa, Director

Steps is part of Netflix’s original slate of animated features which includes the most popular Netflix film ever, KPop Demon Hunters; Academy Award®-winner Guillermo del Toro’s Pinocchio, the Academy Award®-nominated films Wallace & Gromit: Vengeance Most Fowl, Nimona, The Sea Beast, The Mitchells vs. The Machines, Over the Moon, A Shaun the Sheep Movie: Farmageddon and Klaus; the BAFTA®-nominated Chicken Run: Dawn of the Nugget; the comedy fan favourites Leo and Back to the Outback; and recently released In Your Dreams.

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By Bunny (Sphere Media)

By Bunny (52 x 6 mins), aimed at 4 to 7-years-olds, rolled into production this month led by Sphere Animation in collaboration with Irish film and TV studio Telegael who will be leading the voice record and post-production and two Indian animation specialists Mesmor Studios and Anaganaga Pictures in charge of storyboard and animation. Pre-production and scriptwriting started in September in Canada, with full delivery expected at the end of 2027. The international launch of By Bunny will be led by ZDF Studios, which will manage distribution across Europe and position the series within its global portfolio of premium kids and family brands. Bejuba! Entertainment will represent the series in the rest of the world except Canada, India and Ireland.

Created by Canadian children’s book author Judith Henderson and Head Writer Anne-Marie Perrotta, By Bunny is a joyful mix of literacy, humour and zoology. Using animal facts as the springboard into storytelling, the series is hosted by red sweater-wearing, floppy-eared Bunny, who uses his wild imagination to discover new exciting worlds that he explores and enjoys. Bunny’s superpower is taking a scientific fact and morphing it into a full-blown story that engages and entertains while inspiring kids to read and write.

By Bunny is a smart and playful blend of literacy and animal facts that spark kids’ imagination and curiosity. We’re delighted to partner with Sphere Media once again on this imaginative and engaging series, and proud to support a project that originated in Canada and celebrates Canadian creativity. In today’s global market, developing homegrown IP is no small feat — and By Bunny does it with heart, humour, and curiosity.

-Kirsten Hurd (Commissioning Editor, TVOkids)

Judith Beauchemin, executive vice-president, operations, who oversees Sphere Media’s Kids and Family division, said:

Kids’ shows shape the minds that will one day shape our world — and By Bunny takes this responsibility very seriously. But what he doesn’t do is take himself too seriously: he puts the fun into facts. By Bunny aims to inspire curiosity and wonder, along with a desire for learning and we’re sure Canada’s kids will agree when the show premieres on TVOkids.

The post Sphere Media leads new co-pro alliance with Telegael, Mesmor Studio and Anaganaga Pictures for 2D animated series ‘By Bunny’ appeared first on Skwigly Animation Magazine.

Animar 2025
Photo: © Aitor Rodero

The fourth edition of ANIMAR, the annual Think Tank of the European animation industry curated by Animation in Europe at the initiative of PROA supported by ICEC, ICEX and ICAA, and followed by ANIMA MUNDI’s academic panels, took place in Barcelona, bringing together leading policymakers, regulators and industry representatives for two days of strategic reflection on the future of European animation.

The sessions were opened by Diana Riba, Coordinator and Vice-Chair of the Committee on Culture and Education (CULT) of the European Parliament, who underlined the importance of ensuring a strong and forward-looking framework for European animation. She states: “Animation acts as an educational medium in which viewers, often young, immerse themselves in languages, perspectives and diverse narratives that contribute to building a shared European identity”

Over the course of the Think Tank, 52 experts from 15 European countries took part in the discussions. Participants represented a broad diversity of institutions and viewpoints, including the European Commission (DG Connect), governments and regulators, film funds, public broadcasters, animation producers and producers’ associations.

Experts were split into two working groups. The first examined how regulation can support the European animation industry in the context of the evaluation of the AVMS Directive, while the second focused on fostering European co-productions.

Inspired by the reflection of the regulation working group, Animation in Europe has proposed to revise the AVMS Directive :

• To include video sharing platforms, such as YouTube, in the definition of Audiovisual Media Services, and to broaden the editorial responsibility to algorithmic curation.
• To raise European Quotas applying to streamers to 50% to align with the one of linear broadcasters and have 10% dedicated to independent producers.
• To ensure the prominence of European works on streamers and of European media services on connected TV and internet providers.
• To request transparency on audience data and algorithms to all audiovisual media services.

Following the discussions of the coproduction working group about the new AgoraEU Program, Animation in Europe has recommended:

• Keeping independent production in the heart of the program.
• Earmarking for audiovisual production to ensure its financial visibility.
• Maintaining existing schemes to build on the Media Program’s confirmed successes.
• Securing specific support for kids’ content considering the sector’s challenges.

Both working groups underlined the necessity to invest more in the production of European content for children to preserve the European identity and build the next generation of European citizens.

These findings form the foundation of Animation in Europe’s policy orientations for 2026.

Following the Think Tank, Animation in Europe held two producer-focused panels within the ANIMA MUNDI academic research programme, offering further insight into the evolution of Europe’s animation ecosystem.

Reflecting on the event, Ivan Agenjo, CEO at Peekaboo and Vice-Chairman at Animation in Europe stated: “Bringing together institutions, regulators and producers allowed us to address complex policy challenges with clarity and ambition, and to reaffirm a shared commitment to strengthening the competitiveness and diversity of our sector.”

Philippe Alessandri, Founder and CEO of Watch Next Media and Chairman of Animation in Europe, added: “European animation is built on collaboration, and ANIMAR showed once again how powerful that collaboration can be. The insights shared here will guide us as we advocate for fairer regulation, stronger co-production frameworks and better support mechanisms for creators across Europe.”

The post European Animation Leaders United at ANIMAR 2025 to Address Key Audiovisual Policy Challenges appeared first on Skwigly Animation Magazine.

MAKE, a creative studio known for impactful animation and original storytelling, has announced the winners of its 2025 Animation Thesis Grant. The annual grant supports senior animation students by providing funding, creative guidance, and industry visibility to help them complete their thesis films at the highest level.

The 2025 grant drew submissions from around the world. Judges selected three winners whose films demonstrated strong artistic vision, technical craft, and emotional depth.

“This year’s submissions did not just raise the bar; they rebuilt it. The creativity, technique, and heart we saw from students around the world show exactly why this grant matters,” said Danny Robashkin, Founder and Creative Director at MAKE. “It is only our second year, but the impact is already real. These films are proof that the future of animation is in bold, imaginative hands.”

Andrew Chesworth, grant judge, added, “The storytelling we saw this year was exceptionally bold. Each film felt alive with intention. These filmmakers are shaping where animation is headed, and it is an honor to help champion their work.”

2025 Grant Winners

1st Place: Stone Lions Don’t Roar
Director: Le Hang Whalen

Set in a stylized 16th-century Vietnam, Stone Lions Don’t Roar follows two orphaned sisters who navigate a countryside under military occupation where emotions manifest as beasts. Jiejie carries her emotional burden as a stone lion caged on her back, while her younger sister Meimei is guided by a flame wisp. After a confrontation that forces Meimei to flee, Jiejie must release her own burden to save her. The film closes with Jiejie breaking the lantern that once contained the wisp, rejecting emotional suppression.

The world is entirely hand painted in 3D, drawing inspiration from The Wild Robot, Blue Eye Samurai, and The Windshield Wiper. The impressionistic style supports the folktale tone.

“My goal with this film was to explore how we carry our emotions, how they weigh on us, and how freeing they can be when we choose to face them,” said Whalen. “Seeing Stone Lions Don’t Roar recognized this way means a lot because it reflects the heart behind the story. I am grateful to MAKE for supporting work that is both culturally personal and creatively ambitious.”

2nd Place: Thiefish
Directors: Madhava Das Kinnicutt and Evelyn Grace Dale

Thiefish follows a thief for hire and a fisherman who team up to steal back a once-powerful ocean spirit that is being exploited as the light source for their city. Their mission is to return the spirit to the sea and restore the balance of nature. The directors created the film as a message about environmental stewardship and the real-world impact of generative AI on natural ecosystems.

3rd Place: Back To Bones
Director: Ryan Koutras

Set in a medieval wasteland, Back To Bones follows a Knight and Squire who are accidentally resurrected into an undead army. Desperate to end their undeath, they try every method possible, only to wake up again in each failed attempt. Their final plan involves a massive cannon that misfires, crushing the Necromancer who raised them. Or so it seems. The film blends cinematic stakes with crude humor, leaning into the charm of a fantasy epic that never takes itself too seriously.

The MAKE Thesis Grant provides both financial backing and industry visibility, designed to elevate student films by removing barriers and amplifying bold creative voices. Winners not only receive direct cash funding, $3,000 for first place, $2,000 for second place, and $1,000 for third place in 2024, but also professional references, optional creative guidance, and ongoing exposure through MAKE’s social channels, blog, and press coverage.

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