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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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.”

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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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Wallace & Gromit visit Young V&A.
Photo: © David Parry/ V&A.
Inside Aardman: Wallace & Gromit and Friends opens on 12 February
2026 at Young V&A

Today, Young V&A announces its third exhibition, Inside Aardman: Wallace & Gromit and Friends. Created primarily for children and families, the exhibition invites visitors to explore the world of Aardman – creators of Wallace & Gromit, Chicken Run, Shaun the Sheep, Morph, and more – and unpacks the making of some of the most well known and loved characters of all time.

Opening on 12 February to coincide with the studio’s 50th anniversary year, Inside Aardman explores the storytelling and craft that brings their familiar and fantastical worlds from the sketchbook to the screen. The exhibition takes visitors behind the scenes of the animation process, from idea development and storyboarding to model making, filming and production, and post-production.

Over 150 items will be on show, including Aardman’s early character sketches, concept art, puppets, character ‘bibles’, props, scripts, set models, as well as several optical illusion toys and early examples of stop-motion animation from the V&A’s collection. Highlights include development sketches for Morph, early character ideas for Wallace & Gromit, a hand-drawn storyboard from The Wrong Trousers (1993) train chase, as well as never before displayed objects such as the duo’s motorbike and sidecar from Vengeance Most Fowl (2024) and Aardman’s final physical scheduling board.  The exhibition features set pieces from Aardman’s incredible body of work, including Wallace & Gromit: Vengeance Most Fowl (2024), Chicken Run: Dawn of the Nugget (2023), Robin Robin (2019), The Pirates! In an Adventure with Scientists! (2012) and Wallace & Gromit: A Grand Day Out (1989).

Inside Aardman will give young visitors the opportunity to try their hand at different parts of stop-motion animation, guiding them on how to make their own at home using everyday materials and inspiration. Whether their characters are sailing on the high seas, adventuring to the moon, or escaping the chicken coop, Aardman have always drawn from the world around them when building new ones. While journeying through the exhibition, visitors will be able to explore storyboarding, design characters, light sets, create Live Action Videos, touch samples of different puppet materials, and watch a selection of animations made by children.

Alex Newson, Chief Curator, Young V&A, said:

Aardman quite literally began on the kitchen table, when two young school friends started experimenting with animations at home. Even though Aardman is now one of the most successful animation studios in the world, its films still have the same handcrafted feel. It is this ‘thumbiness’, as they refer to it, that makes the films so charming and well loved. This is also what make the story so great for children. While Aardman’s films are now made by large and highly skilled teams it’s also possible for anyone to have a go at making their own stop motion films at home with minimal equipment and experience.

Dr Helen Charman, Director of Learning, National Programmes and Young V&A, said:

We are delighted to be announcing Inside Aardman: Wallace & Gromit and Friends, our third exhibition at Young V&A, designed and curated specifically for children and young people. By unpacking the techniques and imagination that goes into creating these beloved characters, we hope young people and their families leave the exhibition feeling excited and inspired to try animation at home.

Ngaio Harding-Hill, Head of Live Attractions and Live Experiences at Aardman, said:

As Aardman celebrates its 50th anniversary, Inside Aardman: Wallace & Gromit and Friends offers a wonderful opportunity to shine a light on the creativity and craftsmanship behind the animation process – from initial sketch through to post-production. We hope that through this exhibition, the joy and wonder of our craft will inspire the next generation of storytellers, directors, model-makers and animators.

2026 sees Aardman celebrate its 50th anniversary with a roaster of events and celebrations highlighting the craft and legacy of the studio, including the launch of a new movie, Shaun the Sheep: The Beast of Mossy Bottom in the autumn.

Inside Aardman: Wallace & Gromit and Friends is supported by The Godwin Family.

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Inside, The Valley Sings, the Oscar®-qualifying animated documentary directed by award-winning Irish filmmaker Nathan Fagan, offers an emotionally resonant exploration of life inside solitary confinement. Officially entering consideration for the 98th Academy Awards®, the film combines vivid hand-drawn animation with deeply personal testimonies from three survivors, revealing how individuals construct inner landscapes of memory, fantasy, and imagination to endure isolation. The result is a haunting and profoundly empathetic portrait of resilience in the face of inhumanity.

Named a Rising Star by Screen International in 2025, Nathan Fagan is an award-winning Irish writer and director whose work has already garnered recognition on the global stage. A two-time IFTA nominee, Fagan’s films have received numerous accolades, including his short Flicker, co-directed with Luke Daly, which won the Grand Prix Award at the Cork International Film Festival, was longlisted for an Oscar®, and earned an IFTA nomination. His film Skin to Skin premiered on Nowness, won Best Short Film at the Emerging Director Awards, and received a Cannes YDA nomination. With Inside, The Valley Sings, Fagan now takes another career-defining step, with the film officially positioned as an Oscar® contender.

Developed in 2020 after conversations with survivors of solitary confinement, the project highlights how many described building elaborate inner worlds to survive years spent alone in a cell. This imaginative yet harrowing coping mechanism lies at the core of the film, underscoring a crucial truth long voiced by survivors: solitary confinement is torture.

The film was realised through the striking vision of Animation Director Natasza Cetner, the producing expertise of Seamus Waters of Wonderbread Films, and the immersive soundscapes crafted by composer and sound designer Die Hexen with Sound Canvas handling post-production audio. Supported by the Arts Council of Ireland and fiscally sponsored by the International Documentary Association, Inside, The Valley Sings has been recognised not only for its artistic innovation but also for its cultural and social urgency.

With its Oscar®-qualifying status secured, Inside, The Valley Sings enters the 98th Academy Awards® race as both a cinematic achievement and a work of activism. By illuminating the psychological toll of solitary confinement, the film challenges audiences to confront pressing questions of justice, human rights, and survival.

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Katherine McQueen and Mark Taylor have reacquired the majority stake in A Productions that was previously held by Cyber Group Studios. The remaining shares were already owned by the pair.

Mark Taylor and Katherine McQueen (Image source: A Productions)

Katherine will assume the role of sole managing director at the end of this year, as Mark steps back from his joint MD position. He will remain an active shareholder and continue to offer his experience and insight in an advisory capacity. Mark founded A Productions — originally named A for Animation — in 1985, laying the foundations for the studio’s creative legacy.

A Productions has a bright, secure and exciting future ahead. With our wonderfully talented team, we will continue to take pride in creating stand-out, beautifully-crafted, authentic content that inspires and delights our audiences. We will continue to focus on strengthening our creative vision, ensuring each show has its own unique voice, as well as embracing new opportunities, with some very special projects currently in negotiation. We have a robust pipeline and financial security in place to ensure that we are in a strong position to move forward.

Katherine McQueen

Katherine joined A Productions in 2002 and has been joint managing director since 2019.

A Productions makes iconic children’s content for TV and film for audiences in the UK and around the world, working with leading broadcasters and streamers including Disney, Netflix, Max (formerly HBO Max), CBeebies and CBBC, and Sky.

The studio, based in Bristol, UK, is also developing a strong portfolio of its own original content.

We have always been independently run; now we are 100% independently owned once again. Our ethos focuses on ensuring A Productions is a diverse, inclusive and enjoyable place to work, where everyone can fulfil their potential. We are committed to nurturing creative talent in communities underrepresented within the industry.

Katherine McQueen

The A Productions team is currently working on My Friend Maisy, which stars the globally-loved characters from the bestselling Maisy books by Lucy Cousins and has been commissioned by Sky Kids. BBC Studios Kids & Family Productions and Trustbridge Entertainment are co-producing My Friend Maisy, with animation created by A Productions and Karrot.

We’ve witnessed extraordinary changes to the industry since those early days, but what hasn’t changed over four decades is the remarkable talent, passion and dedication of the A Productions team, with whom I’m so grateful to have worked alongside. As the studio begins a new chapter, now feels like the right time to step away from my joint MD role, but I will remain a shareholder and a lifelong supporter of the studio.

Mark Taylor

A Productions was also recently chosen as the UK producer for The Underglow, a new 2D animated pre-school series all about inspiring curiosity and wonder in children. The studio will be working in partnership with Finnish animation production studio Gigglebug to produce the new series. Created by Tanya Scott and Sam Morrison, The Underglow was developed in partnership with the BBC as part of BBC Ignite, a talent programme to find the UK’s next animation hit.

Production is also underway on Monster Makes, a burst of creativity for pre-schoolers hosted by CBeebies favourite Rebecca Keatley and the lovable Murphi, an animated monster with a penchant for inventive creations. The show is commissioned by BBC Children’s and Education for CBeebies and produced by Terrific Television with animation provided by A Productions.

A Productions invests significantly in its equality, diversity and inclusion programme, undertaking regular outreach work and offering free animation courses and an extensive mentoring scheme, among many other initiatives. A Productions was this year named one of the UK’s Best Places to Work in TV 2025 for the third time, whilst it has clocked up multiple award wins and nominations over the years for its shows.

The studio has worked on many notable productions including: JoJo and Gran Gran, produced by BBC Studios Kids & Family Productions in association with A Productions for CBeebies; Love Monster for CBeebies; Sesame Street animated specials, Furry Friends Forever: Elmo gets a Puppy and The Monster at the End of This Story, for Sesame Workshop, and segment animations for the iconic Sesame Street series. The team also worked on Pip and Posy Let’s Learn, produced by Magic Light Pictures for Sky Kids with animation services provided by A Productions.

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A graduate of Gobelins, l’École de l’Image, Quentin has quickly made his mark as Art Director on music videos for artists including Dua Lipa and Breakbot, where his bold visual style stood out. Quentin directed his own short film Golden Hour which features daring storytelling and striking imagery.

Since then, his work has spanned trailers for Riot Games and Ubisoft, collaborations with leading studios like La Cachette and The Line, and storyboard work on a range of ambitious projects, from video game trailers to Hollywood feature films. Alongside this, he continues to develop personal projects such as the short film Cosmo Princess. Throughout his work, one thing is consistent: daring, distinctive visuals that drive strong storytelling.

Caroline Audebert, Managing Director & Executive Producer at Passion Paris, said:

I am so delighted that Quentin is joining Passion Paris. His vision for directing, combined with his talent for drawing, brings a unique touch to our team. His latest work on the Yojimbot series is remarkable: a special blend of emotion and action, combined with a highly cinematic vision, brings a special touch to the story.

Welcome to the Passion Family, Quentin.

Quentin Rigaux added:

I’m truly excited to join this prestigious family. Our shared drive is to develop ambitious projects, vigorously push the boundaries of animation, and create striking, visual work backed by unique storytelling. I’m really grateful for the trust Passion has placed in me and can’t wait to dive into the projects ahead.

Passion Paris looks forward to building bold new worlds with Quentin as part of its creative family.

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Fresh off the global success of Iyanu — which debuted as the Showmax #1 kids show in Africa — creator and showrunner Roye Okupe is now expanding his Afro-Anime universe with his next major project: MALIKA: WARRIOR QUEEN, an anime-inspired feature film based on Okupe’s award-winning Dark Horse graphic novel, in collaboration with The Co-Production Company.

Set in a richly imagined 15th-century West African empire, Malika: Warrior Queen is an epic tale of power, family, and destiny—a story about a young queen’s rise from tragedy to legend as she unites a divided land under her rule. The film combines the emotional precision of anime with the soul and rhythm of African storytelling, blending breathtaking action, political intrigue, and a visual style inspired by the pulse of Afrobeats.

With this project, Okupe continues to build on the global Afro-Anime movement, redefining how African stories are told on the world stage.

Produced by Doug Schwalbe (The Co-Production Company) and multiple Emmy Award-winner Randy Dormans (Kung Fu Panda, Jurassic World: Camp Cretaceous), Malika: Warrior Queen brings together a powerhouse team of global talent. Award-winning Nigerian actress Adesua Etomi-Wellington (The Wedding Party) stars as the voice of Malika and serves as Executive Producer, alongside Impact X Studios’ Erica Motley and Roye Okupe via his YouNeek Studios banner.

“Malika: Warrior Queen is more than a film — it’s a mission: to show the world that African stories can stand shoulder to shoulder with the biggest franchises on the planet. Malika’s journey mirrors the creative fight so many of us face: the struggle to lead with strength while still holding onto empathy, to build something lasting while carrying the weight of our past. I want audiences around the world to feel Africa in every frame and to recognize that these are not just African stories. They’re human stories.” Said Okupe who is also set to write and direct.

Malika is part of the acclaimed YouNeek YouNiverse — a collection of African-inspired fantasy graphic novels rooted in history and mythology, published and distributed by Dark Horse Comics. In 2021, after five years of successful self-publishing, Roye Okupe signed a landmark 20-book deal with Dark Horse. Since 2016, more than 100,000 copies of Malika comics and graphic novels have been sold worldwide.

The film is currently in development, with Okupe now penning the screenplay and pre-production gearing up to begin soon.

Roye’s Youneek Youniverse of epic characters and stories is resonating globally.  With the success of Iyanu on media platforms around the world and the incredible fan base support for the Malika graphic novels and short film, *Malika, Warrior Queen* promises to be a breakout hit.By teaming with Randy Dormans, we can bring TV economics to feature film production while delivering Royes’ unique storytelling through elevated traditional 2D animation.

Doug Schwalbe, Founder and President of The Co-Production Company

With Malika: Warrior Queen, Roye Okupe isn’t just making another animated film — he’s amplifying a movement. Building on the momentum of Iyanu, Malika embraces and propels the growing wave of Afro Anime — a bold cinematic movement that merges anime’s emotional precision and visual dynamism with the soul of African storytelling.

Malika represents the kind of hero we rarely see — a woman who leads, fights, and loves with equal power.Her story celebrates African history, but her struggle to claim her voice and define her destiny is universal.

Erica Motley of Impact X Studios

By placing an African heroine at the center of a universal, emotionally charged story, the feature reimagines what international animated films can be: not imitations of the West or East, but bold, original expressions born from Africa’s rising creative influence.

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The day begins with a welcome breakfast hosted by Liquid Violet, offering attendees a chance to connect before diving into a full programme of panels and discussions. The opening address will set the stage with a look at regional animation activity and its growing influence on national and international markets.

Animation Nation Forum

Throughout the day, sessions will tackle the most pressing issues facing the industry.  A panel on co-producing for global audiences, Unlocking International Success, will explore how UK studios are forging international partnerships to reach wider markets with speakers Sarah Muller (Senior Head of Commissioning 7+, BBC) and Marc Du Pontavice (CEO and Founder, Xilam Animation). Another session, In the Frame: The Future Normal, featuring panelists Darran Garnham (Founder, Toikido) James Cameron (Creative Director, Imaginakery) and Rob Doherty (Kids Content Specialist and Exec Producer) examines how shifts in technology and audience behaviour are reshaping production and sustainability.

Independent animated features take centre stage in Features of the Future, sponsored by Locksmith Animation, where filmmaker Andrew Baker (CEO/Founder Cantilever Media, Kazoo Films, Moonshot Films) and Liz Warren (Fund Manager, BFI Filmmaking Funds) discuss how smaller productions are making waves at the box office. The day wraps with State of the Animation Nation, a candid conversation between Andrew Ruhemann (Founder, Passion Pictures) Camilla Deakin (Joint MD, Lupus Films), Julio Bonet (Director of Animated Series, Netflix), Kate O’Connor (Executive Chair, Animation UK) and Oli Hyatt (MD, Blue Zoo) about the challenges and opportunities ahead for UK animation. 

Festival Director Steve Henderson said:

“We’re thrilled to welcome the industry back to The Bridgewater Hall for this year’s Animation Nation Forum as it continues to evolve into a key gathering point for the entire animation sector. At a time of significant change across the global content landscape, the ANF provides a space to connect, collaborate and chart a course for the future aWe highlight the expert voices that are guiding those changes through our informative panels, meeting opportunities and networking. Animation remains the world’s greatest storytelling medium, but it is also a vital driver for economic and cultural growth. This year’s unmissable ANF will showcase what the future has in store for our industry.”

Alongside the summit, MAF will host the festival’s annual industry marketplace at Bridgewater Hall – a free-to-attend event designed to foster networking between studios, recruiters, and animation professionals. Companies attending the marketplace include Animation Associates, Autodesk, BenQ, Blue Zoo, Cloth Cat, HUE, Industrial Light & Magic, Marks & Clerk, Skydance Animation, Toom Boom, University of Salford and Wacom. ANF Connect, the flagship B2B meeting event of the Animation Nation Forum, offers curated 15-minute one-on-one sessions with leading animation professionals – giving attendees the chance to pitch ideas, forge partnerships, and grow their business. The Forum concludes with a drinks reception at Bridgewater Hall sponsored by Animation UK, giving attendees a relaxed space to reflect and network. 

The MAF Marketplace

Outside of ANF, the festival will feature talks, presentations, and showcases from industry experts representing leading international companies, including Aardman, Adult Swim, Cartoon Saloon, DNEG Animation, dock10, Epic Games, Festival Formula, Flow Creative, Golden Wolf, Magic Light Pictures, Moho Animation Software, Netflix, Walt Disney Animation Studios, and YouTube.

Kicking off our award ceremony on Thursday evening the Industry Excellence Awards, will honour outstanding individuals working across scriptwriting, storyboarding, character design, and character animation. 

For Scriptwriting, nominees include Curtis Jobling (Wolf King: The Wyrmwood), Ciaran Murtagh and Andrew Barnett Jones (Super Happy Magic Forest: Cower Before Zorgoth!), Emma Hogan (Doodle Girl, Spooks N’ Scribbles), and Davey Moore (Maddie and Triggs: Can I Have My Ball Back Please?). Storyboarding nominees are Vivek Karandikar (Wolf King), Rosie Cash (Nikhil & Jay), Sasha Fusini (Supertato), and Hoching Kwok (Maddie and Triggs).

For Character Animation, the nominees are Eleanor Burke (Lulu is a Rhinoceros), Thomas Young (Krapopolis – Season 3), Laura Tofarides (Wallace & Gromit: Vengeance Most Fowl), and Dave McKenna (Maddie and Triggs).

Finally, Character Design nominees include Maria Vidal Moreno (Wolf King), Saeed Rezvani (Mojo Swoptops), and Johnny Cardoso (Riyadh Season). Netflix’s Wolf King and CBeebies & RTÉjr’s Maddie + Triggs lead the field with three nominations each.

Manchester Animation Festival is presented with the support of Higher Education Partner University of Salford, Festival Partner HOME and Festival Patrons Adult Swim, BBC Children’s & Education, BBC Studios Kids & Family, Blue Zoo Animation Studio, Bridge AI, Epic Games, Industrial Light & Magic, Innovate UK, Toon Boom and Moho Animation Software.

ANF passes are now available and include access to all sessions and events. For more details and to book your pass, visit the Manchester Animation Festival website www.manchesteranimationfestival.co.uk

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SUPERPROD Animation and France Télévisions Team Up on FRNCK

SUPERPROD Animation is thrilled to ink a deal with France Télévisions for the development of a 26 half hour animated series based on the hit comic book FRNCK.

Franck, a 13-year-old orphan, suddenly finds himself transported back to the prehistoric era, surrounded by hungry dinosaurs, giant insects, and ferocious plants… Fortunately, he’s rescued by Kenza, a 14-year-old prehistoric girl who takes him back to her tribe. At first terrified, Franck is surprised by the warm welcome he receives. Could this be his chance to finally have a family, after growing up alone? Determined to stay, Franck will do everything he can to fit in. He’ll face the dangers of this untamed prehistoric world—but also the challenges and confusion of something completely new to him: learning what it means to be part of a family.

FRNCK is based on the comic book series created by artist Brice Cossu and writer Olivier Bocquet. Originally published in kids magazine Spirou in 2016 and later released as graphic novels by Dupuis. Translated into nine languages, the series now spans ten volumes (with more coming) and has sold over 600,000 copies, captivating readers with its unique mix of humor, fantasy, and adventure.

Julie Durot – Managing Director at Dupuis, comments:  “We’re thrilled to see FRNCK make the leap into animation. The project with SUPERPROD and France Télévisions promises to capture the comic’s humor and sense of adventure, while delivering powerful themes and thoughtful reflections on modernity and humanity.”

Jean-Baptiste Lamotte, Head of Youth Programming at France Télévisions, added: “We’re very excited to bring FRNCK to life with the talented teams at SUPERPROD. This series, combining adventure, comedy, and emotion, aims to enrich our animated offering with more action and deeper reflection on family dynamics and social models. Through the journey of this orphaned boy transported into a wildly imaginative prehistory, where he discovers and reinvents what family means, the show will create a strong emotional connection with its two main characters and their chosen family.”

 Camille Serceau, Producer at SUPERPROD Animation, said:
“We were immediately drawn to the comic’s energy, humor, and originality. FRNCK is truly one of a kind, and we believe the pilot we produced demonstrates the strength of the concept and our 3D adaptation. Like the pilot, the full series will be directed by Jean Duval, and we can’t wait to bring this world to life and take children on a one-of-a-kind prehistoric adventure.”

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With the UK’s animation industry valued at an estimated £1.7 billion (Animation UK), this initiative seeks to quantify the North West’s regional contribution, assess the evolving creative landscape shaped by global shifts and emerging technologies such as AI and immersive platforms, and gather critical data on turnover, employment, and creative output. The findings will directly inform policymaking, research, inward investment, and workforce development – reinforcing Greater Manchester’s position as a leading hub for creativity and applied innovation within the UK’s dynamic creative economy.

Launching today, Monday 13th October, the survey invites local organisations, freelancers, and researchers across Greater Manchester and the North West to share anonymous insights – helping build a collective, data-driven profile of the region’s animation and cinematic sector.

Patricia Hidalgo, Director BBC Children’s & Education says:

MediaCity is home to BBC Children’s and Education, and we’ve been inspired by the region’s vibrant creative community, collaborating with many local partners. As we grow our ambitions for homegrown animation—particularly through our Ignite scheme—it’s vital that we listen to the industry, starting with our own area. We’re always open to new ideas and opportunities, and I’m looking forward to the insights this survey will bring.”

Dr Steve Henderson, Festival Director at MAF and GMAS Project Lead says:

With Animation UK valuing the UK animation economy at £1.7 billion, we know animation is big business. It drives innovation, talent, and investment – yet without data, we risk being overlooked. This is our moment to prove our value. By bringing together companies, freelancers, and researchers from the Games, VFX, Motion Graphics, and Animation sectors, we can collectively contribute to the picture we’re painting of the region. Together, we can build the evidence that data-driven governments and policymakers can’t ignore – and make a real difference to the fortunes of our industry.

Anthony Hatton, MITIH Programme Director, says:

The Animation community has helped to put Greater Manchester’s creative sector on the global stage for many decades. The rate of change in the industry means we need to understand more about the short-term challenges, as well as the longer-term opportunities, that our colleagues are facing so that we can shape the most effective interventions to help it flourish in the coming decade. We are therefore delighted to support this survey which will allow everyone’s voice to be heard.

Supporting the survey is Mackinnon & Saunders, the renowned Greater Manchester-based animation studio (Moon and Me, Twirlywoos, Raa Raa the Noisy Lion) celebrated for its world- class puppet craftsmanship (Guillermo Del Toro’s Pinocchio, Tim Burton’s Corpse Bride and Frankenweenie, Wes Anderson’s Fantastic Mr. Fox).

Ian Mackinnon, Co-founder and Creative Director/Executive Producer at Mackinnon & Saunders, adds:

Greater Manchester has long been a hub of imagination, innovation, and craftsmanship ​- and animation truly embodies that spirit. For decades, world-class artists and studios have made the region their creative home, building a community that shares ideas, nurtures new voices, and pushes boundaries.

The Greater Manchester Animation Sector Survey is a vital opportunity to evidence the industry’s economic, cultural, and creative value. By taking part, individuals and organisations help shape the future of animation in the region and ensure the next generation of talent has the support they need to thrive, strengthening Greater Manchester’s position as one of the UK’s most dynamic and globally recognised centres for animation and screen innovation.​ I’d really encourage everyone, from freelancers to studios large and small, to take a few minutes to contribute. It’s our chance to tell the world what makes this region such a special and inspiring place for animation.

The 2025 Animation Sector Survey is a timely opportunity to spotlight Greater Manchester as a nexus of creativity, technology, and innovation. By capturing the sector’s data, voices, and future potential, the findings will inform strategic investment and policy – reinforcing the region’s role as a thriving hub for Creator Economy talent, CreaTech innovation, and Innovation District ambition.

The survey closes on Friday 24th October, with results set to be unveiled at MAF’s Animation Nation Forum on Wednesday 12 November at Bridgewater Hall, Manchester. The survey takes just 3–15 minutes to complete https://www.surveymonkey.com/r/GMAnimation2025.

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Targeting children aged 4 to 7, the series starts from an original idea by Allegra Dami and is produced by Italian 3D production studio Mobo and production company Dami For Content, and co-produced by 20STM (Belgium) and Xentrix (India). Melody & Momon stands out with its inventive and heartwarming musical universe, designed to captivate and entertain young audiences.

Melody & Momon tells the story of Melody, a cheerful little girl passionate about singing and dancing with her friend Momon, an adorable and playful puppy who comes to life through a magical microphone. Together, they turn everyday challenges into playful adventures filled with teamwork, laughter and joy.

Mixing imagination, friendship, and a musical touch, the series delivers a fresh and simple format: in every episode, a 30-second choreographed song from a set of five catchy hits turns kids’ everyday dilemmas (Do, Fix, Think, Listen, Wiggle) into joyful solutions.

Developed to encourage active children’s participation, Melody & Momon series unite, delight and engage all kids and the musical sequences are easily adaptable across platforms.

We are thrilled to welcome Melody & Momon to our line-up. The series combines unique musical creativity with universal values that truly resonate with today’s kids. Created with strong digital and interactive potential, Melody & Momon is set to engage young audiences while winning over parents alike.

Isabelle Aghina, Head of Distribution and Acquisitions at Moon-Keys International Content

Melody & Momon were created with the aim of offering children new friends to have fun with, in their free time. We are delighted to collaborate with RAI Kids and entrust international distribution to Moon-Keys, whose expertise and network will ensure the series reaches the visibility it deserves,

Allegra Dami, CEO, Dami For Content

We can’t wait for children all over the world to play with the adventures of Melody & Momon and discover the values of friendship through music and magic. We are working to create a unique joyful and welcoming universe and we have the best partners to make this happen,

Giorgio Scorza, CEO, Mobo

Moon-Keys International Content will introduce Melody & Momon to international buyers at MIPCOM 2025 in Cannes.

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Kazoo will release the film in the UK and Ireland in Q1 2026, marking the distributor’s third saturation theatrical release in six months. Night of the Zoopocalyse will hit cinemas on 10 October 2025, and Kazoo’s first release, Grand Prix of Europe, was a box office success when it launched on 22 August this year.

Stitch Head is based on the best-selling children’s book series, written by Guy Bass and illustrated by Pete Williamson, and was adapted and directed by Steve Hudson. It’s the hilarious and heartfelt story of Stitch Head who leaves his isolated castle home, and all the weird and wonderful monsters he shares it with, to find fame and fortune only to learn what’s really important in life.

The film, which was in the official selection at both Annecy Animation and Giffoni Film festivals this year, has a stellar voice cast including: Asa Butterfield, Joel Fry, Alison Steadman, Rob Brydon, Fern Brady, Tia Bannon and Jamali Maddix. It is produced by Gringo Films in co-production with Fabrique D’Images, Senator Film Produktion and Traumhaus Studios in Association with GFM Animation. Briarcliff Entertainment is debuting the film in theatres across the US from October 29th 2025.

GFM Animation’s Fred Hedman said:

“We’re delighted that Kazoo loves Stitch Head and his monstrous adventures as much as we do here at GFM Animation. It is a pleasure working with Andrew and the team, and to see their commitment to releasing independent animated feature films in UK theatres.”

Andrew Baker CEO of Kazoo Films said:

“Stitch Head is an exciting addition to our growing slate and we look forward to unleashing the film to audiences in the UK and Ireland next year. We are thrilled that we have managed to secure and release three fantastic films within the first year of launching Kazoo and we will have more animated family movies that we will be releasing next year.”

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1. The ratification of a first-ever union contract for Production Workers.
2. The unionization of Remote Workers across the United States who contribute to LA-based projects.

An overwhelming majority of DreamWorks Production workers voted to ratify their first Collective Bargaining Agreement after nine months of negotiations. With a 92% participation rate, 96% voted to ratify the contract covered by TAG and the Motion Picture Editors Guild, IATSE Local 700.

The new contract brings long-overdue recognition and protections, with major wins that include:

• Established wage minimums for job classifications with yearly increases, including one of the most competitive Production Assistant rates in the industry.
• Substantial reduction in healthcare costs — annual individual premiums will be zero dollars.
• Guaranteed retirement contributions.
• Additional 6th and 7th day pay for salaried and on-call employees.

At the same time, DreamWorks remote employees living throughout the U.S. and working on LA-based animation projects have formally declared their intent to unionize with TAG. On September 22, 2025, the unit submitted a request for voluntary recognition to the studio, and on September 23, TAG filed for an NLRB election covering 75 artists and animation workers across both Feature and TV.

This new remote bargaining unit includes job titles currently represented by TAG in the Master Agreement, including: Character Effects Artist, Animator, Technical Director, Lighter, Visual Development Artist, Modeler, Production Coordinator, Production Supervisor, and more.

“While it is a tremendous privilege to be able to work remotely in the industry I love and alongside people I love, it is unfair to be treated as a second-class employee,” says Anthony Holden, an Oregon-based Story Artist who has worked at DreamWorks for seven years. “Those of us who work remotely do not enjoy the same health care, retirement planning, or other benefits afforded to our co-workers in LA County who are covered under collective bargaining agreements. For the sake of my own family, and for the sake of any employee—current or future—who might choose to move their family to the place that is right for them, I have chosen to stand with the remote employees of DreamWorks to ask for what is rightfully ours— to be given the same treatment and benefits as our counterparts who work in-studio.”

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Soho Revue, 14 Greek Street, London W1D 4DP
10 October 2025- 10 January 2026
Private View: 10th October, 6-8pm
Wednesdays- Saturdays 12-6pm
Free admission

‘Sleepwalking’ takes inspiration from the Surrealist belief that cinema is a manifestation of the unconscious: a darkened room in which viewers are transported from their physical bodies into a world of images. The animation opens with shadowed hands drawing heavy, Lynchian theatre curtains. From there, a puppet-like shadow play then unfolds: a glowing figure enters a reflective, dreamlike room inhabited by bird and fish forms. Anonymous hands manipulate the space, interrogating ideas of agency and authorship.

The work is laden with symbolic imagery of transformation and rebirth. Birds and fish appear interchangeably as archetypal figures of the unconscious: the fish evoking ancient, primordial beings; the birds suggesting freedom and flight. Using her own body as a reference, Cecilia performs within this dreamworld, blurring the boundary between self and environment as she inhabits a space of dissolution and transformation.

The installation combines watercolour on cell frames,  with hand-drawn digital frame-by-frame sequences and painted backgrounds to construct a richly layered and tactile environment. Projected through panels of translucent scrim fabric the imagery is refracted across surfaces and reflected in the glossy floor, creating an otherworldly sense of depth and disorientation.

Accompanied by original music by London based electronic music artist Sam Black (aka Slacker). Past releases with labels including Soft Raw and Erosion, he also runs the label Psuedoym Records. Sound design and mixing are by award winning composer and sound designer  Eleanor Fineston- Robertson, past clients include Barbican, National Trust and the Courtauld Gallery.

About Cecilia Reeve

After completing her MA in Animation at the Royal College of Art in 2023, Cecilia was awarded a residency at Revue Studios (2023). She held her first solo show of Paintings and Animation at Twilight Contemporary in March 2025. Her graduate film ‘Porous’ was screened at several Academy Award-qualifying festivals, including LIAF and Aesthetica, and won the ArtsThread Global Graduation Prize in collaboration with Gucci. The film also received a Vimeo Staff Pick.  Cecilia is represented for commercial work by SNYDER, her past clients include the Financial Times, Wandsworth Borough and Holland Park Opera House.

Cecilia’s textural and atmospheric practice is rooted in states of emotion, longing, and dreaming. Her work often creates serene yet unsettling environments, drawing inspiration from the literary tradition of Magical Realism and the fleeting moments where reality and dream overlap; the ephemeral shadows we leave in the spaces we pass through. Water immersion and reflection become a metaphor for the unconscious mind—fragmenting the body, suspending it out of time.

Sleepwalking will be presented on Soho Revue’s Second Floor, 14 Greek Street, London W1D 4DP, opening during Frieze Week on 10 October 2025, and will run for three months. Free Admission.

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R. C. “Bob” Harvey, noted comic strip and book historian, has written The Art of Popeye. Harvey passed away at the age of 85 on July 7, 2022  but left readers an 190 page publication showcasing one of the world’s most recognizable figures.

Popeye was created for E.C. Segar’s comic strip, Thimble Theatre, on January 17th, 1929.  The spinach eating sailor has been adapted into all types of media.  He has been featured in approximately five hundred animated cartoons. Popeye made his foray into animated films by dancing the hula with Betty Boop in 1933.

This publication features a great amount of original comic strip art.  As expected one can find material produced by E. C. Segar and his best known assistant, Bud Sagendorf.  Finally Bela “Bill” Zaboly’s work on the strip is given a proper showcase. Zaboly drew both the daily and Sunday Thimble Theatre from 1939 through 1958.  Rarely has this outstanding artists contribution to Popeye’s universe been explored.

Additionally Popeye movie posters and animation cels are published. Episode guides from both the Fleischer and Famous Studios eras have been catalogued.  Memorabilia featuring the sailor and his crew are showcased through out.

This tribute to Popeye is certainly strong to the ‘finich’!

The book can be purchased at the Hermes Shop store, here.

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The collaboration between the National Animation Museum and IndieCade will highlight the community of independent creators who bring animation, games, and interactive media to life. By co-developing immersive, educational, and inspiring programming and experiences, the two institutions will promote the stories of animated storytelling and independent game design to diverse and growing audiences.

Eddie Newquist, founder and CEO of the National Animation Museum, shared, “As a museum that celebrates animation in all its forms, we recognize and honor the rich history and future of games and the community of independent developers and artists who make the field exceptional. IndieCade’s commitment to independent creators strongly aligns with our mission. That’s why teaming up with them felt like a perfect fit from the start.”

Stephanie Barish, CEO and founder of IndieCade, stated, “IndieCade has always celebrated and supported the artistry, diversity, and innovation of independent games. By collaborating with the National Animation Museum, we aim to further promote our mission and share with the public how games and animation can educate, inspire, and build lasting communities.”

IndieCade is the most recent addition to the National Animation Museum’s expanding network of partners and collaborators as it continues its planning phase, including Param Science Experience Centre, The Children’s Museum of Indianapolis, and MinaLima, the creative team behind the graphic design of the Harry Potter films.

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This is a depressing and short-sighted decision, which will leave UK children less well-served. Sky Kids content has gained a reputation amongst parents and young people as high value, rich, thoughtful as well as fun.  This is what our children need more than ever in the face of competition for their attention from high volume, cheaply made content that dominates the YouTube offering.

In the Foundation we appreciate that the economics of children’s content are increasingly difficult in the face of competition from YouTube for attention.  But giving up on young people is not the right option.  This decision leaves the BBC and Five’s Milkshake! as the only significant commissioners of factual and entertainment content for children in the UK – not a position the public service broadcaster wishes to see, and not good for the audience.  Healthy competition was provided by Sky, and healthier kids were the outcome of its programme offering.

We urge Sky to reconsider its decision and maintain a level of original commissioning which will support the already badly hit children’s media industry and importantly would continue to support UK kids to experience their own stories and hear their own voices, as so much of Sky Kids’ content currently provides.

 CMF Director Greg Childs said today:

This is not the time to give up on great UK content for UK kids. Just as we are working with government and platforms like YouTube to help children and young people find more personally and socially valuable content on video-sharing platforms, Sky is walking away from its kids’ audience. What’s needed is fresh thinking about deals and partnerships that take their content to where kids are watching, not a knee-jerk cost-cutting spree which will damage their relationship with their customers and certainly diminish the prospects of quality viewing time for children in their country.

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