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.

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

The post The Short Films of David Lynch + DumbLand appeared first on Skwigly Animation Magazine.

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.

When last we spoke, Clyde Henry had recently completed Cochemare. Having followed the work of the studio since Madame Tutli-Putli, it’s been fascinating to see the different directions you have gone with your work over the years, and the different approaches taken with mixed-media. Can you talk a bit about how the studio has grown in the past decade up to The Girl Who Cried Pearls?

Following Cochemare, which was an experimental stereoscopic film, we spent the best part of the next decade exploring virtual reality. The film, or experience, that came out of that process was Gymnasia which taught us a great deal about the power of puppets to elicit a strong emotional response, no matter the medium. And it became clear that the rest of our career would probably be defined by exploring the limits of puppets on screen.

Handmade puppet for The Girl Who Cried Pearls (Credit: Clyde Henry Productions)

The film has all the hallmarks of being adapted from an existing fable, but I gather it is an original story; what brought the idea about initially, did it stem from anywhere in particular?

The goal was a story that felt like it had existed for millennia. In truth, it only goes back as far as the making of Madame Tutli-Putli, where one night we came up with this idea of a poor girl crying pearls, and a poor boy who is torn between his desire for her and his desire to get rich. But we put it aside because we couldn’t solve the ending. That’s not unusual for us, we have dozens of half-baked ideas that never come out of the oven, for one reason or another.

Chris Lavis & Maciek Szczerbowski (Credit: Martin Gros)

I believe that production on the film went back to 2020 – did the pandemic throw things into disarray at all, or compel you to steer your approach in a way you might not have done otherwise?

The film’s production was defined by the pandemic. It affected every aspect, but it wasn’t all negative. The first few months of isolation allowed us to fully concentrate on the sculpting and building of the puppets instead of our original plan, which was to multi-task and work on the animatic, schedule, and editing all at once. The puppets definitely benefited from that singular focus.

The presentation of Montreal in the early 20th century is very nicely done. Was there much by way of research into how the city and architecture looked at that time to keep its representation authentic?

We love the research phase of any project, and we spent months gathering material on the neighborhoods, architecture, clothing and streetcars of the era. But the ultimate decisions were artistic ones, and we were happy to throw accuracy to the wind if it made for a better story.

Artistic Director Brigitte Henry on Set (Credit: Martin Gros)

On that note, the production design and set craftsmanship is impeccably detailed and immersive. Can you talk a bit about working with Brigitte (Henry, Artistic Director) and the talents who constructed the environments of the film (and did you yourselves get involved on that front)?

Brigitte Henry was intimately involved in the research phase, and during production her particular responsibility was procuring props from antique markets and websites, as well as scanning or creating objects for 3D printing. She was also involved in shooting the animatic and the sets. Special mention should go to Yso South, who helped design and build most of the costumes. As with all our films, we were responsible for sculpting puppets, designing and building sets and props, lighting, and for applying the final patina, dust, and dirt to every object and character that appeared on screen.

Chris Lavis on Set (Credit: Martin Gros)

I got the impression from the credits that performers were used for LAV (live action video) reference, which would account for how uniquely imbued with life the puppet performances are throughout the film. How much LAV would you say was used throughout, and was this an important part of achieving the quality of animation you had in mind for the film?

We use live action footage of actors for every scene. Our animatics take the place of storyboards, so we use them to reference gestures, camera, edits—the entire film exists in live action from beginning to end before we shoot a frame. We find this method creates, then preserves spontaneity in both the performances and the camera. For us the camera is as much an animated character as the puppets are.

To achieve this fluidity of performance, were there any special considerations or approaches when it came to the puppet armatures and materials themselves?

We have found that simple aluminum armatures are the best way to achieve fluid motion in our films. Our puppets tend to be light and quite bendable, in comparison to mechanical armatures.

Maciek Szczerbowski on Set (Credit: Martin Gros)

There are some inevitable comparisons I can’t help but draw with Madame Tutli-Putli, though it struck me as interesting that, while that film used mixed-media to give the characters’ eyes a striking sense of life, the eyes in The Girl Who Cried Pearls are almost static, yet they still feel alive. I’d be interested in hearing about what led to this approach and how you alighted on it.

For most characters, the faces are completely static. Not even the eyes move. We wanted to prove to ourselves that we could make a puppet emote without any tricks, to show that the inherent power of a puppet has nothing to do with technology. As Orson Welles said: “Puppets are ancient entertainers. They don’t just go back to the crib, they go back to the cave.”

A similarly interesting visual choice is the absence of lip-sync, but only in the flashback sequences; was this symbolic of anything in particular?

When we recall a conversation from decades ago, we may remember some words, but we certainly don’t recall details like blinks or moving lips. Memories are not recordings, they are impressions.

On the Set of The Girl Who Cried Pearls (Credit: Martin Gros)

Another subtle disparity between the present-day scenes is the more fleshy, organic quality of the puppets relative to those of the flashbacks, which appear almost wood-carved with cadaverous colouring. Can you elaborate on the reasoning behind this approach, and were there any specific artists or eras of filmmaking you wished to evoke with it?

They are meant to appear carved, recalling wooden church idols or well-worn marionettes. The intention was to invoke religious worship, a theme of the film, and to reinforce the idea that we are telling you a fable, the kind that may have been repeated by a puppeteer travelling from town to town.

Avoiding spoilers, the film concludes with something of a rug-pull for the audience. Was this always how you intended to go with the ending, or was it a decision that came later on in the writing process?

The decision came late. As we said before, we put the idea aside for more than a decade because we couldn’t find the ending.  The ending as is wasn’t tacked on, it was the eureka moment that made the film work—a story about the very nature of stories.

As is often the case with NFB films, an English language version was produced concurrently with a French language version. How was it to direct Colm Feore and James Hyndman as each respective narrator, and did they have any interaction with one another to ensure the character was portrayed consistently across both versions?

James Hyndman’s French version came before Colm’s, but really, that made no difference. Each actor defined the role in their own way, and each interpretation is unique to that version.  As for directing them, these are two absolute masters, we didn’t direct so much as nudge them a little this way and that, to make sure we had some options in the editing room.

Canadian actor Colm Feore lent his voice to the animated short The Girl Who Cried Pearls (Credit: Scott McQuarrie)

As an extension of that, and as a curiosity, were the scenes that involved lip-sync animated to one specific performance that the other actor had to then time his to?

Each actor got to do their own thing, as long as they kept to the length of the shot. The French and English mouths were animated separately, in post-production. It’s not a dub, but two separate films.

I thought the work that Patrick Watson brought to the film was really strong, and seemed to extend beyond a musical score to elements that played off of the sound design and specific, individual sound effects. Can you tell us a bit about your working relationship and what sort of back-and-forths you may have had to achieve this?

Patrick has been a wonderful collaborator over several films. There are instances where the music and the sound design are indistinguishable, which is a testament to the collaboration between Olivier Calvert, the sound designer, and Patrick, the composer. Ideally, that’s how it should work, you don’t feel the work of one or the other is dominant. Patrick also helped us make some crucial editing decisions during the process, suggesting we cut three short scenes to help streamline the story.

The film will next screen in the UK at Manchester Animation Festival this month, how have you found the festival and audience response to the film so far?

The response has been very positive. We are proud of this movie. It is, to the frame, exactly the film we wanted to make. Its flaws are our flaws, this is the best we could do. To see it resonate with so many people, and to see the film appreciated not just for the visuals, but for the story, has been wonderfully gratifying.

The Girl Who Cried Pearls plays as part of MAF’s Animation Mixtape 1 screening, both as an in-person event (Nov 12 8:30pm, HOME Cinema 2) and online (available Nov 14-30)

The post The Girl Who Cried Pearls | Interview with Clyde Henry Productions appeared first on Skwigly Animation Magazine.

If I Was God (Cordell Barker, Canada) | Interview

From Skwigly Screening 1: Existential Enticements (2015)

Oscar-nominee Cordell Barker’s highly-anticipated follow-up to 2009’s Runaway was a double-first for the director, who elected to produce the film both stereoscopically and in stop-motion. If I Was God, produced at the National Film Board of Canada (NFB), combines a variety of animation approaches in its semi-autobiographical remembrances of pre-adolescent existentialism as we meet a young Barker in contemplation of the sometimes-macabre delights that omnipresent power might yield.

The Meek (Joe Brumm, Australia) | Interview

From Skwigly Screening 1: Existential Enticements (2015)

A few years before Brumm would be a household name as the creator of the phenomenal Bluey, his Brisbane operation Studio Joho got some attention from the success of The Meek, an effective parable on the nature of addiction to toxic people, substances and/or circumstances with a deceptively chipper aesthetic. Two versions of the film would do the rounds, one with narration, another where the visuals speaks for themselves (we opted for the latter).

Wackatdooo (Benjamin Arcand, Canada) | Interview

From Skwigly Screening 2: Fetching Fascinations (2015)

This film always stood out for siphoning the best aspects of a specific era of animation – chiefly the liveliness, the compositional variety and freedom of design. A fantastic showcase of the abilities of Montreal director Benjamin Arcand, who’d go on to work on SpongeBob SquarePants and The Cuphead Show, Wackatdooo is an incredibly slick, musically vibrant piece that would become a major case study in my first book Independent Animation.

Love (Réka Bucsi, France/Hungary) | Interview

From Skwigly Screening 2016

Having already made a name for herself with her MOME student short Symphony No. 42, Réka Bucsi’s multi-award-winning Love would go on to achieve even wider acclaim, including screenings at Sundance and Berlinale. A quasi-abstract examination of how the definition of love itself can be interpreted across three chapters, the film takes us on a meditative tour of a curious landscape and menagerie of non-quite Earthly creatures.

Wednesday With Goddard (Nicolas Ménard, UK) | Interview

From Skwigly Screening 2016

Nexus director Nicolas Ménard had already established himself as a bit of a ledge with his previous shorts Somewhere and Loop Ring Chop Drink (screened the year previous). His poignant and witty micro-odyssey Wednesday With Goddard marked a shift in artistic approach, swapping a printmaking aesthetic with a satisfying juxtaposition of minimal character design work set against elaborately rendered pencil sketches by collaborator Manshen Lo.

Analysis Paralysis (Anete Melece, Switzerland)| Interview

From Skwigly Screening 2016

Following on from 2013’s much-loved The Kiosk, Latvian-born animator/illustrator Anete Melece‘s Analysis Paralysis both retained and expanded on its its predecessor’s charm and visual quirkiness in its intertwined tales of the solitary, over-analytical Anton, and a park gardener increasingly frustrated with vandals trampling her flowerbeds.

Le clitoris (Lori Malépart-Traversy, Canada) | Interview

From Skwigly Screening 2016

An enormous hit both at festivals and online, Lori Malépart-Traversy’s progressive mini-documentary used traditional 2D animation techniques to tell the story of the oft-misunderstood clitoris and how its standing in society has changed over the centuries, from the patriarchal attitudes of the Catholic Church to the dismissive theories of its ‘Enemy Number 1’ Sigmund Freud. A major case study in the Intimate Animation podcast and book, the film would serve as a springboard for Lori’s later series Magical Caresses, produced for the NFB several years later.

Catherine (Britt Raes, Belgium) | Interview

From Skwigly Screening 2017

Teaming up with Belgium’s Creative Conspiracy, animator and illustrator Britt Raes (who would eventually go on to create Luce and the Rock) made serious waves with her short film Catherine, a tragicomic tale of a cat-lady-in-waiting whose love for animals is at odds with her being something of a jinx; pets don’t last long in her care, until an affectionate (and, most importantly, durable) blue cat enters her life. With its blend of dark, bizarre humour and genuine heart, the film would prove an enormous festival hit, racking up over 50 awards.

To Build a Fire (Fx Goby, UK) | Interview

From Skwigly Screening 2017

Another noteworthy Nexus director to make an appearance in a Skwigly Screening, Fx Goby’s incredible body of work includes commissions for Gorillaz, the BBC, Google, Facebook and Smirnoff to name a few. On the heels of his elaborate, immersive Georges Méliès tribute Back to the Moon, To Build a Fire is a mini-masterpiece of high-tension short filmmaking, created to commemorate the 100th anniversary of renowned American writer Jack London’s death.

Haley and Joanna (Laura Jayne Hodkin, UK)

From Skwigly Screening 2018

Before Strange Beast director Laura Jayne Hodkin would delight the world with the fantastic Hot and Tasty, her earlier offering Haley and Joanna (created during her time at the RCA and animated to audio from the podcast Friday Night In) similarly encapsulates everything that appeals about her playful design sensibilities and loose, freeform animation approach, both of which would prove to be enormously influential on many subsequent up-and-coming directors in the years since.

Ooze (Kilian Vilim, Switzerland)

From Skwigly Screening 2018

Goofy, macabre fun and twisted in a manner that doesn’t alienate the viewer, Kilian Vilim’s Ooze shines a light on the pernicious malaise that comes from loneliness in its tale of a bellhop whose ostensibly mundane occupation presents him with an increasingly surreal and sinister hellscape. Visualised through stark black and white line work and increasingly inspired scenarios depicting the protagonist’s mental state, the film stood out as one of the highlights of that year.

Flipped (Hend & Lamiaa, UK) | Interview

From Skwigly Screening 2018

Established duo Hend Esmat and Lamiaa Diab have amassed an impressive body of work in a relatively short time, with noteworthy projects including commissions for SARSAS, Facebook, Google, Action Aid and Procreate (for which they also run courses). Their UWE graduation film Flipped is a testament to their rock solid talent and ability, standing out as one of the most impressive films produced by the university of that decade and demonstrating just how effective a simple premise – “What if kids and adults switched roles?” – can be when told well.

Creepy Pasta Salad (Lauren Orme, UK) | Interview

From Skwigly Screening 2019

Lauren Orme – longtime pal o’ Skwigly and founder of CAN, CAF, Picl Animation and the Planet Positive Animation Network – would also prove her chops as a filmmaker with her debut short Creepy Pasta Salad. The film, uniquely animated using Moho, produced at Winding Snake Productions and assisted by Ffilm Cymru Wales and BFI NET.WORK Wales, tells the story of “a werewolf with an anxiety disorder, a ghost with low self-confidence and a lonely witch” muddling through their everyday lives. Good wholesome fun.

Drone (Sean Buckelew, USA) | Interview

From Skwigly Screening 2022

Initially known perhaps for his work with GLAS and the Late Night Work Club (which would yield the impressive indie short Lovestreams), Sean Buckelew is currently part of Pasadena, CA-based Green Street Pictures, the animation studio that brought the world such jaw-dropping recent series as Scavenger’s Reign and Common Side Effects. His preceding film Drone is an astonishingly polished 15-minute endeavour about an AI drone who, in an instance of unforeseeable pareidolia during a test mission, develops a conscience and goes rogue, to the delight of the public. Though evocative somewhat of Charlie Brooker (and the occasionally good episodes of LD+R), it stands on its own as a truly unique piece of satirical modern storytelling.

Brunch (Marnik Loysen, UK) | Interview

From Skwigly Screening 2022

An incredibly slick stop-mo affair, UWE Bristol School of Animation grad and Aardman regular Marnik Loysen’s indie short Brunch is a self-funded labour of love dedicated to the pointlessness of intergenerational conflict, manifested as a young millenial’s desire for avocado on toast in the face of his elders’ derision and admonishment. A simple but effective skit that brings some shades of grey to what is often presented as a black and white argument.

Mr. Pete & the Iron Horse (Kilian Vilim, Switzerland) | Interview

From Skwigly Screening 2022

Kilian Vilim makes a second appearance in this top twenty list with Mr. Pete & the Iron Horse because…well, look at it, for crying out loud. An absolutely seamless pairing of frenetic music and animation, the film takes inspirational cues from early Walt Disney and Fleischer Studio shorts and serves as a thoughtful modern parable on the notion of ‘maximum economic performance’ in its tale of overworked coal-shoveler Mr. Pete and the insatiable demands of his baroness.

Dog Apartment (Priit Tender, Estonia)

From Skwigly Screening 2022

My heart breaks slightly that this one, a product of the wondrous Nukufilm (whose film The Little Other is part of this year’s selection), isn’t online in full yet, as sharing it with unsuspecting audiences is a true joy. This, to me, is stop-motion at its finest; when it’s telling a story that’s utterly uninhibited by realism or linear storytelling. And for those who’d reel at it and ask aloud what you’d just watched, I’d encourage you watch it again. And again. Eventually its own logic starts to make a strange kind of sense. Keep your eyes peeled for it when it eventually drops.

The Beatles vs. The Stones (Andrew Kelleher, UK)

From Skwigly Screening 2023

Another simple concept, but one executed with impeccable detail, timing and visual ingenuity. The age-old battle of which trailblazing musical outfit should be granted the crown of…trailblaziestness?…is visualised by the talents of Dog & Rabbit (Dog Judo, Modern Toss) via a run-through of their respective discography’s album cover art engaged in a collage-animated battle. Clever stuff and potentially a rights nightmare, so hat’s off to them.

The Final Nail in the Coffin (Conor Kehelly, UK) | Interview

From Skwigly Screening 2023

It’s always a pleasure to slip in a film that edges more toward the macabre, and Conor Kehelly’s darkly comic debut offering (following his studies at the Manchester School of Art) The Final Nail in the Coffin proved a big hit among that year’s crowd; subject matter such as household fatalities and infanticide is a tricky one to pull off and actually get laughs, but Kehelly has a keen sense of how to step up to (and occasionally over) the line without losing his audience.

Quota (Job, Joris and Marieke, The Netherlands) | Interview

From Skwigly Screening 2024

The opportunity to include Dutch trio Job Roggeveen, Joris Oprins and Marieke Blaauw in a Skwigly Screening was enthusiastically welcomed, having been a fan of their work for the past decade and change. Perhaps best known for their Oscar-nominated A Single Life, the group would shift their attention to entertaining, non-preachy ecological messaging with Quota, a darkly-comic cautionary tale in which every global citizen is mandated to participate in a program that tracks their CO2 emissions, which they ignore until it’s all too late. An absolute treat and a banger to end this selection on.

In the mood for even more animation? You can watch over 60 films included in the Skwigly Screening 2015-2025 via our special retrospective YouTube playlist:

The 2025 edition of the Skwigly Screening features new work from Gobelins, UWE Bristol School of Animation, Stephen Irwin, Jocelyn Charles, Andres Tenusaar, Diego Solano Flores and Anne Breymann. It takes place 7pm Wednesday November 12th at the Event Space in HOME as part of the Manchester Animation Festival.

The post 10 Years of the Skwigly Screening at MAF: A Retrospective appeared first on Skwigly Animation Magazine.

Welcome back to Hawkins in the stark winter of 1985, where the original characters must fight new monsters and unravel a paranormal mystery terrorizing their town in Stranger Things: Tales From ’85, an epic new animated series.

Spun-off from the long-established Netflix hit series Stranger Things, the new series takes place between the original show’s second and third season. Stranger Things: Tales From ’85 is animated by Flying Bark Productions and exec produced by Matt and Ross Duffer, along with Hilary Leavitt (Upside Down Pictures), Shawn Levy (21 Laps), Dan Cohen and Eric Robles. Robles will also serve as Showrunner.

Stranger Things: Tales From ’85. (L to R) Brooklyn Davey Norstedt as Eleven, Luca Diaz as Mike, Braxton Quinney as Dustin, Elisha Williams as Lucas and Jolie Hoang-Rappaport as Max in Stranger Things: Tales From ’85. Cr. COURTESY OF NETFLIX © 2025

The animated series will present a captivating new mystery, deeply rooted in the Stranger Things universe. It will propel beloved characters into an adventure that will stretch the limits of action, suspense, and horror, perfectly suited for animation.

– Eric Robles (Executive Producer and Showrunner, Stranger Things: Tales From ’85)

Also announced today is the primary voice cast, featuring Brooklyn Davey Norstedt as Eleven, Jolie Hoang-Rappaport as Max, Luca Diaz as Mike, Ej (Elisha) Williams as Lucas, Braxton Quinney as Dustin, Ben Plessala as Will, and Brett Gipson as Hopper. Odessa A’zion, Janeane Garofalo and Lou Diamond Phillips will also join the cast.

The post “Stranger Things: Tales From ’85” coming to Netflix in 2026 appeared first on Skwigly Animation Magazine.

Image: She Creates Change (Dir. Hannah Lau-Walker) Production Studio: Nexus Studios

Skwigly are proud to present the third panel from the second series of Visible In Visuals, an initiative pushing to make the animation and VFX industries more diverse and inclusive through honest, open conversation.

When the BBC are looking to close the “gender fame” gap, why are they neglecting the “gender frame gap”? Behind the scenes, women are still under-represented in senior creative roles across animation and this is even true on Female-focused commercials like the “Names will be Made” campaign for the UEFA Women’s Euros.

Tanya J Scott speaks to Directors Hannah Lau-Walker and Neeraja Raj, as well as Producer Amy Ashton about why are we still failing to see female talent leading large commercials in UK animation.

This episode was sparked by the “Women on Screen, Men in Charge” article by Neeraja, which you can read here.

Women on Screen, Men in Charge: The Industry’s Open Secret

Picture credit: “She Creates Change” Dir. by Hannah Lau Walker, Production Studio: Nexus Studios

The post Visible In Visuals (Series 2) #3 – Women in Commercials appeared first on Skwigly Animation Magazine.

Created by Cardiff-based animation studio Bumpybox, the series – titled Egin Bach (Tiny Buds in English) – has been supported by the Welsh Government via Creative Wales and with investment from S4C’s Commerical Content Fund.

Egin Bach (Bumpybox)

Comprising 26 five-minute episodes, Egin Bach follows the big adventures of six tiny, budding explorers as they navigate the vast wilderness of a small back garden.

Each episode focuses on a different aspect of the natural world – from flowers and seeds to insects, garden creatures, and the elements like rain and sunshine – inspiring children to appreciate the beauty and importance of nature close to home.

The series’ success is expected to strengthen the company’s long-term sustainability and global reach with plans in place for international distribution.

Sioned Geraint, S4C’s Content Commissioner for Children and Learners says of this exciting animation:

At S4C, we’re passionate about inspiring curiosity and creativity in our youngest viewers, and Egin Bach does exactly that. The series celebrates the magic of the natural world through a child’s eyes, and we’re proud to support a homegrown production that combines beautiful animation with educational storytelling.

It’s a wonderful example of how Welsh-language content can spark imagination and connection, both locally and globally.

Sam Wright, producer and director at Bumpybox, says:

We’re absolutely thrilled to see Egin Bach premiere on S4C, and we hope it will inspire a new generation of Welsh children to explore the outdoors.

We’re incredibly grateful to Sioned and the team at S4C for their support in bringing the series to life. As a Wales-based company, collaborating with S4C has long been one of our ambitions. While we’ve created Welsh-language content before, S4C truly represents the heart of Welsh storytelling.

We’d also like to thank ITV, who will broadcast Tiny Buds the English-language version following its S4C premiere, as well as the teams at Creative Wales and S4C International for their invaluable support in making the project a reality.

Egin Bach is a particularly meaningful project for us, as it’s an evolution of the idea that first brought our team together nearly 15 years ago.

Claire Urquhart, Head of S4C’s Commercial Content Fund, said:

It’s great to help Egin Bach get off the ground. This investment will allow Bumpybox to export this hopeful, homegrown animation to channels and children around the world.

Joedi Langley, interim Head of Creative Wales, says:

Bumpybox has created some amazing work in recent years, from working on an award-winning feature film Kensuke’s Kingdom to developing 3D pet Triceratops for My Petsaurus for CBeebies and much more.

I am thrilled that, with funding support from Creative Wales, the team has been able to develop the concept then access resources needed to create this wonderful animated series for children that’s developed in both Welsh and English, and I wish them every success in the next exciting chapter of their journey.

Egin Bach premieres on S4C on 21 October and will be available to stream on S4C Clic and BBC iPlayer following broadcast.

The post New Welsh Children’s Animation ‘Egin Bach’ to Premiere on S4C this October appeared first on Skwigly Animation Magazine.

Archer Gray/Lupus Films

Skwigly presents Animation One-To-Ones featuring Steve Henderson in conversation with BAFTA-winning director Paloma Baeza discussing her recent film Three Hares, an Archer Gray Production in association with Lupus Films.

Based on the book by Hanya Yanagihara and starring Jessie Buckley, Three Hares is a short film that weaves an enchanting creation myth and the mystical origin story of the ancient three hares symbol into an environmental tale about three sisters who must remind mankind to respect the earth in order to protect their future.

The post Animation One-To-Ones Episode #39 – Paloma Baeza appeared first on Skwigly Animation Magazine.

Academy Award-nominated filmmaker, Phil Johnston, reimagines Roald Dahl’s iconic characters, Jim and Credenza Twit, in their first feature animated adventure. The Twits tells the story of Mr. and Mrs. Twit, the meanest, smelliest, nastiest people in the world who also happen to own and operate the most disgusting, most dangerous, most idiotic amusement park in the world, Twitlandia. But when the Twits rise to power in their town, two brave children and a family of magical Muggle-Wumps, are forced to become as tricky as the Twits in order to save the city. A hysterically funny, wild ride of a film (chock-full of the Twits’ beloved tricks – from the Wormy Spaghetti to the Dreaded Shrinks), The Twits is also a story for our times, about the never-ending battle between cruelty and empathy.

Image: Netflix

Published in 1980, the original book has sold 16 million copies worldwide and been translated into 41 languages, though this film marks its first ever feature-length screen adaptation. The CG animated film will be released next week and is written (with Meg Favreau) and directed by Academy Award® nominee Phil Johnston (Ralph Breaks the Internet), alongside co-directors Katie Shanahan and Todd Demong.

I still can’t quite believe that I spent the last few years collaborating with David Byrne, a musical hero of mine since I was 13. From the first demo he sent me, on which the featured instrument was a 100-year-old banjolele, I knew I was going to love the songs he wrote. Throughout the process, my collaboration with David has been incredibly fun and surprisingly easy, probably because I’ve been stealing from him for so long. When David and I started talking about an end credit song, the first potential collaborator David brought up was Hayley Williams. The first word I said was ‘yes.’ Followed by ‘please.’ I still can’t quite believe that two of my favorite songwriters wrote a song together for The Twits. The saying, ‘never meet your heroes’ simply does not apply here. I met two of them, and boy howdy, it’s been a dream come true.

-Phil Johnston (Director/writer/producer, The Twits)

The Twits is released on Netflix October 17th

The post Trailer and key art released for Netflix’s ‘The Twits’ appeared first on Skwigly Animation Magazine.

With yesterday marking the online premiere of To Gaza with Love: A Global Anijam, a powerful international initiative coordinated by AC4Pal bringing together 329 short films from over 50 countries, created by animators, students, and studios in a collective act of solidarity with the people of Gaza. Among the hundreds of contributors are Sam Fell, Raman Djafari, students from the Royal College of Art and Joanna Quinn herself. All films will be viewable through a special  interactive map designed by Bristol-based Australian animator Jane Abernethy and rolled out on the AC4Pal YouTube channel over the coming months.

Links and resources

• @AC4PAL on YouTube
• To Gaza with Love – Interactive Map
• @AC4pal on Instagram
• Patreon.com – Animation Stories
• Haneen Koraz GoFundMe

On Saturday 27th September the Encounters Film Festival, Cardiff Animation Festival and Bristol Palestine Film Festival. will host a special fundraising event for Haneen Koraz, 12:30pm at Bristol’s Watershed. For more info and to order tickets, visit 2025.encounters.film

The post Animation One-To-Ones Episode #38 – Joanna Quinn appeared first on Skwigly Animation Magazine.

Whether an established industry veteran, newcomer or simply an animation enthusiast, all are welcome to shmooze, elbow-rub, make new connections and catch up with old.

The post Encounters 2025 | Bristol Animation Meetup (BAM) x Westivus appeared first on Skwigly Animation Magazine.

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Hosted by award-winning Animation Director, Author and Illustrator Tanya Scott. Tanya will be joined by three powerhouse speakers, sharing their expertise: Ana Emdin, former literary agent turned producer and founder of New State Pictures; Katie Barba, Development Producer at A Productions; and Greg Basterfield, Head Book Buyer at Gosh Comics in Soho. This panel will give you the tools and insights to transform visual storytelling into your next big project.

The post Encounters 2025 | Sourcing Story: Art of IP Adaptation appeared first on Skwigly Animation Magazine.

In this special presentation, the authors and special guests Ben Jackson and Baz Sells of One6th (whose film Two Black Boys in Paradise screens in competition at this year’s Encounters) will look at the role animation has played in presenting elaborate and complex concepts relating to love and sexuality, as well as how the medium can be used to visually represent emotions, feelings and concepts not easily described in words nor depicted through live-action filmmaking. Books will be available for purchase at an exclusive Encounters discount.

The post Encounters 2025 | Intimate Animation appeared first on Skwigly Animation Magazine.

In this episode, Tanya speaks with Chitra Soundar and Nandita Jain about their work creating the Colourful Connections, a network designed to empower PoC to make a difference in UK Children’s Media. They’ll chat about their groundbreaking CBEEBIES show Nikhil and Jay (Created by Chitra and Directed by Nandita) and how the Colourful Connections network offers much needed representation and support for people both on and off the screen in kids tv.

Colourful Connections website: www.c3muk.com/

Colourful Connections Linkedin page: www.linkedin.com/groups/12898204/

The post Visible In Visuals (Series 2) #2 – Colourful Connections appeared first on Skwigly Animation Magazine.

Image: Netflix

Presenting episode 118 of the Skwigly Animation Podcast!

In this episode we welcome back Genndy Tartakovsky, whose new feature film Fixed is out now on Netflix.

From visionary director Genndy Tartakovsky comes “Fixed,” an adult animated comedy about Bull, an average, all-around good dog who discovers he’s going to be neutered in the morning! As the gravity of this life-altering event sets in, Bull realizes he needs one last adventure with his pack of best friends as these are the last 24 hours with his balls! What could go wrong…?

Also discussed in this episode: The patchy state of the current industry, the return of Bristol’s Encounters Film Festival and its re-embracing of animation, the legacy of animation champion and publicist extraordinaire Fumi Kitahara and the inescapable rise of AI.

Presented by Ben Mitchell and Steve Henderson
Produced, edited and music by Ben Mitchell
Interview conducted by Steve Henderson

The post Skwigly Animation Podcast: Summer 2025 – Genndy Tartakovsky appeared first on Skwigly Animation Magazine.

In a world where the planet is starving, a malevolent enterprise known as The Mill offers the solution of ‘miracle bread’ that turns all who consume it into bread themselves. When young Magret realises her brother has become one such bread zombie, she takes it upon herself to protect him from a ravenous, addled society at all costs and against increasingly frenzied odds.

With the film currently screening at International Countryside Animafest Cyprus and upcoming selections including the Ottawa International Animation Festival, Skwigly caught up with Alex to learn more about the project’s unique concept and visual approach.

We’ve spoken with you previously about your prior short film work Focus (2015) and Turbine (2018) – can you bring us up to speed with what you’ve been up to since then and how it led to the production of your latest film Bread Will Walk?

Bread Will Walk is a natural extension of my earlier works but began in another medium: with my graphic novel The Mill (Chapter 1): Walking Bread, completed in 2018. That world—circular, man-made, existentially industrial—felt like the logical next stage of my filmmaking after Turbine. I brought the concept to the NFB in 2019, and after some development positioning, I began production in May 2021. It was a four-year journey through analog, digital, and hybrid processes. The NFB’s creative environment allowed me to go deep into that process, treating animation as fermentation rather than manufacture.

Where did the concept of ‘nonviolent bread zombies’ originate from?

It began with a visual pun on emotional dependency. What if bread, the symbol of basic comfort and sustenance, could turn against us not with violence, but by absorbing our love? The zombies in the film aren’t predators. They’re lost beings made of our most familiar food, walking with ritualistic aimlessness. They mirror our own hunger, not just for nourishment, but for meaning, for purpose, for each other.

Image from Bread Will Walk – Courtesy of the National Film Board of Canada

Is ‘The Mill’ a stand-in for a particular organization or governmental body?

Not explicitly. The Mill is more of a behavioural schema than a bureaucracy. It mills not flour but willpower. Its shape is circular, suggesting inescapability. I wasn’t targeting any specific entity but rather mapping a structure we all internalize, the one that teaches us to sacrifice intimacy for productivity, clarity for belief.

Having worked with them previously in your career, did you always intend for this film to be an NFB production, and how did their involvement help get it made/developed?

Absolutely. After Turbine, the trust with producer Jelena Popović and the NFB was firmly in place. From the beginning, the NFB supported this film not just financially but ideologically. It gave me access to a collaborative space where invention and imperfection are valued. It also gave me time—four years—to knead the story, test methods, abandon others, and return to core instincts.

The film has a very specific, multi-layered visual approach. Can you tell us a bit about how you developed this and how it technically breaks down?

The process started with thousands of ink-on-paper drawings done straight-ahead, scanned and composited in Photoshop. I performed shape segmentation on each frame to isolate layers, skin, fabric, structures, before overlaying photo textures. Bread textures were collaged from real photographic elements, sometimes even baked, shot, and dissected. The final look came from digital compositing in After Effects, where Mathieu Tremblay created a custom “pastry glaze” blend of filters that softened harshness and gave the image a glazed, fleshy cohesion. Norman McLaren’s spirit was constantly invoked. Animation happens between frames, not just on them.

I remember seeing that, during the development phase, you were dabbling with AI. What ultimately led to you moving away from that path?

AI was useful as a preliminary texture generator, especially in-house tools I was developing at the NFB. But visually, AI has a flattening effect. It draws from statistical norms and delivers what you expect rather than what you feel. I didn’t want that probability grid dictating the emotional tone. We ended up using AI-generated outputs as references, volume, light, colour cues, and repainted or redrew them entirely by hand. I’d describe it as using AI as a prosthetic for imagining, not replacing, the artist’s gesture.

Image from Bread Will Walk – Courtesy of the National Film Board of Canada

In our last interview, you also mentioned that stop-motion might play a part in this project, then titled The Mill. Did any aspects of this approach remain in the final film?

We went fairly deep into it. We tested bread-based pixillation sequences, including 3D-printed bread forms and discussions about rigging real dough in a fireproof green- screen oven. But safety concerns (and the impracticality of baking frame-by-frame) meant we couldn’t continue on premises. Still, that inquiry shaped the logic of textures, lighting references, and rhythm. There’s a stop-motion spirit in the final piece, a stiffness, a tactile impulse, even if it’s entirely 2D.

The film makes use of a continuous ‘long take’ shot method occasionally seen in live-action and, rarer still, animation. Were there any particular artists or films/projects that influenced this?

In Turbine, I had already begun wrapping camera logic around the characters. This time, I committed to one uninterrupted take, a fresco rather than a montage. Béla Tarr was an influence, and so was the tradition of single-shot stage theatre. But technically, it was the absence of editing that interested me most: a psychological claustrophobia. The viewer isn’t allowed to look away. You are implicated in the breathlessness. That’s the trap.

Image from Bread Will Walk – Courtesy of the National Film Board of Canada

Was there any particular significance to the film’s main protagonists being brother and sister?

Yes. Siblinghood embodies involuntary love. Gerben’s sister, Magret, shelters him not because she must, but because she remembers who he used to be. This relationship predates ideology, predates consumption. In that sense, she’s a kind of Antigone, trying to restore dignity to a body society has discarded. The brother, now made of bread, represents both personal loss and cultural rot in the zettabyte age.

How did you come to work with Jay Baruchel on the film and what was behind the choice to have him take on all the voices?

Jay and I first connected by phone, and I was immediately struck by his instinct to stretch a single voice across a fractured cast. His range isn’t just technical, it’s architectural. He sculpts entire worlds through tonal shifts. What stood out most was the rawness and pliability in his performance, which made the piece feel lived-in. By assigning every role to the same voice, we weren’t just blurring identities, we were building a sonic ecosystem, where each character feels filtered through the same worn machinery.

Previously you had mentioned scoring the film to Edvard Grieg—in the end Bread Will Walk is bookended by the classical Chopin piece Nocturne in E-Flat Major and the jazz standard All of Me, both interpreted by Martin Floyd Cesar. Can you tell us a bit about the musical direction of the film and working with Cesar to achieve it?

Martin Floyd Cesar brought a needed vulnerability. Grieg was too architecturally grand. Chopin and “All of Me” gave the film an emotional echo: one classical, one vernacular. Both pieces were interpreted as if overheard through a cracked window. Martin’s voice wraps around the final moments like a memory you didn’t know you had. The song “All of Me” became unintentionally literal. The crowd in the film wants all of Gerben. But also, Magret gives all of herself.

Image from Bread Will Walk – Courtesy of the National Film Board of Canada

The film premiered as part of the Directors’ Fortnight in Cannes in May of this year – how was that experience and has it opened doors for the project’s visibility and distribution?

Premiering at Cannes on May 22 was surreal. It’s not just about the prestige, it’s about context. Watching Bread Will Walk on a giant screen with an international audience, in silence, during the final scenes… that kind of reception reinforced that even the strangest concepts can resonate viscerally. Since Cannes, the film has screened at Annecy, and several upcoming festivals have expressed interest in the film. International interest in the distribution has increased significantly, especially from curators seeking hybrid or speculative animation. The conversations happening now wouldn’t have occurred without the visibility the Directors’ Fortnight provided.

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