Spanish Animation at Annecy 2024: A Remarkable Year

Emilio Mayorga
10 June 2024
Animation MIFA Annecy 2024

Spanish animation is firmly establishing itself at the Annecy festival, highlighting its sustained international expansion

The presence of Spanish titles in the official sections of the Annecy festival, alongside projects showcased in the market area (MIFA), and initiatives supported by ICEX Spain Trade and Investment, underscores a trend long suggested by both local and international media. Spanish animation is undergoing a notable expansion, indicating a trajectory far beyond mere fleeting success.

Early indicators include the Oscar nomination for Robot Dreams (the fourth Spanish film to win the European Film Award for Best Animated Feature, placing it on par with France, a European animation powerhouse); the debut of Dragonkeeper at the Malaga festival; and the inclusion of Sultana's Dream and They Shot the Piano Player in the official selection at San Sebastian.

Following this, the Spanish lineup at Annecy is exceptional. Competing in the official section, Alba Sotorra’s Rock Bottom, Maria Trenor’s debut feature, offers a deeply personal exploration of the artistic and cultural realm that inspired the iconic album of the same name by British musician Robert Wyatt. In the “Contrachamp” section, two titles compete: David Baute’s Black Butterflies (produced by Ikiru Films) and Isabel Herguera’s Sultana’s Dream, a production of Abano Producciones.

In the official short films section, Izibiene Oñederra presents her fourth solo work, When It Comes (It Will Have Your Eyes), drawing inspiration from a poem by Cesare Pavese. Additionally, The Change of the Wheel by Begoña Arostegui, who previously captivated audiences with Me, participates in the “Perspectives” category.

Although animation is known for its diverse expressive possibilities, the variety in the lineup showcases the vibrant artistic spirit of the animation sector in Spain. From 2D animation and rotoscoping in Rock Bottom to the blend of traditional animation, watercolor, cutouts, and the Indian Mehndi technique (henna tattoo) in Sultana’s Dream, and the use of 2D animation in Blender for Black Butterflies, each film represents a unique approach. Additionally, Buffalo Kids in Annecy Presents uses CGI, marking an ambitious commercial venture that reflects the sector’s industrial diversity. Directed by Jesus G. Galocha (Mummies) and Pedro Solís, Buffalo Kids is a production of 4 Cats Pictures.

The significant female influence is also evident in many titles, spanning production, artistic direction, content and narrative themes. Notable among producers are Alba Sotorra and Chelo Loureiro, responsible for Sultana’s Dream, and the series Flesh by Camila Kater from Brazil, featured in the Mifa Pitches. Among directors, alongside those previously mentioned, Irene Iborra stands out with Olivia and the Invisible Earthquake, a Cornelius Films production showcased in the works-in-progress section. In terms of content, Black Butterflies is a poignant ecological narrative, interwoven through the lives of three women in Paris, Nairobi, and Dubai. Equally compelling is Sultana’s Dream, which delves into feminine identity and feminism, bridging Western and Eastern cultures.

In the competitive TV-Film section, there’s the debut of Alice's Diary, the first animation co-production between Portugal’s public broadcaster (RTP) and Spain’s public broadcaster (RTVE). Directed by Diogo Viegas, this series marks a significant collaboration, further supported, for the first time, by the film institutes of Portugal, Spain, and Brazil.

Shifting our focus to MIFA, the expansive market segment of the event, ICEX is orchestrating a range of activities to invigorate the sector. Among them is a “Breakfast: matchmaking space”, aimed at fostering international co-productions between 20 Canadian and 20 Spanish production companies. An excellent recent illustration of this partnership is the collaboration between Capitán Araña and 3 Doubles Producciones from Spain, alongside PVP Media (Canada), for the much-awaited release of SuperKlaus later this year.

Additionally, ICEX, through its ‘Animation From Spain’ initiative, is endorsing a lineup of titles directed by women at a pitching event scheduled for June 13th. Among these projects are two feature films: Jasmine & Jambo, backed by Teidees Audiovisuals and directed by Sílvia Cortés, creator of the series of the same name that consecutively won the Quirino Awards for Ibero-American Animation in 2023 and 2024; the second feature is Azul’s Journey, marking the directorial debut of Aline Romero (Psychophonic) and produced by Mansalva Films.

Completing the session are four short films: Something in the House by Carla Pereira, produced by Abano Produccións; Eva & Evariste by Lorena Ares, produced by Dr. Platypus & Ms. Wombat; Wixi Against the Binary Lens by Angie Cornejo (Mil Monos Cine); and Only Rats by Paz Del Carre (Pangur Animation).

To offer an accurate representation of the Spanish industry to international agents and potential partners, a roundtable discussion will be held, moderated by Carolina López, director of the Animac festival. It will include representatives from the production companies behind this year’s titles and projects at the French festival: Sultana Films, Ikiru Films, Dr. Platypus & Ms. Wombat, Hampa Studio Sl, Morgana Vfx & Motion and Alba Sotorra.

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