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Il y a 14 heures

CartoonNext 2026 : un riche programme en phase avec les mutations du secteur de l’animation

L’édition 2026 de CartoonNext se tiendra du 8 au 10 avril à Marseille, réunissant plus de 250 participants issus de plus de 20 pays. Créé en 2022, cet événement de réseautage et de formation s’adresse aux professionnels européens de l’animation et de l’audiovisuel, dans un contexte de transformation rapide du secteur. Le programme, qui rassemble […]

Les conférences et études de cas mettront notamment l’accent sur l’impact de l’intelligence artiMcielle sur les workPows et les métiers, ainsi que sur l’émergence de nouveaux formats comme les micro-Mctions animées. Les évolutions des usages et des stratégies cross-média, ainsi que le développement de la stop-motion dans un cadre de coproductions internationales, Mgureront également parmi les thématiques abordées.

Plusieurs projets illustrent les dynamiques de production actuelles, dont la série multiplateforme Miss Saturne, le long métrage en stop-motion Olivia et le Tremblement de terre invisible et la série Les Groos, issue du Cartoon Forum. L’événement proposera aussi des retours d’expérience d’acteurs du jeu vidéo et de l’audiovisuel, ainsi qu’une réPexion sur la place de la musique dans la narration.

En parallèle, CartoonNext développe des dispositifs de mise en relation et d’accompagnement, avec des sessions de pitch, des rendez-vous et de nouvelles tables rondes interactives. Huit projets européens, couvrant séries, long métrage, contenus digitaux et expériences immersives, seront présentés à des partenaires potentiels. Un programme de formation et de coaching complète le dispositif, associant professionnels et étudiants aMn de favoriser le renouvellement des talents et des compétences.

CartoonNext : le programme

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Accueil Actualités CartoonNext 2026 : un riche...

CartoonNext 2026: Shaping the Future of European Animation

Over 250 participants from more than 20 countries will gather on April 8-10 in the French city of Marseille for the 2026 edition of CartoonNext, the networking and training event for European animation and audiovisual professionals across the sector.

by Luca Tricerri

Created in 2022 in response to a rapidly evolving industry, the event will present a programme of conferences on topics such as distribution, production, broadcasting, publishing, gaming, creation, new technologies and music. Bringing together 45 experts and speakers from across Europe and beyond, it fosters exchanges and training activities for participants to beneVt from direct feedback and in-depth discussions.

In addition to the conference programme, CartoonNext oNers key creatives and producers from across Europe the opportunity to pitch their projects, along with a range of networking initiatives for both established professionals and emerging talent in the sector.

In addition to the conference programme, key creatives and producers from across Europe the opportunity to pitch their projects, along with a range of networking initiatives for both established professionals and emerging talent in the sector.

curated keynotes, panels and case studies featuring key industry players.

Industry Sessions to Inspire the Future

Among other topics, it focuses on the impact of AI on animation through contributions by:

Under the supervision of Vanessa Chapman, Head of Content at CartoonNext, the programme explores the present and shapes the future of European animation and related industries through curated keynotes, panels and case studies featuring key industry players.

Audrey Schomer (Luminate)

Among other topics, it focuses on the impact of AI on animation through contributions by:

Marianne Carpentier (TF1)

Cathal GaNney (Brown Bag Films)

Audrey Schomer (Luminate)

Elena Sinel (Teens in AI)

Among other topics, it focuses on the impact of AI on animation through contributions by:

Marianne Carpentier (TF1)

Audrey Schomer (Luminate)

Michelle Connolly (Educational Voice)

Cathal GaNney (Brown Bag Films)

Marianne Carpentier (TF1)

Elena Sinel (Teens in AI)

These experts examine evolving work]ows and job roles, as well as the new skills and training required to meet upcoming challenges. This perspective is complemented by Hayato Inoue and Olivia Papini (Tokyo Epic), who re]ect on the current rise of AI-driven animated micro-dramas.

Cathal GaNney (Brown Bag Films)

Michelle Connolly (Educational Voice)

Elena Sinel (Teens in AI)

Elena Sinel (Teens in

Michelle Connolly (Educational Voice)

Understanding emerging trends in the animation sector is key to shaping its future. In this context, the programme highlights major developments in European animation, from shifting audience behaviour and cross-media strategies at Gulli/M6 — presented by Coralie Boitrelle-Laigle (M6 Métropole Télévision / Gulli) — to a renewed momentum in stop-motion animation driven by innovation and international collaboration, as discussed by Angélica Lares (El Taller del Chucho), Sarah Cox (Aardman Animations) and Kerdi Kuusik-Oengo (NukuVlm Studios).

Creative and Production Pathways

DiNerent creative and production pathways in animation are discussed through case studies, including:

“Miss Saturne”: a cross-platform series with a strong visual identity presented by Annelyse Vieilledent (Les Storygraphes & Fortiche) and Marianne Lévy-Leblond (Arte France).

“Olivia and the Invisible Earthquake”: a stop-motion feature developed through international co-production, presented by director Irene Iborra Rizo (Citoplasmas Stop Motion).

“The Broos”: a series presented by Gabrielle d’Andrimont and David Mirailles (Bobby Prod) that evolved from CARTOON’s Coaching Programme and Cartoon Forum to production and broadcast.

In addition, company-driven innovation in the gaming and audiovisual industries will be explored through two keynotes based on the experience of Ubisoft and The Gang Sweden, alongside a panel on the role of music in storytelling across Vlm, TV and games, as well as a discussion on the barriers limiting women’s access to leadership roles in the games industry and the actions needed to build a more inclusive sector.

The full programme is available at this link.

Networking and Training Activities

CartoonNext is a human-scale event that prioritises meaningful exchanges over mass attendance, oNering an environment where decision-makers are genuinely available through a range of networking activities.

Pitching Sessions

Over the course of two days, the Pitching Sessions will oNer the opportunity to discover eight projects at diNerent stages of development hailing from across Europe and targeting all audiences. The selected projects include:

TV Series: “Stink” (Big Bad Boo Studios, Austria), “B-860K: Synchtrails” (France), “Pink Noise” (La Mola Studio, Spain) and “Illogical Adult World” (Salt Cinema, Ukraine).

Digital Content: “Bobby & the Bottle Brigade” (Something Big / Kavaleer / Magic C, France) and “Cosmic Loom” (Italy).

Feature Film: “Orphan Yakuza” (Fiilin Good Films, Finland).

AR/VR Game: “The Wing-Ed Freaks!” (Adventurverse Studios, Ireland).

One-to-One Meetings & Labs

The One-to-One Meetings are designed for animation professionals wishing to connect with other participants, including speakers and producers. A tailored schedule of up to 20 minutes meetings

One-to-One Meetings & Labs

The One-to-One Meetings are designed for animation professionals wishing to connect with other participants, including speakers and producers. A tailored schedule of up to 20 minutes meetings will be arranged with selected companies. The Next Ideas Labs is a new feature consisting of interactive roundtables designed to foster dialogue and collaboration among professionals in onehour sessions.

Coaching Programme

Each year, around 50 animation students from Région Sud take part in the CartoonNext Coaching Programme, featuring presentations by emerging and established key creatives and producers. The programme also includes a Portfolio Review, in which participants meet professionals from diNerent Velds to receive feedback and practical advice on their work. Tags: AIAnimation AnimationTraining CartoonMedia

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Luca Tricerri

Il y a 15 heures

CartoonNext dévoile les 8 projets retenus pour sa prochaine édition

Durant trois jours, à Marseille, CartoonNext scrutera l’évolution des industries créatives et numériques en présence de professionnels expérimentés et des producteurs des projets sélectionnés qui les présenteront devant des experts internationaux de l’animation.

L’association cartoon annonce, jeudi 12 février, la sélection des projets qui seront présentés lors de la prochaine édition de CartoonNext. L’événement se déroulera du 8 au 10 avril à Marseille. Comme chaque année, la sélection des huit projets, issus de sept pays européens, qui seront mis en avant reHète l’innovation créative actuelle de l’animation européenne. Elle comprend un projet en concept et sept projets en développement, s’adressant à tous les publics (des enfants aux jeunes adultes/adultes). La présentation détaillée de chaque projet sélectionné est accessible sur le site de Cartoon

Ces projets seront examinés par des experts venant d’entreprises telles que Paramount (Pays-Bas), Gulli (France), Unity (Royaume-Uni), Ubisoft (France), BBC (Royaume-Uni), France Télévisions (France), Arte (France-Allemagne).

Les projets sélectionnés

B-860K : Synchtrails, série télé écrite, réalisée et produite par Annabelle Ranson (France)

Bobby & the Bottle Brigade, série télé réalisée par Virgile Trouillot, produite par Something Big (France), en coproduction avec Kavaleer (Irlande) et MaGic C (France)

Cosmic Loom, série télé de Simone Rea, écrite par Francesca Gargiulo et produite par Simone Rea (Italie)

Illogical Adult World, série télé créée par Oleksandra Stephens et produite par Salt Cinema (Ukraine)

Orphan Yakuza, ^lm réalisé par Juha Fiilin, écrit par Adam Cullen et produit par Fiilin Good Films Oy (Finlande)

Pink Noise, série télé réalisée par María Ruisánchez et Álvaro León, produite par LaMola Studio (Espagne)

Stink, série télé créée par Steve Smith, écrite par Jenny McLachlan et produite par Big Bad Boo Studios (Autriche), en coproduction avec Beakus (Royaume-Uni)

The Wing-Ed Freaks !, jeu VR créé et produit par Dave Minogue, pour Adventurverse Studios (Irlande)

“Orphan Yakuza is a coming-of-age action-drama set inside a world where survival replaces morality,” explains Fiilin. “It follows kids trying to build identity, loyalty and a fragile sense of home inside a system that keeps pushing them to become the very thing they fear.”

Saint-Denis

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The project drew strong reactions from industry experts at Cartoon Next, particularly for its character design, clarity of concept and detailed world-building. The team held follow-up discussions with French animation producers, game studios and potential broadcasters and platforms, with the aim of expanding its multi-format potential. The creators are currently seeking co-producers as well as financing and distribution partners. The project, produced by Fiilin Good Films, also builds on previous collaborations initiated at Cartoon Next, following earlier pitches such as those for Echo Chamber and Joy Eternal, the latter having evolved into a released animated young-adult series and a broader transmedia property. The team includes key creatives Ana Ivanovic and Jan Anderssson alongside screenwriter Adam Cullen

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The project drew strong reactions from industry experts at Cartoon Next, particularly for its

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Saint-Denis

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co-producers as well as financing and distribution partners. The project, produced by Fiilin Good Films, also builds on previous collaborations initiated at Cartoon Next, following earlier pitches such as those for Echo Chamber and Joy Eternal, the latter having evolved into a released animated young-adult series and a broader transmedia property. The team includes key creatives Ana Ivanovic and Jan Anderssson alongside screenwriter Adam Cullen

Cosmic Loom – Simone Rea (Italy)

Conceived by the independent creative collective NBI (No Bad Ideas), Cosmic Loom is an animated series currently in development. The project is set inside a dysfunctional cosmic call centre responsible for managing destiny, using this high-concept premise to explore themes of bureaucracy, control and existential uncertainty through dark humour and stylised storytelling.

The creators are positioning the project as a digital-first series with strong potential for European coproduction, and are currently seeking development partners, animation studios and creative advisors to support the creation of a teaser and pilot. The project reflects an approach that combines conceptual world-building with scalable production strategies tailored to contemporary distribution ecosystems. Key creatives are Elena Benedetti and Martin Spigola, whilst Francesca Gargiulo is attached as the project's scriptwriter.

The Wing-Ed Freaks – David Deignan (Ireland)

Targeting teenage audiences, The Wing-Ed Freaks is an original Irish transmedia IP that explores growing up in a world shaped by social media, new technologies and the climate crisis. Produced by Adventurverse Studios, the story follows Sean and Steve, two thrill-seeking teenage YouTubers who become nocturnal eco-vigilantes after uncovering a trash-laundering conspiracy poisoning their hometown.

“The story explores the chaos and consequences of youthful rebellion, rewilding damaged land and challenging corrupt systems when institutions fail,” reads the Cartoon Next catalogue. “Rooted in Irish culture yet globally resonant, The Wing-Ed Freaks combines action, humour and heart in a

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Cosmic Loom by Simone Rea

Concept art for The Wing-Ed Freaks by David Deignan (© Jeremy Hughes)

Concept art for The Wing-Ed Freaks by David Deignan (© Jeremy Hughes)

The Wing-Ed Freaks – David Deignan (Ireland)

“It is an original Irish transmedia IP for teenagers that explores growing up in the modern world dominated by social media, new technology and a climate crisis,” adds Minogue.

The project is currently seeking co-production and distribution partners across its various formats. It includes a two-season podcast in pre-production; a YouTube series, an animated series and a feature film in development, all of them in receipt of Notable stylistic references are Turtles

By combining coming-of-age storytelling with topical themes and interactive extensions, it aims to position itself within the growing market for multi-platform, youth-orientated content.

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Les Groos : des réseaux sociaux à Arte

u NésurInstagrametTikTokavantdedevenirune séried’animationproduiteparBobbyProd, Les Groosillustrelepassageréussid’unformat courtdigitalàuneœuvresérielle.Leprojeta nécessitéprèsdedeuxansdeproductionpour adaptersonécritureetsonrythmetouten restantfidèleàsesorigines.parJosephLeFer

Sélectionnée au Festival d’Annecy 2026 et à Canneseries (hors compétition), Les Groos , série diffusée prochainement sur arte.tv, s’apprête à faire connaître le quotidien de ses personnages auprès du public. Produite par Bobby Prod, en coproduction avec Arte et réalisée par David Mirailles, l'œuvre témoigne du passage d’un projet né sur les réseaux sociaux à une série à part entière, tout en conservant son ADN numérique. Retour près de dix ans en arrière. “Durant mes années d’études à Bruxelles, j'ai rencontré deux potes qui passaient leur temps à s’appeler ‘Gros’, relate David Mirailles. Je me souviens avoir été touché par la façon dont ils se faisaient constamment des compliments.”

De là sont nés les personnages d’Adam et Seb, deux amis que l’on suit dans leur quotidien, ainsi que le titre de la série. D’abord sous forme de planches dessinées, le projet évolue ensuite vers un épisode pilote développé pendant deux ans dans le cadre de son master en animation. “Je n’ai malheureusement pas pu aller au bout, mais je disposais déjà de toute la matière, explique l’auteur. Par frustration de ne pas pouvoir le montrer à mes proches, je me suis lancé pendant dans la réalisation de vidéos courtes d’une minute que j’ai postées sur Instagram en 2022.”

Delachambreaustudio

Dès lors, tout s’enchaîne avec l’engouement du public. Les Groos devient un succès natif sur les réseaux sociaux, fort d’une communauté de 600 000 abonnés sur Instagram et TikTok. Bobby Prod embarque dans le projet rapidement et la phase de développement est enclenchée en 2024 sous l’impulsion des producteurs Gabrielle d’Andrimont et David Alric. La production est ensuite officiellement engagée en janvier 2025 pour s’achever en février 2026, soit un cycle global de près de deux ans et demi, incluant le développement.

La volonté de Bobby Prod est d’accompagner l’auteur “dans un format plus long, avec des histoires plus structurées et une vraie narration”, selon Gabrielle d’Andrimont, sans pour autant dénaturer le ton initial. “Le challenge était de faire en sorte que David puisse transmettre un

q Pourles personnages d'AdametSeb,Les Groos,David Miraillesapuisé danssessouvenirs d'étudiant.

style qui lui est propre et réplicable par l’équipe constituée autour de lui, détaille la productrice. Il s’est vraiment révélé dans ce rôle de réalisateur et de chef d’orchestre. Il a réussi à retranscrire le ton et l’énergie des Groos tout en l’amenant à un niveau supérieur.” Une vingtaine de personnes ont été mobilisées, réparties principalement entre Paris et Angoulême, avec l’appui du studio Les Astronautes à Avignon pour la fabrication des formats courts. Engouementpourle4’30 Pensée pour arte.tv et les réseaux sociaux du diffuseur, la série, distribuée par Millimages, adopte une double grammaire de formats : 12 épisodes horizontaux de 4 à 5 minutes, complétés par 12 épisodes verticaux d’une minute à destination d’Instagram et de TikTok. Une diffusion qui n’est pas sans rappeler celle de Samuel d’Émilie Tronche pour Arte, de mars à avril 2024. La série était déclinée en une vingtaine d’épisodes en 16/9 et 9/16. “Nous voulions garder l’aspect numérique et le lien avec la communauté d’origine”, explique Gabrielle d’Andrimont. “Samuel a été une grande chance pour nous, analyse David Mirailles. La série a ouvert de nouvelles portes avec son succès dans le format de 4’30. Le fait qu’elle soit arrivée sur Netflix récemment, c’est énorme ! Cela augure de belles perspectives pour la suite. J’ai très envie de poursuivre les aventures d’Adam et Seb.”

Au terme d’un long parcours de financement, Les Groos a réuni un budget 750 000 €. “C’est toujours long pour l’animation adulte”, reconnaît Gabrielle d’Andrimont. Le projet a néanmoins bénéficié de soutiens de la part du CNC, mais aussi de la Nouvelle-Aquitaine et de la région Sud, via le Grand Avignon où sont établis Les Astronautes.

Au-delà de ces enjeux, Les Groos marque également un nouveau jalon pour Bobby Prod, puisque le studio y explore un registre différent de ses productions habituelles. “C’est un ton plus bienveillant, plus tendre”, note Gabrielle d’Andrimont, qui y voit la démonstration que “l’animation adulte n’a pas besoin d’être trash pour être belle”. Une orientation qui pourrait préfigurer de nouvelles lignes de développement pour le studio. n

Cartoon Next’s take on AI in animation

Louise Bateman 21-04-2026

© C21Media

AI led the conversation at the latest edition of animation-focused event Cartoon Next, where execs shared updates on how they are – or aren’t – using it, while students revealed fears over its impact on their future careers.

Hayato Inoue

“Hits are no longer only discovered they can be designed.” This was the alluring message from Tokyo Epic’s COO and AI animation director, Hayato Inoue, to the animation professionals assembled at Cartoon Next in Marseille earlier this month.

Optimism about the possibilities opening up for animators feeling besieged by the relentless encroachment of YouTube, Roblox and, of course, AI itself, was certainly the note that organisers of Cartoon Next were aiming for this year.

The event, which is focused on the future of animation and digital content, is now in its fourth year. As such it has of course been addressing the implications of AI well before last week, but this time the effort was on steering the debate beyond the threat and ethical dilemmas posed by technology to the more practical matters of how studios and broadcasters can, and are, implementing it and what that means for jobs now and in the future.

For anyone looking for a ‘how to’ of AI-native animation, they had to look no further than Tokyo Epic. This Japanese animation studio that launched only three years ago has embedded AI into its production processes from day one. On the face of it at least, its approach is paying off.

On the one hand, the company is focusing on building its own IP of vertical “anime hits” at record speed and low cost, using a team of just ﬁve creators. In just one month, its Pocket Anime YouTube channel has garnered over 1.8 million followers and it plans to launch its own microdrama app this summer. On the other, it is generating revenues through partnering with other production studios who want to get access to its built-in AI workﬂows. Just last week, the company signed deals with two European companies, according to its chief marketing officer, Olivia Papini.

But Tokyo Epic was the exception rather than the rule at Cartoon Next, where most attending appeared to still be grappling with how to and how far to retroﬁt AI into their existing business models.

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generating revenues through partnering with other production studios who want to get access to its built-in AI workﬂows. Just last week, the company signed deals with two European companies, according to its chief marketing officer, Olivia Papini.

But Tokyo Epic was the exception rather than the rule at Cartoon Next, where most attending appeared to still be grappling with how to and how far to retroﬁt AI into their existing business models.

For some, such as French games publisher Ubisoft, the policy is clear. “We never use AI,” said Taieb Ben Amor, director of production and business affairs of the ﬁlm and television division of Ubisoft. “Even on the video game side, we don’t use generative AI for video games.”

However, the exec did not rule it out in the future: “It is the policy right now. I cannot speak for the future.”

Others attending, such as Shabnam Rezaei, co-founder of Austria’s Big Bad Boo Studios, were adamant they would only ever use it in limited ways that did not compromise their artistic output or replace any of their creators.

For those still making up their minds, Marianne Carpentier, director of innovation and new tech at France’s TF1, revealed the outcomes of explorations into AI at the commercial broadcaster during a session entitled AI & Animation: How the Future is Shaping Work in the Age of Generative AI.

Carpentier said TF1 Studios took “a very early decision to not panic, not believe the hype and just learn” about the technology, but to take a hands-on approach in experimenting with it, noting: “You can’t understand AI by reading everything on the web.”

She explained that the company ﬁrst implemented AI in several practical ways, including creating pitch decks for drama series to help visualise projects for broadcasters, adding animation sequences to documentaries that had work within tight budgets and handling post-production changes that would previously have been too expensive to undertake.

TF1 has, meanwhile, established “strong governance and a strong charter” so as to clearly deﬁne the rules around how it uses AI, the exec explained. The charter includes strict guidelines. “We are not using the faces of real actors. We are not using the voice of an actor to implement it in any kind of AI model,” she stated.

Though TF1 Studios’ animation subsidiary Blue Spirit (My Life as Zuchini, Blue Eye Samurai) was initially “the most resistant,” Carpentier said there was a better understanding now within the company that, in the hands of skilled creatives, AI tools could be useful in speeding up tasks.

“Today, if an animation designer is using AI, he can do some really interesting things, but his creativity, his artistic feelings is purely himself. This is something they understand once they play with the tools,” she maintained.

Lisbon

Taieb Ben Amor

Marianne Carpentier

understanding now within the company that, in the hands of skilled creatives, AI tools could be useful in speeding up tasks.

Looking forward, Carpentier predicted AI would usher in “smaller teams, but with bigger impact” and “more creator oriented, creator led ecosystems,” where creators can “address their audience directly.”

In a bid to further spotlight the importance of developing new skills in a world being disrupted by AI, Cartoon Next’s session entitled New Opportunities, New Skills, invited Michelle Connolly, producer at Belfast-based Educational Voice and author of AI Animation & Job Displacement: The Future of Work!, to talk about how AI will transform rather than delete animation roles.

While acknowledging that entry-level positions were disproportionately at risk, Connolly said human skills like storytelling, emotional depth and character development were not replaceable. She outlined new roles that were emerging in the industry, including AI integration specialist, AI animation supervisor, prompt engineer, and AI ethics and compliance officer. Traditional skills like critical evaluation, data literacy and ethical judgment have also become more important, she added.

“The rules are going to change, there’s no doubt about that,” Connolly said, adding: “We need to train our new generation coming up to know that and to know how to work in this space.”

Nevertheless, attitudinal differences about generative AI, some signiﬁcantly along generational lines, were in evidence throughout the event. Students of animation –a number of whom were invited along on the ﬁnal day of the event – spoke particularly distrustfully about the technology and those in the industry promoting it.

They raised concerns about its impact on their future as well as on the environment, given the huge strain on energy and water resources the technology is having at a time of accelerating climate breakdown.

“It feels like those pushing AI are capitalists who don’t care about our future,” one student of animation who will soon be looking for an entry level role in the industry told C21, suggesting that unless the industry makes a better case for adopting it to the next generation of creators, it is in danger of becoming part of a bigger problem of widening societal divides.

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Animation studio Tokyo Epic to launch AI-generated anime microdrama app

Tokyo Epic, the Japanese animation studio that specialises in next-generation anime, is planning to launch a microdrama app this summer.

Standalone platform Pocket Anime will debut in May or June, according to Olivia Papini, chief marketing officer at the company.

Tokyo Epic specialises in AI-native animation production with a focus on designing anime. It was founded in Tokyo in 2023 and its CEO is Ryoichi Wada, the creator of One Cut of the Dead. The ﬁlm has generated over US$25m from a budget of just US$30,000, according to chief operating officer and AI animation director Hayato Inoue. It was later remade in France and selected as the opening ﬁlm at the 2022 Cannes Film Festival.

Tokyo Epic’s main revenue model is partnering with other production studios that want to access its AI-native animation workﬂows. The company attended Cartoon Next in Marseille last week and is seeking new collaborations with European partners. It has opened an office in Toulon, France, to help its expansion into Europe.

Alongside this, the company has been developing its own slate of AI-generated IP, and over the past six months has created more than 20 pieces of content totalling over 70 minutes using a team of ﬁve creators, according to Inoue.

“The speed is still increasing as our workﬂow continues to evolve,” he said. The company aims to have around 50 projects by the time the app launches, something that Inoue said could delay the launch if the target is not met in time. “We want to build up our fandom and our content,” he said.

NEWSLETTER & PROMOTION

intense ? Clémentine Bobin fait le constat largement partagé

d’une « multiplication des contenus, des endroits où on peut aller voir des séries et des histoires, et la facilité d’accès de l’offre » créant

un vrai enjeu sur les premières minutes. Avec ce paradoxe de récits qui peuvent être très longs mais « une bataille qui se joue plus tôt qu’avant ». Les exemples de Flashback (Itinéraire Productions), Sam (Authentic Prod) et L’affaire Laura Stern (TM Studios, Torcello Productions) montrent que chaque détail compte. Dans Flashback, les toutes premières minutes placent le spectateur évoque tout de suite le retour dans le temps, avec un personnage principal montré à deux moments distincts de sa vie et un réveil brutal qui fait immédiatement comprendre que la série va se construire autour de la perte et de la reconstruction de sa mémoire. Dans Sam, le « top shot » sur la prof rebelle dans les toilettes du collège fixe son caractère et le ton de la série en un instant. Dans L’Affaire Laura Stern, les cinq premières minutes

“ Les premières minutes

ne nous placent pas directement dans le jeu cruel dont la série est la promesse, et certains séries n’ont connu aussi le succès qu’à partir de leur deuxième saison. Comme Euphoria et Industry le rappelle Clémence Bobin. La patronne de FTV fait aussi une différence entre le téléspectateur (linéaire) et le consommateur (plateforme), ce dernier plus influencé par les recommandations, se met devant un programme avec l’envie de le regarder pour se faire un avis au-delà des premières minutes. Le producteur Emmanuel Daucé fait le constat d’une pression qui se relâche « Grâce aux plateformes et à la plateformisation, on peut penser des stratégies de sortie des séries qui deviennent différentes. Du coup la pression sur les cinq premières minutes est moins forte qu’avant. La promesse d’une série ne tient pas forcément dans ses cinq premières minutes, mais aussi dans le bruit qu’il y a autour ». Si les usages évoluent, la règle demeure : les premières minutes ne font pas tout mais, sans elles, rien ne commence ! n

11février2026|15|Écran total n°1549

publics et jeune public avec plusieurs types de programme et une thématique unique à l'année.

Le R.O.C (Regroupement des Organisations de Court Métrage), organise une journée professionnelle le 27 mars, a6n de porter une régexion collective autour des problématiques liées au format court. + d'infos

Les inscriptions pour la future édition de Cartoon Next sont toujours ouvertes ! Cartoon Next revient du 8 au 10 avril à Marseille. Trois jours pour faire le point sur les développements du secteur de l'animation grâce à des expert·es européen·nes renommé·es issu·es de différents domaines (licensing, diffusion, distribution, digital...) complétés par des sessions de pitchs de projets. + d'infos

Magelis, en partenariat avec AnimFrance et la SACD et avec le soutien de Transperfect Media, a proposé aux professionnels de l'animation de découvrir un aperçu complet de l'année d'animation 2025 lors de la soirée La France s'Anime le mardi 31 mars à 18h30 au Cinéma de la Cité... Retour en images

Marché de Printemps de la Création Indépendante

Magelis - 01/04/2026 1/1

Le festival International du Film Court d'Angoulême revient pour une nouvelle édition du 5 au 8 mars au cinéma de la Cité !

Le festival propose une sélection de courts métrages internationaux et une sélection famille pour le jeune public.

Le week-end des 4 et 5 avril, les Chais Magelis vous ouvrent leurs portes de 10h à 18h ! Venez humer un fanzine, admirer la belle éclosion d’une affiche, observer des céramiques et assister à l’épanouissement de la création locale. Artisanat, micro édition, illustration… c’est le moment de faire plaisir et de se faire plaisir ! Organisé par Elliott de La Baraka et Comtesse Éditions, avec le soutien de à découvrir

De nombreux 6lms d'animation sont au programme : dans la compétition ojcielle,

https://mailchi.mp/afca.asso.fr/lettre-dinformations-septembre-7231073?e=b0cb7a800c

Magelis présent à Cartoon Next 2026

Le rendez-vous européen pour imaginer le futur de l’animation et des narrations multiplateformes aura lieu du 8 au 10 avril à Marseille. Magelis, partenaire de CARTOONsera présent à l'événement pour rencontrer les professionnels du secteur... + d'infos

of 10

L'incubateur Wizz a clôturé sa promotion Depuis début octobre, 6 projets innovants ont évolué au sein de l'incubateur WIZZ porté par la Technopole Eurekatech

Magelis présent à CartoonNext 2026

CartoonNext, le RDV européen pour imaginer le futur de l’animation et des narrations multiplateformes aura lieu du 8 au 10 avril 2026 à Marseille. Magelis, partenaire de CARTOON sera présent à l’événement pour rencontrer les professionnels du secteur. Vous pouvez encore vous inscrire !

CartoonNext propose trois jours consacrés à l’évolution des industries créatives et numériques.

L’accent sera mis sur des conférences de haut niveau animées par des professionnels expérimentés qui partageront leur vision de l’avenir de votre entreprise, de votre métier et de votre travail au quotidien.

Par ailleurs, des producteurs venus de toute l’Europe présenteront des projets innovants sélectionnés, mettant en avant leur stratégie multiplateforme et bénéficiant de retours directs et constructifs d’experts internationaux issus de divers horizons.

Le programme et la sélection des projets sont disponible sur le site de l’événement

Grâce au partenariat entre CARTOON et Magelis, l’accréditation est de 300 € (+TVA) au lieu de 400 € avec le code MAG014

Cela comprend :

L’accès à toutes les conférences et sessions de pitch 3 lunchs, 6 pauses café, 1 cocktail & 1 dîner Des opportunités de networking dont les One-to-One meetings

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Publié le 2/02/2026

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Elena Sinel to Speak at CartoonNext 2026 in Marseille on the Future of AI Skills

by Teensinai | Apr 1, 2026 | AI Education, Event, Media

Elena Sinel, Founder and CEO of Teens in AI, will be speaking on a Panel at CartoonNext 2026, taking place in Marseille from 8 to 10

April 2026

CartoonNext is a leading European event dedicated to the future of animation, gaming and digital content. It brings together industry professionals, creatives and innovators to explore emerging trends through keynote talks, cross-media pitching sessions and networking opportunities.

8–10 April 2026

Marseille, France

Elena Sinel, Founder & CEO of Teens in AI and Panel Panel: Great AI Debate: New Opportunities; New Skills! Great Opportunities; Skills! Great AI Debate: Opportunities;

Shaping the Future of AI Skills

Shaping the Future of AI Skills Future Shaping Skills

Elena will join the Cartoon Next Great AI Debate Cartoon Debate Next Great , a panel exploring how artificial intelligence is set to transform the creative industries and the skills required to succeed in this evolving landscape. The discussion will examine how the market is expected to shift as AI continues to advance, alongside the growing importance of developing new expertise for both current professionals and the next generation entering the industry.

Elena Sinel will share insights from her work leading Teens in Elena Sinel share her work leading in Elena share insights work Teens in AI, launched at the United Nations AI for Good Summit, AI, at United AI for Good AI, United launched Nations for Summit, which delivers global programmes and hands-on learning to which delivers global programmes and learning global learning

expected to shift as AI continues to advance, alongside the growing importance of developing new expertise for both current professionals and the next generation entering the industry.

Elena Sinel will share insights from her work leading Teens in Elena will share her work leading in her Elena Sinel share insights work in AI, launched at the United Nations AI for Good Summit, AI, United Nations AI for Good AI, launched at Nations for Summit, which delivers global programmes and hands-on learning to which delivers global programmes learning to delivers global and learning equip young people with the knowledge and ethical equip young people the knowledge ethical ethical people with knowledge grounding to become responsible AI leaders. grounding responsible leaders. responsible leaders. to

Her work ensures young people are prepared not only to access opportunities in AI, but to shape its development responsibly, bridging education and industry while creating pathways to gain practical experience, build confidence and engage critically with the technologies shaping the world around them.

About CartoonNext

CartoonNext offers 3 days dedicated to the evolution of the creative and digital industries.

The main focus will be on well-curated keynotes: experienced professionals bringing their vision on the future of your business, your craft and your day-to-day work.

On the other hand, producers coming from all over Europe will pitch selected, innovative projects, displaying their multi-platform strategy, and getting a direct and thoughtful feedback from international experts from various disciplines and backgrounds.

Find out more

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CartoonNext 2026 : LES SOUMISSIONS DE PROJETS & INSCRIPTIONS SONT OUVERTES !

Pour cette 5ème édition de CartoonNext, nous sommes ravis d’être de retour à Marseille (France) du 8 au 10 avril 2026 !

Qu’est-ce que CartoonNext ? Un événement entièrement dédié à l’exploration du futur de l’animation en plongeant au coeur d’une industrie qui évolue à vitesse grand V.

Comment participer à l’événement ? En pitchant votre projet multiplateforme ou en assistant à une série de keynotes, panels et études de cas qui vous permettront de mieux comprendre à quoi ressemblera l’industrie de l’animation de demain.

SOUMISSION DE PROJET

Qui peut soumettre un projet ?

1. Les producteurs européens qui souhaitent développer leur projet d’animation ou leur propriété en une marque cross-média destinée à être distribuée sur plusieurs plateformes.

2. Les créateurs et les détenteurs de propriété intellectuelle européens qui veulent utiliser l’animation pour développer un projet multiplateforme. Ex : vous avez une série télévisée et vous la développezen jeu vidéo, en livre, en expérience de réalité virtuelle, etc.

➤ Pour plus d’informations, cliquez ici.

Soumettre un projet en ligne

1. Préparez tous les éléments requis qui sont listés sur notre site web.

2. Lorsque vous êtes prêts, allez sur My Cartoon et connectez-vous ou créez un compte. Cliquez sur « My Projects > CartoonNext > Submit a project »

3. Remplissez le formulaire en ligne :

– Assurez-vous d’avoir toutes les informations à portée de main afin de pouvoir remplir le formulaire en une fois. Pour ce faire, vous pouvez visualiser l’ensemble du formulaire sous format PDF.

Vous recevrez un résumé complet par email une fois le formulaire

1. Préparez tous les éléments requis qui sont listés sur notre site web.

2. Lorsque vous êtes prêts, allez sur My Cartoon et connectez-vous ou créez un compte. Cliquez sur My Projects > CartoonNext > Submit a project »

3. Remplissez le formulaire en ligne :

– Vous recevrez un résumé complet par email une fois le formulaire complété.

SOUMETTEZ VOTRE PROJET

Date limite: 21 janvier 2026

LES INSCRIPTIONS SONT OUVERTES !

Vous pouvez vous inscrire comme participant à CartoonNext 2026, que vous ayez un projet ou non !

Si vous n’avez pas de projet, l’accreditation est de 400€* (+TVA). Cela comprend :

L’accès à toutes les conférences et sessions de pitch 3 lunchs, 6 pauses café, 1 cocktail & 1 dîner

Des opportunités de networking dont les One-to-One meetings

*Si vous avez un projet sélectionné, l’accreditation est de 500€ (+TVA). Si vous êtes éligible pour un tarif spécial (participants locaux), veuillez contacter laura.jarka@cartoon-media.eu pour plus d’information.

INSCRIVEZ-VOUS

Si vous avez la moindre question, n’hésitez pas à nous contacter à l’adresse masters@cartoon-media.eu. Nous serons ravis de découvrir votre projet et de vous accueillir à Marseille !

L’équipe Cartoon Masters

Publié le 1 avril 2026 - Par admin

Petit-déjeuner « Personnalité » avec Coralie Boitrelle-Laigle, Directrice des programmes jeunesse France chez GROUPE M6

Le médiaClub Méditerranée organise, en partenariat avec SudAnim et Les Femmes s’Animent, un nouveau petit-déjeuner « Personnalité » le vendredi 10 avril 2026 à Marseille, à l’occasion du CartoonNext.

Cette rencontre mettra à l’honneur Coralie Boitrelle-Laigle, Directrice des programmes jeunesse France chez GROUPE M6, figure impliquée dans le développement de contenus à destination des jeunes publics.

Coralie Boitrelle-Laigle

Directrice des programmes jeunesse France chez GROUPE M6

À travers ses fonctions, elle pilote la programmation et accompagne la création de formats adaptés aux nouvelles générations, en tenant compte des évolutions des usages et des modes de consommation entre télévision et plateformes.

Son travail s’inscrit dans un contexte de transformation du paysage audiovisuel, marqué par l’émergence de nouvelles écritures et de nouveaux talents, ainsi que par le développement de collaborations au sein des industries culturelles et créatives.

Ce petit-déjeuner s’inscrit comme un temps d’échange autour des enjeux actuels de la programmation jeunesse et des évolutions des contenus destinés aux nouvelles générations, en présence de professionnels du secteur réunis à Marseille pour l’événement.

Si vous souhaitez participer à l’événement, cliquez sur ce bouton :

Je participe !

Cocktail médiaClub soirée incontournable

Cannes

ACTUALITÉS EVÉNEMENTS

Petit-déjeuner passeurs de sens

ACTUALITÉS EVÉNEMENTS

2026

Évolution de l’organisation

TF1 : Mélissa Saint-Fort Sommet nommés NEWS MEMBRES Pour recevoir contact@mediaclub.fr

World Trade Center Marseille, 2 Rue Henri Barbusse, ProvenceCity Center, Marseille, France, 13001

FIND OUT MORE

EVENT INFO

DETAILS

CONFERENCE

REGION: Europ e

Car to on Next 2026

EVENT T YPE: Conferenc e

Wednesday, April 8 - 10, 2026

AUDIENCE T YPE: Develop ers, Indies, C-level, Marketing, Students, Creatives, Investors, Publishers, To ol Providers, Te chnic al Teams, Ad Companies, Me dia, Aso Practitioners, App Marketers, App Adver tisters

World Trade Center Marseille, 2 Rue Henri Barbusse, ProvenceCity Center, Marseille, France, 13001

FIND OUT MORE:

Find out more information on Car to on Next 2026

EVENT INFO

DETAILS

REGION: Europ e

EVENT T YPE: Conferenc e

Find out more information on Car to on Next 2026

Car to onNext offers 3 days de dic ate d to the evolution of the creative and digital industries.

The main fo cus will b e on well-curate d keynotes: exp erienc e d professionals bringing their vision on the future of your business, your craft and your day-to-day work

On the other hand, pro duc ers c oming from all over Europ e will pitch sele cte d, innovative proje cts, displaying their multiplatform strate gy, and getting a dire ct and thoughtful fe e dback from international exp er ts from various disciplines and backgrounds

Car to onNext offers 3 days de dic ate d to the evolution of the creative and digital industries.

The main fo cus will b e on well-curate d keynotes: exp erienc e d professionals bringing their vision on the future of your business, your craft and your day-to-day work

HOME > FEATURES

Transmedia is back: Why the next hit game IP start as an animated microdrama

HOME > FEATURES

Transmedia is back: Why the next hit game IP might start as an animated microdrama

AI, Roblox and beyond: 6 things we learned at Cartoon Next 2026 about the future platform storytelling

AI, Roblox and beyond: 6 things we learned at Cartoon Next 2026 about the future of crossplatform storytelling

By Dave Bradley April 30, 2026

The Marseille summit brought together 260 professionals to explore the future of animation, games and transmedia storytelling.

AI, representation, microdrama and Roblox were among the key themes, with speakers from Ubisoft, CD Projekt Red, The Gang and more.

The event highlighted growing crossover between animation and games, with southern France positioning itself as a hub for creative industries.

Amid glorious April sunshine, Marseille, one of Europe’s oldest cities, hosted a summit that brought together animators, ﬁlmmakers, game developers, artists, and more.

Now in its ﬁfth year, Cartoon Next is a transmedia event focused on the future of animation and digital content. But for anyone working in games, it’s a valuable room to be in.

The Cartoon organisation is a European body that runs ﬁve international networking and co-production events each year, all centred on animation and digital storytelling.

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focused on the future of animation and digital content. But for anyone working in games, it’s a valuable room to be in.

The Cartoon organisation is a European body that runs ﬁve international networking and co-production events each year, all centred on animation and digital storytelling. Cartoon Next, held annually in Marseille, brings together creators, producers and technologists to explore where the wider entertainment industry is heading next and what innovations international professionals should be aware of.

Across a series of keynotes, focused workshops and discussions, the event offered a window into adjacent industries that are often moving quickly on key topics such as AI, platform-native content and new audience behaviours.

Games and AI join the mix

The latest edition, held last week, saw 260 professionals from 105 companies gather at the World Trade Centre. Games were a signiﬁcant part of the mix, with several panels and keynote talks bringing in games creators. There were 46 speakers and project experts, with familiar companies including The Gang, Ubisoft, CD Projekt Red and NAK3D represented.

Many of the animation projects shared during the pitching sessions were transmedia in form: worlds designed to extend across short ﬁlms, features, games, and even books and podcasts.

Here are six things we took away:

1. Transmedia is back at the centre of the conversation

If the idea of transmedia storytelling ever drifted into the background, it’s ﬁrmly back on the agenda. We knew this ourselves after the popularity of our Beyond Games summits in Helsinki and London in the last year, but it was great to see the energy in France too.

Cartoon Next is built around the cross-platform storytelling concept, and it showed. There was a series of on-stage pitches, and many of the projects presented were designed from the outset to exist across multiple formats, including animation, ﬁlm, music, games, and beyond (rather than being adapted from one to another later).

Roblox's car on child safety curious Tencent in Mobile Games

Hot Five: Subway coming to Apple Ubisoft postpones earnings call, offers voluntary April 2026's Shakers: Jam Roblox's GM Apple's Tim down, and more Saudi Arabia Riyadh Season-themed entertainment on Roblox Mass games losses in

in sight?

2. Representation remains a structural challenge for games

That mindset is increasingly shared across the industry. Animation creators are thinking about how their worlds could translate into interactive experiences, while games companies are continuing to explore how their IP can extend into TV and ﬁlm. Speakers from studios, including Ubisoft, discussed how those ambitions are becoming a more formalised part of their strategy.

One panel at Cartoon Next opened with a striking statistic: while players are close to gender parity, leadership in games remains overwhelmingly male.

The session, featuring Kelly Vero (NAK3D) and Ruth Lemmen (Womenize!), focused not just on the gap but on what can be done about it.

For games professionals, none of this is new. The industry has been talking about convergence for years. But what stood out here was how embedded that thinking feels in the animation world, and how much openness there was in a traditionally linear sector to discuss the roles of games.

2. Representation remains a structural challenge for games

A recurring theme was visibility. Vero discussed her great career but spoke about the lack of visible role models, and how that absence shapes who feels able to enter (and stay in) the industry. Her recent book, Breaking Through Bytes, aims to address that directly by spotlighting women across technical and creative ﬁelds.

One panel at Cartoon Next opened with a striking statistic: while players are close to gender parity, leadership in games remains overwhelmingly male.

The session, featuring Kelly Vero (NAK3D) and Ruth Lemmen (Womenize!), focused not just on the gap but on what can be done about it.

If players are 48% female, why is leadership still 84% male? That's the question asked by Kelly Vero and Ruth Lemmen.

Meanwhile, Lemmen highlighted the ongoing work of Womenize!, a long-running initiative designed to support women and underrepresented groups through networking, mentorship and recruitment opportunities. Despite more than a decade of effort, she noted that meaningful change remains slow.

The discussion avoided easy answers, but one point came through clearly: representation is more than hiring; it requires visibility, support structures, and ensuring people see a place for themselves in the industry.

3. AI has moved from taboo to talking point

If players are 48% female, why is leadership still 84% male? That's the question asked by Kelly Vero and Ruth Lemmen.

If AI once felt like a subject to be completely avoided in creative circles, that no longer seems to be the case.

Sure, there were challengers to AI, tackling issues such as climate and the impact on artists. But a number of studios were openly discussing if, when and how to use it.

3. AI has moved from taboo to talking point

A Japanese animated microdrama project (Tokyo Epic) discussed its use of AI in the production pipeline, and one pitch openly acknowledged using tools like Midjourney to generate early visual mock-ups.

If AI once felt like a subject to be completely avoided in creative circles, that no longer seems to be the case.

Sure, there were challengers to AI, tackling issues such as climate and the impact on artists. But a number of studios were openly discussing if, when and how to use it.

There was still some scepticism, but the tone has clearly evolved. Rather than being dismissed outright, AI is now being actively interrogated. For an event focused on the future of storytelling and how technology of all kinds ﬁts into that, it felt like an important step.

Marianne Carpentier of TF1 and Ronan McCabe of Animation Ireland address the thorny topic of AI's role in the production pipeline. © CARTOON

4. Microdrama is emerging as an important mobile-ﬁrst storytelling format

Across Cartoon Next, artiﬁcial intelligence was often positioned as part of the creative and production toolkit. Several stage sessions addressed it directly, and two thoughtful roundtables asked what skills future creatives will need.

One of the more intriguing trends on display at Cartoon Next wasn’t strictly game-related, but it’s part of the transmedia dialogue (and something we’ve seen at some of our own events, including PGC Helsinki).

Marianne Carpentier of TF1 and Ronan McCabe of Animation Ireland address the thorny topic of AI's role in the production pipeline. © CARTOON

Microdrama, a video format built around short, serialised episodes designed for mobile consumption, is rapidly gaining traction as a new form of digital storytelling. Typically structured around fast-paced narratives and frequent cliffhangers, these bite-sized stories are designed to hook audiences in the same way as short-form social video on platforms like TikTok.

4. Microdrama is emerging as an important mobile-ﬁrst storytelling format

and

4. Microdrama is emerging as an important mobile-ﬁrst storytelling format

Japanese studio Tokyo Epic spoke about their plans. In a session titled “Animated Micro Dramas are becoming a booming trend and a new format”, COO Hayato Inoue and CMO Olivia Papini outlined how the company is producing anime-style microdramas at scale (using AI tools to accelerate parts of the production pipeline).

The model is already seeing success in Asian markets and is now being explored more widely, including expansion into

Microdrama, a video format built around short, serialised episodes designed for mobile consumption, is rapidly gaining

Hayato Inoue and Olivia Papini of Tokyo Epic reveal how microdrama is a booming trend,

anime-style microdramas at scale (using AI tools to accelerate parts of the production pipeline).

Swedish studio The Gang, which specialises in creating branded experiences on the platform, shared how it’s working with partners to deliver increasingly sophisticated, immersive activations. Their presence underlined how Roblox has evolved from a UGC curiosity into a serious production environment for studios and clients.

The model is already seeing success in Asian markets and is now being explored more widely, including expansion into Europe. And while it sits closer to ﬁlm and animation than games on the surface, the underlying principles (short-form engagement, episodic retention, mobile-ﬁrst design) will feel very familiar.

5. Roblox cements its place as a vital part of the games ecosystem

The scale of Roblox is no longer up for debate, and it was a big topic of conversation at the Marseille convention, both on and off stage. What stood out at Cartoon Next was the calibre of talent building for it.

That theme carried over into broader conversations throughout the event. In meetings with developers, including Eliza Jäppinen, Roblox repeatedly came up as a platform offering genuine reach, viable monetisation, and a growing ecosystem.

This tallies with what Matthew Ball outlined in his “The State of Video Gaming in 2026” report, where Roblox was fêted as a huge part of the games industry today.

6. Southern France and Europe in general is investing in creative ecosystems

Cartoon Next’s location isn’t accidental. The event is hosted in Marseille as part of a broader effort to showcase the strength of southern France’s creative industries, particularly across animation, games and digital storytelling. Local and regional bodies are actively supporting the sector, with funding, infrastructure and education all designed to support long-term growth.

This tallies with what Matthew Ball outlined in his “The State of Video Gaming in 2026” report, where Roblox was fêted as a huge part of the games industry today.

6. Southern France and Europe in general is investing in creative ecosystems

That ecosystem was on full display. Across the wider Region Sud, a network of studios, schools and production companies is steadily expanding, supported by public funding and initiatives aimed at nurturing both established businesses and emerging talent. In games speciﬁcally, regional funds are helping support new studios, while national and European collaboration continues to play a key role in scaling projects.

6. Southern France and Europe in general is investing in creative ecosystems

Cartoon Next’s location isn’t accidental. The event is hosted in Marseille as part of a broader effort to showcase the

Cartoon Next’s location isn’t accidental. The event is hosted

How is Swedish company The Gang driving innovation and making money on Roblox? Matt Sheppard and Evan Opperman reveal all. © CARTOON