OIAF 2022 Program Book

FESTIVAL GUIDE GUIDE DE FESTIVAL

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After much anticipation, and maybe a few heart palpitations, the Ottawa International Animation Festival (OIAF) returns. Following two years of an online format that now feels like a fever dream, North America’s largest and longest-running animation festival is ready to welcome you back to Canada’s capital.

Nourish your creativity with screenings of animated works from up-and-coming independent filmmakers. Engage in industry talks, workshops, and networking opportunities at The Animation Conference. Explore Ottawa’s downtown core through an Augmented Reality exhibit and discover local hidden gems. And revel in the community we have all deeply missed over these past few years of a (mainly) virtual existence.

From September 21-25, the OIAF transforms the ByTowne Cinema, Arts Court, Club SAW, Strathcona Park, the National Arts Centre, Château Laurier, and the Ottawa Art Gallery into the epicentre of animation. Sample a few events - a variety of films, Family Day for young animation enthusiasts, Animation Exposé for behind-the-scenes insights, and parties aplenty - or indulge in them all at OIAF 2022!

Après beaucoup d’anticipation, et peut- être quelques palpitations cardiaques, le Festival international d’animation d’Ottawa (OIAF) est de retour. À la suite de deux ans en format virtuel qui nous semble aujourd’hui n’être qu’une hallucination, le plus grand et plus ancien festival d’animation en Amérique du Nord est prêt à vous recevoir à nouveau dans la capitale du Canada.

Nourrissez votre créativité au moyen de projections d’œuvres animées de cinéastes indépendants prometteurs. Participez à des discussions avec des gens de l’industrie, à des ateliers et à des occasions de réseautage lors de The Animation Conference. Explorez le cœur d’Ottawa grâce à une exposition de réalité augmentée et découvrez des trésors cachés locaux. Ce sera aussi l’occasion de passer du bon temps avec la communauté qui nous a tant manquée au cours de ces quelques dernières années en mode (principalement) virtuel.

Du 21 au 25 septembre, l’OIAF transformera le Cinéma ByTowne, la Cour des arts, le Club SAW, le parc Strathcona, le Centre national des arts, le Château Laurier, et la Galerie d’art d’Ottawa, en un épicentre de l’animation. Prenez part à quelques activités – une gamme de films, la journée de la famille pour les jeunes amateurs d’animation, Animation Exposé pour savoir ce qui se passe dans les coulisses, et une plénitude de partys – ou profitez du lot complet lors de l’OIAF de 2022!

We could not be more excited to come back to the festival circuit to celebrate the artistry of film and showcase Canadian creatives around the world and at home. That is why we are proud to support The Ottawa International Animation Festival!

We want to thank and congratulate The Ottawa International Animation Festival for its continued support of diverse voices in film and for fostering the return to cinemas so we can all celebrate these talents from around the world in theatres once again.

And remember, keep supporting Canadian talent in theatres and online whenever you can!

Message de la directrice générale et cheffe de la direction par intérim de Téléfilm Canada

Nous ne pourrions être plus heureux de reprendre le circuit des festivals pour célébrer la qualité artistique de notre cinéma et faire rayonner le talent canadien ici et aux quatre coins du monde. C’est pourquoi nous sommes fiers de soutenir le Festival d’animation d’Ottawa!

Nous tenons à remercier et à féliciter le Festival d’animation d’Ottawa de soutenir sans relâche la diversité des voix au cinéma et de favoriser le retour en salles pour nous permettre de célébrer à nouveau les talents de partout dans le monde.

Et n’oubliez pas de continuer de soutenir le talent canadien en salles ou en ligne chaque fois que vous le pouvez!

Directrice générale et cheffe de la direction par intérim, Téléfilm Canada

Francesca Accinelli

Message from the Interim Executive Director and CEO, Telefilm Canada

Francesca Accinelli Interim Executive Director and CEO, Telefilm Canada

Each year the OIAF commissions an artist to create the festival’s Signal Film. The film runs before every event at the OIAF. With the exception of having to include an owl (a long-time OIAF icon), the artist has complete freedom. This year’s Signal Film was created by Canadian animator/artist, Winston Hacking: “The signal film uses a technique I am calling A Dopey Photo Slop 2.0. My partner Viviane Labelle created the titles using chromatography. Sound design by Andrew Zukerman.”

Hacking is already well known to OIAF audiences for his award-winning collage short, Erodium Thunk (2019) and his music videos Post Requisite (OIAF 2018) and Flying U (OIAF 2021). His latest music video, We Go Back (co-directed by Michael Enzbrunner) is competing in the commissioned category this year.

Hacking’s work passion combines contemporary collage with early cinematic illusion has garnered millions of views online and has been covered by The New York Times, Juxtapoze, Vogue, and Vimeo Staff Picks.

A self-taught animator, Ping emerged from the underground art scene in China. His animated works take on a bright and childlike aesthetic; however, they often dig deep into psychological issues like repressed obsessions and unfulfilled desires.

Born in Hong Kong, Wong received his Bachelor of Arts from Curtin University, Perth, Australia in 2005. In 2018, he was the recipient of the inaugural Camden Arts Centre Emerging Arts Prize, and in 2019, he was one of the winners of The Ammodo Tiger Short Competition at the 48th International Film Festival Rotterdam.

Wong’s work is held in several permanent collections including Solomon R. Guggenheim Museum, New York; M+, Hong Kong; KADIST, Paris/San Francisco; Fosun Art Foundation, Shanghai, among others. He was also a jury member at OIAF 2020.

“Before creating the OIAF 2022 poster, I adopted a pair of owls so that I could observe their habits”, says Wong Ping. “They were mating in my yard one night. Dozens of eyes in the bush were peeping at this loving pair. A butt sticks out from the bush, breeding golden eggs. I suppose it is the owls’. I collected them carefully. I had never tasted an owl’s egg before, so I broke one into my mouth. Owl’s egg white and yolk were all over my face and my keyboard.”

Animateur autodidacte, Ping a émergé de la scène artistique underground en Chine. Ses œuvres d’animation sont d’une esthétique éclatante et enfantine; cependant, elles portent souvent en profondeur sur des problèmes psychologiques, comme des obsessions réprimées et des dé sirs non assouvis.

Né à Hong Kong, Wong a reçu un baccalauréat en arts de l’Université Curtin à Perth, en Australie, en 2005. En 2018, il était récipiendaire du prix inaugural des arts émergents du Camden Arts Centre, et en 2019, il était l’un des gagnants du concours de courts métrages Ammodo Tiger lors du 48e Festival international du film de Rotterdam.

Les œuvres de Wong sont pré sentées dans plusieurs collections permanentes, dont celles du Musée Solomon R. Guggenheim, à New York; du M+, à Hong Kong; du KADIST, à Paris et San Francisco; de la Fosun Art Foundation, à Shanghai, parmi d’autres. Il était aussi membre du jury à l’occasion de l’OIAF de 2020.

« Avant de créer l’affiche pour l’OIAF de 2022, j’ai adopté une paire d’hiboux afin de pouvoir observer leurs habitudes », affirme Wong Ping. « Un soir, ils s’accouplaient dans ma cour. Il y avait des dizaines d’yeux dans un buisson qui épiaient le couple d’amoureux. Un derrière est sorti du buisson et a pondu des œufs dorés. J’ai supposé qu’ils venaient des hiboux. Je les ai ramassés avec soin. Je n’avais jamais goûté à un œuf d’hibou avant, alors j’en ai cassé un dans ma bouche. Il y avait du blanc et du jaune d’œuf d’hibou partout sur mon visage et mon clavier. »

OIAF 2022 Signal Film / Film d’intro de l’OIAF 2022

Winston Hacking

Chaque année, l’OIAF retient les services d’un artiste pour créer le film d’intro du Festival. Le film joue avant chaque activité de l’OIAF. À l’exception de devoir inclure un hibou (une icône de longue date pour l’OIAF), l’artiste peut laisser libre cours à sa créativité. Le film d’intro de cette année a été créé par l’animateur et artiste canadien, Winston Hacking : « Le film d’intro emploie une technique que j’appelle “A Dopey Photo Slop 2.0” (un mélange photographique léthargique 2.0). Ma partenaire, Viviane Labelle, a créé les titres au moyen de la chromatographie. La conception sonore provient d’Andrew Zukerman. »

Hacking est déjà bien connu du public de l’OIAF pour son court-métrage de collages primé, Erodium Thunk (2019) et ses vidéos de musique Post Requisite (OIAF 2018) et Flying U (OIAF 2021). Sa plus récente vidéo de musique, We Go Back (co-réalisée par Michael Enzbrunner) prend part à la compétition de la catégorie « commandes sur mesure » de cette année.

La passion artistique de Hacking combine le collage contemporain et les illusions cinématographiques d’antan, et ses œuvres ont amassé des millions de visionnements en ligne en plus d’être parues dans The New York Times, Juxtapoz, Vogue, et parmi les choix du personnel de Vimeo.

Wednesday, September 21

Animation Celebration (for elementary students)

11:00am, 1:00pm OAG – Alma Duncan

Silver Bird and Rainbow Fish 7:00pm ByTowne Cinema

Opening Ceremony + Short Film Competition 1 9:15pm ByTowne Cinema

Opening Night Party 11:00pm Heart & Crown ByWard Market

Thursday, September 22

Meet the Filmmakers: Short Film Competition 1 9:30am Arts Court – Club SAW

Special Delivery: The Films of John Weldon 11:00am OAG – Alma Duncan

Khamsa – The Well of Oblivion 11:00am ByTowne Cinema

VR @ OIAF

11:00am–9:00pm Arts Court – ODD Box, Studio B

World Panorama 1:00pm OAG – Alma Duncan

Dozens of Norths 1:00pm ByTowne Cinema

NFTs for Artists 1:00pm Arts Court Theatre

Short Film Competition 2 (Gala) 3:00pm ByTowne Cinema

Contemporary Chilean Animation 3:00pm OAG – Alma Duncan

The Animation Guild (TAG) Happy Hour Mixer 4:30pm Chez Ani

Canadian Panorama 5:00pm OAG – Alma Duncan

Perlimps 5:00pm ByTowne Cinema

Theodore Ushev: Unseen Connections 5:00pm Arts Court Theatre

The Island 7:00pm ByTowne Cinema

All Alone Except for Everyone: The Films of Jonni Phillips 7:00pm OAG – Alma Duncan

Amy Kravitz: Honorary President Retrospective 7:00pm Arts Court Theatre

Animated Series Competition 9:15pm OAG – Alma Duncan

Short Film Competition 3 (Gala) 9:15pm ByTowne Cinema

Salon des Refusés 11:00pm Arts Court – Club SAW

Friday, September 23

Meet the Filmmakers: Short Film Competition 2 9:30am Arts Court – Club SAW

Toon Apprentice Day for Teens presented by Jam Filled Entertainment 9:30am–2:30pm Alma Duncan Salon

Artist Talk: Hugo Covarrubias 10:30am Fairmont Château Laurier – Drawing Room

Short Film Competition 4 (Gala) 11:00am ByTowne Cinema

VR @ OIAF 11:00am–9:00pm Arts Court – ODD Box, Studio B

Meet the Festivals 11:30am Fairmont Château Laurier – Drawing Room

Animators’ Picnic 12:30pm Strathcona Park

World Panorama 3:00pm ByTowne Cinema

Amy Kravitz: Honorary President Retrospective 3:00pm OAG – Alma Duncan

Animated Series Competition 3:00pm Arts Court Theatre

LatinX in Animation (LXiA) Happy Hour Mixer 4:30pm Chez Ani

Barber Westchester 5:00pm ByTowne Cinema

Canadian Student Competition 5:00pm OAG – Alma Duncan

I Forgot to Remember to Forget: The Films of Marko Tadić 5:00pm Arts Court Theatre

All Alone Except for Everyone: The Films of Jonni Phillips 7:00pm Arts Court Theatre

Canadian Panorama 7:00pm OAG – Alma Duncan

Unicorn Wars 7:15pm ByTowne Cinema

Short Film Competition 5 (Gala) 9:15pm ByTowne Cinema

World Student Panorama 9:15pm Arts Court Theatre

Silver Bird and Rainbow Fish 9:15pm OAG Alma Duncan

Care Bears 40th Anniversary Party 11:00pm Arts Court – Club SAW

Saturday, September 24

Family Day presented by Shaw Rocket Fund 9:00am–4:00pm OAG, LabO, Arts Court

OIAF Animation Exposé Fair 9:00am–4:30pm NAC

Animation for Young Audiences, Ages 3+ 9:30am OAG – Alma Duncan

Meet the Filmmakers: Short Film Competition 3 9:30am Arts Court – Club SAW

Netflix Animation Presents: Breaking Into Animation 10:00am NAC – Canada Room

Animation for Young Audiences, Ages 7+ 11:00am OAG – Alma Duncan

Meet the Filmmakers: Short Film Competition 4 11:00am Arts Court – Club SAW

Khamsa – The Well of Oblivion 11:00am ByTowne Cinema

Drawing and Painting in Harmony for Professionals *Pre-registration required 11:00am OAG – 2201 @ LabO

Special Delivery: The Films of John Weldon 11:00am Arts Court Theatre

VR @ OIAF 11:00am–9:00pm Arts Court – ODD Box, Studio B

Sneak Peek: We Lost Our Human 11:30am NAC – Canada Room

I Forgot to Remember to Forget: The Films of Marko Tadić 1:00pm Arts Court Theatre

Perlimps 1:00pm OAG – Alma Duncan

Getting the Gig: Recruiter Roundtable 1:00pm NAC – Canada Room

Short Film Competition 1 1:00pm ByTowne Cinema

Drawing and Painting in Harmony for Students *Pre-registration required 2:00pm OAG – 2201 @ LabO

Book Signing: Mad Eyed Misfits by Chris Robinson 2:30pm NAC – Salon

Superhero Work: Bringing Preschoolers into the Animated Batman Universe 2:30pm NAC – Canada Room

Short Film Competition 2 3:00pm ByTowne Cinema

Book Signing: The Corners are Glowing: Writings of OIAF 3:30pm NAC – Salon

A Conversation with Scott Clark of Walt Disney Animation Studios, Vancouver 4:00pm NAC – Canada Room

Short Film Competition 3 5:00pm ByTowne Cinema

Book Signing: Pillowy by Dave Cooper 5:00pm NAC – Salon

Behind-the-Scenes of The Boys Presents: Diabolical 5:30pm NAC – Canada Room Pique 6:00pm Arts Court – Club SAW

Dozens of Norths 7:00pm ByTowne Cinema

Awards Ceremony 7:30pm NAC – Canada Room

NightOwl / Pique 9:00pm OAG, Arts Court

Unicorn Wars 9:15pm ByTowne Cinema

Sunday, September 25

Animation for Young Audiences, Ages 3+ 9:30am OAG – Alma Duncan

Meet the Filmmakers: Short Film Competition 5 9:30am Arts Court – Club SAW

Filmmaker Focus presented by The Directors Guild of Canada 9:30am–12:30pm Arts Court – Club SAW

Filmmaker Brunch 10:30am Arts Court – Club SAW

A Look at the New DGC Agreement and What it Means for You 10:45am Arts Court – Club SAW

Barber Westchester 11:00am ByTowne Cinema

World Student Panorama 11:00am Arts Court Theatre

Canadian Student Competition 11:00am OAG – Alma Duncan

VR @ OIAF 11:00am–7:00pm Arts Court – ODD Box, Studio B

Mental Health and Wellness for Filmmakers 11:45am Arts Court – Club SAW

Animation for Young Audiences, Ages 7+ 1:00pm OAG – Alma Duncan

Short Film Competition 4 1:00pm ByTowne Cinema

Contemporary Chilean Animation 1:00pm Arts Court Theatre

Short Film Competition 5 3:00pm ByTowne Cinema

Theodore Ushev: Unseen Connections 3:00pm Arts Court Theatre

The Island 5:00pm ByTowne Cinema

Best of OIAF 7:00pm ByTowne Cinema

Closing Night Party 7:00pm Arts Court – Studio

Best of OIAF 9:00pm ByTowne Cinema

OIAF 2022

The Official Competition section consists of works selected by the festival programming team (Chris Robinson, Devin Hartley, Ben Compton).

Three official juries will judge the Short, Feature, and Young Audience Competition screenings during the festival. The Short and Feature jury members are chosen from the international animation community. The Young Audience jury is composed of children from the Ottawa area.

On Saturday, September 24th at 7:30 pm, the Juries will announce the award-winning films during the OIAF’s Awards Ceremony being held in the Canada Room at the National Arts Centre.

A Best of Ottawa 2022 screening (a selection of the Festival’s award-winning films) will be screened on Sunday, September 25 at 7:00 pm and 9:00 pm at the ByTowne Cinema.

THE OIAF AWARDS

The OIAF awards are designed by local artist Tick Tock Tom, with an animation originally created by New York animator George Griffin.

OIAF 22 Awards

• Grand Prize for Short Animation

• Grand Prize for Feature Animation

Category Awards

• Narrative Short

• Non-Narrative

• Bento Box Award for Best Student Animation

• Commissioned

• Virtual Reality Project

• Animated Series

• Young Audiences: Ages 3+

• Young Audiences: Ages 7+

Craft Awards

• Script

• Design

• Animation Technique

• Sound

Other Awards

Wacom Public Prize

Awarded for the best film of the short competition as selected by the audience.

Canadian Film Institute Award for Best Canadian Animation Film Awarded for the most outstanding Canadian production in competition and Canadian panorama screenings.

Best Canadian Student Animation Film

Awarded for the most outstanding Canadian student animation work

La section Compétition officielle est composée d’œuvres sélectionnées par l’équipe de programmation du festival (Chris Robinson, Devin Hartley, Ben Compton).

Trois jurys officiels jugeront les projections des courts et longs métrages et de la compétition jeune public pendant le festival. Les membres du jury des courts et longs métrages sont choisis parmi la communauté internationale de l’animation. Le jury de la compétition jeune public est composé d’enfants de la région d’Ottawa.

Le samedi 24 septembre à 19 h 30, les jurys annonceront les films primés lors de la cérémonie de remise des prix du festival, qui se tiendra dans la salle Canada du Centre national des Arts.

Une projection de Best of Ottawa 2022 (une sélection des films primés du festival) sera présentée le dimanche 25 septembre à 19 h et à 21 h au cinéma ByTowne.

LES PRIX ET RÉCOMPENSES DE OIAF

Les trophées ont été conçus par l’artiste local Tick Tock Tom, à partir d’une animation originale de l’animateur new-yorkais George Griffin.

Prix de OIAF 2022

• Grand Prix pour le meilleur court-métrage

• Grand Prix pour le meilleur long-métrage

Prix par catégories

• Court-métrage narratif

• Court-métrage expérimental

• Le Prix Bento Box pour le meilleur court-métrage d’étudiant

• film de commande

• Séries d’animation

• Réalité virtuelle

• Jeune public: 3+

• Jeune public: 7+

Récompenses techniques

• Scénario

• Conception graphique

• Techniques d’animation

• Son

Autres prix Prix du Public Wacom Décerné par le public au meilleur court-métrage en compétition

Prix de l’Institut Canadien du Film pour le meilleur film d’animation canadien Décerné à la production canadienne la plus remarquable parmi les films en compétition et hors-compétition.

Prix pour le meilleur film d’animation d’un étudiant canadien Décerné au travail le plus remarquable d’un étudiant canadien

We are pleased to welcome Amy Kravitz as this year’s Honourary President. A longtime champion and supporter of the Ottawa International Animation Festival (OIAF), Kravitz is known for her influential work as both an inspired teacher at the Rhode Island School of Design (RISD) and for her small but poetically potent body of work.

Kravitz started making animated films when she was eleven, later studying Social Anthropology at Harvard University (AB) and then Experimental Animation at the California Institute of the Arts (MFA). Her award-winning films (River Lethe, The Trap, and Roost) have been screened around the world. Kravitz’s animation is a quiet testimony to the intimate collaboration between viewer and maker that takes place between each drawing.

A retrospective of Kravitz’s animated works, including her latest film, will be presented this September at OIAF. Following the screening, Kravitz will participate in a talk and live Q&A session with the audience.

Nous sommes heureux d’accueillir Amy Kravitz en tant que présidente honoraire de cette année. Championne et fidèle de longue date du Festival international d’animation d’Ottawa (OIAF), Kravitz est connue pour son travail d’influence tant à titre de professeure inspirante à l’École de design de Rhode Island que pour son portfolio humble, mais d’une puissance poétique.

Kravitz a commencé à faire des films d’animation lorsqu’elle avait onze ans. Elle a ensuite étudié l’anthropologie sociale à l’Université Harvard (B.A.) et l’animation expérimentale à l’Institut des arts de Californie (maîtrise en beauxarts). Ses films primé s (River Lethe, The Trap, et Roost) ont été projeté s partout dans le monde. L’animation de Kravitz est un témoignage silencieux de la collaboration intime entre le spectateur et l’artiste, qui prend place entre chaque dessin.

Une rétrospective des œuvres animées de Kravitz, dont son plus récent film, sera pré sentée en septembre à l’OIAF. Après la projection, Kravitz participera à une discussion et à une séance en direct de questions et réponses avec le public.

Shorts Jury

Terril Calder is a Métis multi-disciplinary artist whose current practice is focused on stop-motion projects, which she writes, directs, crafts and animates. Her films have been presented at TIFF, Sundance, Rotterdam, the Berlinale and imagineNATIVE. The Winnipeg Film Group and the Ottawa International Animation Festival presented retrospectives of her work in 2019 and 2020 respectively. Her films Choke (2011), Snip (2016) and Meneath (2021) were selected for TIFF’s annual list of Canada’ Top Ten Shorts.

Terril Calder est une artiste multidisciplinaire métisse dont la pratique porte sur les projets d’animation image par image. Elle en rédige les scripts, les réalise, en fabrique le matériel et les anime. Ses films ont été pré senté s au TIFF, au Sundance, au festival de Rotterdam, au Berlinale et au imagineNATIVE. Le Winnipeg Film Group et le Festival international d’animation d’Ottawa ont pré senté une rétrospective de son travail en 2019 et en 2020, respectivement. Ses films Choke (2011), Snip (2016) et Meneath (2021) ont été sélectionné s pour la liste annuelle du TIFF des dix meilleurs courts métrages canadiens.

Jonni Phillips is a filmmaker from California. Her work includes The Final Exit of the Disciples of Ascensia , Goodbye Forever Party, Secrets and Lies in a Town of Sinners, Rachel and her Grandfather Control the Island, among others. In 2021, Jonni independently produced and released a 90 min animated feature film, Barber Westchester

Marko Tadić studied painting at the Accademia di Belle Arti, Florence. His artistic practice focuses on drawing, installation and animation. He has won numerous art prizes. His films have been shown at many international animation and experimental film festivals. His works have been exhibited in many solo and group exhibitions around the world. In 2017, he represented Croatia at the 57th Venice Biennale, along with Tina Gverovic. He works at the Academy of Fine Arts in Zagreb, Croatia. His most recent film, Events Meant to be Forgotten (2020) screened at OIAF 21.

Jonni Phillips est une cinéaste de Californie. Ses œuvres comprennent The Final Exit of the Disciples of Ascensia , Goodbye Forever Party, Secrets and Lies in a Town of Sinners, Rachel and her Grandfather Control the Island, entre autres. En 2021, Jonni a réalisé et lance de façon indépendante un long métrage animé de 90 minutes, Barber Westchester

Marko Tadić a étudié la peinture à l’Académie des beauxarts de Florence. Sa pratique artistique se compose du dessin, de l’installation et de l’animation. Il a remporté plusieurs prix d’art. Ses films ont été pré senté s à de nombreux festivals internationaux d’animation et festivals du film expérimental. Ses œuvres ont été exposées à plusieurs expositions solo et en groupe autour du globe. En 2017, il a repré senté la Croatie lors du 57e Biennale de Venise, aux côté s de Tina Gverovic. Il travaille à l’Académie des beaux-arts à Zagreb, en Croatie. Son film le plus récent, Events Meant to be Forgotten (2020) a été projeté lors du OIAF 2021.

Features Jury

Marc Bertrand joined the National Film Board’s (NFB) French Animation Studio as a producer in 1998. Since then, he has earned credits on more than 100 films, many of them award winners. Bertrand has worked with Theodore Ushev for many years, producing some of the filmmaker’s most important works, including Blind Vaysha (2016), which earned an Oscar® nomination in 2017, and The Physics of Sorrow (2019), the Cristal Award winner for best short film at Annecy in 2020. Bertrand also produced Patrick Doyon’s Oscar®-nominated short Sunday (2011). Over the years, he has worked with both emerging and veteran directors, including Jacques Drouin, Georges Schwizgebel, Diane Obomsawin, Andreas Hykade, Michelle and Uri Kranot, and Janice Nadeau.

Hugo Covarrubias is a Chilean born Director and Stop Motion animator. Founder of the theater company and studio Maleza, pioneers in mixing theater with animation, where he co-directs the plays “Maleza” and “Un Poco Invisible”. Director of the short films The Feathers Pillow and The Night Face Up. With Zumbástico Studios, he has directed the series The Ogre and the Chicken, “Horacio y los Plasticines”, and is co-creator and director of the series Paper Port. In June 2021, his third short film, Bestia , premiered at Annecy where it received the Festivals Connexion Award as well as first places in Chilemonos, Stoptrik Slovenia, Imaginaria Italia, FIC Guadalajara, BIAF Bucheon South Korea, Interfilm Berlin, Pöff shorts Estonia, among others.

Pilar Newton-Katz received her BFA at Rhode Island School of Design and went on to get her start working on The Cartoon Network’s Courage the Cowardly Dog, and on MTV’s Daria. She has since contributed work to companies such as Nickelodeon, Homer Learning and Sirius Thinking, among others. She teaches animation at City College of New York and School of Visual Arts. She has recently received her MFA in Visual Narrative from the School of Visual Arts. Pilar, along with her animation company Pilartoons, LLC is based in Brooklyn, NY.

Marc Bertrand s’est joint au Studio d’animation du Programme français de l’Office national du film (ONF) en tant que producteur en 1998. Depuis, son nom est apparu sur le générique de plus de 100 films, dont beaucoup ont reçu des prix. Bertrand a travaillé avec Theodore Ushev pendant plusieurs années, à réaliser certaines des œuvres les plus importantes du cinéaste, dont Blind Vaysha (2016), qui s’est mérité une nomination aux Oscars® en 2017, et The Physics of Sorrow (2019), récipiendaire du prix Cristal du court métrage à Annecy en 2020. Bertrand a aussi réalisé Sunday (2011), le court métrage nominé aux Oscars® de Patrick Doyon. Au fil des années, il a travaillé tant avec des réalisateurs émergents, que vétérans. Parmi ceux-ci, on compte Jacques Drouin, Georges Schwizgebel, Diane Obomsawin, Andreas Hykade, Michelle et Uri Kranot, et Janice Nadeau.

Hugo Covarrubias est un réalisateur et animateur de cinéma image par image. Covarrubias est fondateur de la compagnie de théâtre et studio Maleza, des pionniers dans l’art de mélanger le théâtre à l’animation, où il coréalise les pièces Maleza et Un Poco Invisible. Il est le réalisateur des courts métrages The Feathers Pillow et The Night Face Up. Avec Zumbástico Studios, il a réalisé la série The Ogre and the Chicken, « Horacio y los Plasticines », et est le cocréateur de la série Paper Port. En juin 2021, son troisième court métrage, Bestia , a été lancé à Annecy, où il a reçu le prix Festivals Connexion ainsi que des premières places aux festivals suivants : Chilemonos, Stoptrik en Slovénie, Imaginaria Italia, FIC Guadalajara, BIAF Bucheon en Corée du Sud, Interfilm Berlin, Pöff Shorts Estonie, entre autres.

Pilar Newton-Katz a reçu obtenu son baccalauréat en beaux-arts de la Rhode Island School of Design et a fait ses débuts en travaillant pour l’émission Courage the Cowardly Dog du Cartoon Network, et pour Daria, de MTV. Elle a depuis collaboré avec des compagnies comme Nickelodeon, Homer Learning et Sirius Thinking, parmi d’autres. Elle enseigne l’animation au City College et à l’École d’arts visuels de New York. Elle a récemment reçu sa maîtrise en beaux-arts en narration visuelle de l’École d’arts visuels. Pilar ainsi que sa compagnie d’animation, Pilartoons (SARL), sont établies à Brooklyn, N.Y.

Kids Jury

Arlo S.Nandini S.

Violet N.

Judy A.

Alena S.

Saul L.Audrey W.Jack C.Zoe C.Tilly D.

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Animated Feature

Barber Westchester | Jonni Philips

Dozens of Norths | Koji Yamamura

Khamsa – The Well of Oblivion | Vynom Perlimps | Alê Abreu

Silver Bird and Rainbow Fish | Lei Lei

The Island | Anca Damian Unicorn Wars | Alberto Vázquez

Narrative Short Animation

100 Miles | Louis Bodart

Amok | Balázs Turai backflip | Nikita Diakur

Beware of Trains | Emma Calder Bird in the Peninsula | Atsushi Wada Dealing with War | Andreas Hykade

Drone | Sean Buckelew

Hotel Kalura | Sophie Koko Gate Koerkorter (Dog Apartment) | Priit Tender

Letter to a Pig | Tal Kantor

Lucky Man | Claude Luyet

O Homem do Lixo (The Garbage Man) | Laura Gonçalves

Sierra | Sander Joon

The Debutante | Elizabeth Hobbs

The Flying Sailor | Wendy Tilby, Amanda Forbis 春分 (The Loach) | Xi Chen, Xu An

The Record | Jonathan Laskar

Triangle noir (Triangle of Darkness) | Marie-Noëlle Moreau Robidas

Non-Narrative Short Animation

11 | Vuk Jevremovic

Cuber | Vince Collins

Donald Daffy | Peter Millard

Intermission | Réka Bucsi

Sed Saepe Cadendo | Gina Kamentsky

The Hour Coat | Amy Kravitz

Yin Mu (Sliver Cave) | Caibei Cai 飯縄縁日 (Iizuna Fair) | Sumito Sakakibara

Student Animation

& More | Tsz-wing Ho

99¢ Pizza | Lucas Ansel

Carlos Montaña | Ita Romero Felhők felett (Above the Clouds) | Vivien Hárshegyi

Klimax | Bea Hoeller

La bride (The Dog’s Leash) | Nicolas Piret

Les larmes de la Seine (The Seine’s Tears) | Yanis Belaid, Eliott Benard, Nicolas Mayeur, Etienne Moulin, Hadrien Pinot, Lisa Vicente, Philippine Singer, Alice Letailleur

Mountain Blues | Lucie Levrangi

Slouch | Michael Bohnenstingl

The Pattern | Péter Bogyó

Vampire | Xian Zhong Zoon | Jonatan Schwenk 在她的身体离开前 (Before Her Body Left) | Yuxin Yang 每天朝山顶推一秒的石头 (Being Sisyphus for One Second a Day) | Peixuan Cheng

Commissioned Animation

Animal Collective ‘We Go Back’ | Winston Hacking, Michael Enzbrunner Bucheon International Fantastic Film Festival ‘25 Years’ | Kang Min Kim Cuco ‘Caution’ | Cole Kush, Christopher Rutledge

Kerwin Frost and Beats by Dre ‘The Cosmophones’ | Christopher Rutledge, Dan Streit Kore ga masakano Are deshita ‘Online Business’ (Downright Suspicious ‘Online Business’) | Momoka Watanabe Mac Miller ‘Colors and Shapes’ | Sam Mason

Netflix: Clark ‘PSSY’ | Nayon Cho, Simon Wilches Castro Pharrell Williams ‘Cash In Cash Out’ | François Rousselet

The Humane Society International ‘Save Ralph’ | Spencer Susser TVFCU ‘A Place For All of Us’ | Dale Hayward, Sylvie Trouvé World Wildlife Fund ‘Can’t Negotiate the Melting Point of Ice’ | Yannis Konstantinidis, Marcos Savignano

Animated Series

Big Mouth ‘A Very Big Mouth Christmas’ | Henrique Jardim Caresses magiques ‘Masturbation: la petite histoire d’un grand tabou’ (Magical Caresses ‘Masturbation: A Short History of a Great Taboo’) | Lori Malépart-Traversy Kop Op ‘Tandarts’ (Swop ‘Dentist’) | Job Roggeveen, Joris Oprins, Marieke Blaauw

La liste des choses qui existent ‘Le bain’ (The Great List of Everything ‘The Bathtub’) | Francis Papillon

My Year of Dicks ‘The Sex Talk’ | Sara Gunnarsdóttir Safe Mode ‘Lana Among the Lilies’ | Justin Tomchuk

The Boys Presents: Diabolical ‘John and Sun-Hee’ | Steve Ahn TV Educativa (Educational TV) | Pablo Marcovecchio, Marco Caltieri

Virtual Reality

Biolun (Biolum) | Abel Kohen Castle of Unknowing | Damian ThornHauswirth

From The Main Square | Pedro Harres Lavrynthos | Amir Admoni, Fabito Rychter Samsara | Hsin-Chien Huang

Young Audiences 3+

Čuči čuči (Hush Hush Little Bear) | Māra Liniņa Don’t Be Scared | Richard O’Connor Fuwa Fuwa Hour: PuiPui & MuuMuu ‘Wagamama GyuGyu’ (Fluffy Hour: PuiPui & MuuMuu ‘Selfish GyuGyu’) | Hiroyuki Mizoguchi Konigiri-Kun Parasol | Mari Miyazawa

La soupe de Franzy (Franzy’s SoupKitchen) | Ana Chubinidze

My Name is Fear | Eliza PłocieniakAlvarez

Spacapufi (Spuffies) | Jaka Ivanc

The Smortlybacks Come Back! | Ted Sieger

Toddler Talks | Diana Reichenbach 雨天 (Rain) | Han Yuki

Young Audiences 7+

Chroniques de l’eau salée (Tales of the Salt Water) | Tamerlan Bekmurzayev, Antoine Carre, Rodrigo Goulão de Sousa, Alexandra Petit, Martin Robic Hello Stranger | Julia Ocker

La reine des renards (The Queen of the Foxes) | Marina Rosset

Lost Brain | Isabelle Favez

Luce et le rocher (Luce and the Rock) | Britt Raes

Pisma na kraju sume (Letters From the Edge of the Forest) | Jelena Oroz

Zavtrak dlya ulitok (Snails’ Breakfast) | Eugeniy Fadeyev

Canadian Student Competition

A Great Big Terrible Dream | Maxine Lemieux

Alledoags | Moze Mertens

Biofili | Ariana Greenidge

Bridget | Ridaa Khan, Sima Naseem, Bella Park, Steven Ross, Lily Zhang, Cyril Chen

Éviction (Eviction) | Alexandre Paquet Follow in my Footsteps | Ioannis Lazaras

How to Cook an Egg | Marianne Lavergne

I Had a Dream of a House at Night | Charlie Galea McClure

If You Find Yourself in a Pocket Dimension | Maggie Zeng

Jardin d’ombres | Aurélie Galibois, Nicolas Roy, Éliot Ducharme, Philippe Carrier, Frédéric Blanchard

L’étincelle | Laurence Bertrand, Kisha Perth, Miguelle Cupit, Coralie Landa, Xin Lu

Mangos with my Mom | Jay Clarke

Mikey’s Cubby | Fawn Chan

Mileage | Jennifer Wu, Kym Santiana, Ruyee Lu, Christopher Hsueh, Joy Zhou, Miranda Li, Nicole Taylor-Topacio, Ruby Saysanasy, Saul Benavides

Sculptor | Andreas Fobes

Tea Time | Emma Mckay

The Lost Seahorse | Benjamin FieschiRose

Train Project | Luhan Wang Ursa | Ellie Hatzitolios

Lei Lei USA/Netherlands 2022 104:00

14+

Wednesday, Sept 21 7:00pm

ByTowne Cinema (Gala)

Friday, Sept 23 9:15pm

OAG – Alma Duncan

Mercredi, 21 sept 19h00

Cinéma ByTowne (Gala)

Vendredi, 23 sept 21h15

GAO – Alma Duncan

Silver Bird and Rainbow Fish

Since about the time of Recycled and Hand Coloured # 2 (made with Thomas Sauvin), the direction and tone of Lei Lei’s animated works have taken a more personal direction. While his earlier films fused magic realism, sci-fi, comic books, and video games into visually stunning, hand-painted worlds, his later work has taken on a more personal focus.

Both Recycled and Hand Coloured # 2 use abandoned and discarded photographs from assorted Chinese flea markets and bring them back to life, giving new life and purpose to many unsung, probably long-dead, individuals. Later, in Books on Books (2016), Lei Lei used patterns from one of his father’s books to breathe new life into these forgotten designs and create a space where father and son come together as unexpected, impossible collaborators.

Lei Lei’s latest feature, Silver Bird and Rainbow Fish, feels like a culmination of this intimate recycling. Using a mix of collage, drawings, clay, and archival photos, Lei Lei puts on his Dr. Frankenstein suit and brings his family’s rather tumultuous past back to life in order to make some sense of where he is now.

Using interviews (that are really more like easy-going conversations) with his father and grandfather (who died before the film was made), we follow the story of 4-year-old Jiaqi (Lei Lei’s father), whose mother has just died and whose father has been forced to find work in the countryside. Jiaqi and his sister are eventually put in an orphanage. From there, Lei Lei traces his family’s history alongside the turmoil of Chinese politics. In the end, it’s a story that’s not just for Lei Lei and his family, it’s a story of Chinese people. It’s also a story, despite the dominating male voices, about strong women, notably Lei Lei’s step-grandmother and mother. They are the pillars of strength and comfort in difficult moments.

True to his style, Lei Lei maintains a light, comic touch. Visually, the film is a collage of photos, drawings, and designs. It’s like a collection of misfit images given a new purpose. Lei Lei has never been afraid to keep things honest. He’s never been the precious sort. One of the funniest moments is when Lei Lei has to take a break during an interview. Most artists would have just cut all this out, but Lei Lei keeps the recording going and the image freezes until he returns.

Whether it’s strangers or family, Lei Lei lovingly and playfully celebrates the marginalized, misunderstood and forgotten, resuscitating them with a new air of hope, purpose and humanity.

(Chris Robinson)

Depuis la sortie de Recycled et Hand Coloured # 2 (en coréalisation avec Thomas Sauvin), la réalisation et le ton des oeuvres de Lei Lei ont pris une direction plus personnelle. Alors que ses premiers films fusionnaient le réalisme magique, la science-fiction, les bandes-dessinées et les jeux vidéo en des mondes peints à la main d’une beauté stupéfiante, ses œuvres les plus récentes se concentrent davantage sur le côté personnel.

Tant Recycled que Hand Coloured # 2 ont employé des photographies abandonnées et jetées de divers marché s aux puces chinois et leur ont redonné vie, et en donnant une nouvelle vie à de nombreuses personnes méconnues et probablement décédées depuis longtemps. Plus tard, dans Books on Books (2016), Lei Lei s’est servi de motifs de l’un des livres de son père pour insuffler une nouvelle vie à ces dessins oublié s, et créer un espace où père et fils se joignent en tant que collaborateurs inattendus et impossibles.

Le plus récent long métrage de Lei Lei, Silver Bird and Rainbow Fish, a des airs d’aboutissement de ce recyclage intime. En se servant d’un mélange de collages, de dessins et de photos archivé s, Lei Lei enfile son costume de Dr Frankenstein et ressuscite le passé plutôt tumultueux de sa famille afin de mieux comprendre où il se situe maintenant.

À l’aide d’entrevues (qui ressemblent davantage à des conversations informelles) avec son père et son grand-père (qui mourut avant que le film soit réalisé), nous suivons l’histoire de Jiaqi, â gé de 4 ans (le père de Lei Lei), dont la mère vient de décéder et dont le père a été forcé de trouver du travail à la campagne. Jiaqi et sa soeur sont éventuellement placé s dans un orphelinat. À partir de ce moment Lei Lei trace l’histoire de sa famille aux côté s de la crise politique chinoise. En bout de compte, cette histoire ne porte pas que sur Lei Lei et sa famille; elle touche tout le peuple chinois. L’histoire, en dépit des voix masculines dominantes, porte aussi sur des femmes fortes, dont la mère de Lei Lei et la conjointe de son grand-père. Elles sont d’un grand soutien et confort lors des moments difficiles.

Fidèle à son style, Lei Lei conserve une touche de légèreté et d’humour. Sur le plan visuel, le film est composé d’un collage de photos, de dessins et de motifs. On dirait une collection d’images qui ne concordent pas, mais auxquelles l’on a donné une nouvelle raison d’être. Lei Lei n’a jamais eu peur d’être honnête dans son travail. Il n’a jamais été du type « précieux ». L’un des moments les plus drôles est quand Lei Lei doit prendre une pause pendant une entrevue. La plupart des artistes auraient simplement coupé cette partie, mais Lei Lei poursuit l’enregistrement et l’image gèle jusqu’à son retour.

Qu’il s’agisse d’étrangers ou de sa famille, Lei Lei célèbre affectueusement et d’un ton joueur les marginalisé s, les incompris et les oublié s, les faisant revenir à la vie avec un nouvel air d’espoir, de direction et d’humanité (Chris Robinson)

Khamsa – The Well of Oblivion

Vynom (in attendance) Algeria 2022 77:00 14+

Thursday, Sept 22 11:00am

ByTowne Cinema

Saturday, Sept 24 11:00am

ByTowne Cinema

Jeudi, 22 sept 11h00 Cinéma ByTowne

Samedi, 24 sept 11h00

ByTowne Cinema

A young boy awakens at the bottom of a dark and ruined well without his memory. He meets Tidar and Khamsa, two mysterious creatures who guide him on a quest to find his memory and in turn, his family. Along the way to regaining his memory, the boy discovers his name is Adi. He comes from a place where all the children have been cursed to die, and all the adults have been cursed to lose their ability to bear children. Adi is the only child who has survived. As he is about to complete his memory retrieval, things go awry but it starts the process of him recalling what his own people and mother have done to him. In the end, he discovers some things may be better off forgotten.

Khamsa – The Well of Oblivion is an Algerian animation project led by artist Vynom. This film engages a 3-D video game animation style for its characters and settings. Every time the protagonist completes a “game” level, he regains a piece of his memory. Adi’s special action triggers the unfolding of new plots that gradually leads us to the truth behind the Well of Oblivion and his past life. The ethereal sound transports us to an unreachable time-space where life, memory, and death are at the forefront of thought. Adi must confront these themes and question: what is the meaning of life and death without memory?

Un jeune garçon se réveille au fond d’un puit sombre et en ruines sans sa mémoire. Il rencontre Tidar et Khamsa, deux créatures mystérieuses qui le guident dans sa quête visant à retrouver sa mémoire, et par la suite, sa famille. Dans son parcours vers sa mémoire, le garçon découvre qu’il s’appelle Adi. Il vient d’un endroit où tous les enfants ont reçu une malédiction qui les fait mourir et où les adultes ont la malédiction de ne pouvoir concevoir d’enfants. Adi est le seul enfant à avoir survécu. Alors qu’il a presque retrouvé toute sa mémoire, les choses se gâchent mais elles le mènent à se souvenir de ce que son propre peuple et sa mère lui ont fait. À la fin, il découvre qu’il vaut parfois mieux oublier certaines choses.

Khamsa – The Well of Oblivion, est un projet d’animation algérien mené par l’artiste Vynom. Le style d’animation de ce film prend un air de jeu vidéo 3-D pour ses personnages et leur environnement. Chaque fois que le protagoniste accomplit un niveau, il retrouve une partie de sa mémoire. Les gestes spéciaux d’Adi provoquent l’enchaînement de nouvelles péripéties qui mènent graduellement au puit de l’oubli et à sa vie passée. Le son éthéré nous transporte à un espace-temps inatteignable où la vie, la mémoire et la mort envahissent la pensée. Adi doit faire face à ces thèmes et se poser la question suivante : Quel est le sens de la vie et de la mort sans les souvenirs?

Dozens of Norths

Koji Yamamura

Japan/France 2021 64:00 14+

Thursday, Sept 22 1:00pm

ByTowne Cinema (Gala)

Saturday, Sept 24 7:00pm ByTowne Cinema

Jeudi, 22 sept 13h00

Cinéma ByTowne (Gala)

Samedi, 24 sept 19h00

Cinéma ByTowne

The Oscar-nominated Japanese animator and past OIAF Grand Prize winner (Franz Kafka’s The Country Doctor), Koji Yamamura returns with Dozens of Norths, a gorgeous and enigmatic feature inspired by his work on cover illustrations and texts for the Japanese literature magazine Bungaku-Kai (“Literature World”) from 2012 to 2014.

As the “author” falls asleep on the desk, his mind wanders to his memories of the “people” he met in the “norths”. Two miniature characters take away his feather pen and embark on a journey through the memories of those norths. We do not know where those norths are. They could be here, there or everywhere. And the people we see in the memories are sometimes human beings, sometimes just human-like creatures. A man dangles and spins beneath a massive ball. Bag-like people are constantly repairing huge water-filled bags. Hollow puppet arms insert one after the other to manipulate their predecessor. There is no solid story connecting all of these memories in this dark fairy tale for adults, but only a strong and shared sense of suffering.

The elusive on-screen captions, the quirky background music by Willem Breuker and enigmatic sound effects by Koji Kasamatsu take over the role of any conversation or narration, running through the erratic scenes and creating a gloomy dream with a pencil-sketch look. Yamamura reflects on the sources of suffering in modern times when people’s religious beliefs are being undermined by advanced technology. How can we survive in this age if we cannot rely on religious guidelines to alleviate the causes of our suffering? (Jinyin Chen)

L’animateur japonais nominé aux Oscars et ancien récipiendaire du Grand prix de l’OIAF (Franz Kafka’s The Country Doctor), Koji Yamamura, fait un retour avec Dozens of Norths, un magnifique long métrage énigmatique inspiré par son travail avec des illustrations de pages couvertures et des textes pour le magazine de littérature japonaise Bungaku-Kai (« Le monde de la littérature ») de 2012 à 2014.

Alors que l’« auteur » s’endort sur son bureau, son esprit vagabonde vers ses souvenirs des « personnes » qu’il a rencontrées dans les « nords ». Deux personnages miniatures enlèvent sa plume à écrire et embarquent dans une aventure parmi les souvenirs de ces « nords ». Nous ne savons pas où sont ces nords. Ils pourraient être ici, là ou partout. Et les personnes que nous voyons dans ces souvenirs sont parfois des êtres humains, parfois juste des créatures humanoïdes. Un homme pend et tournoie sous une immense balle. Des personnes ressemblant à des sacs passent leur temps à réparer de géants sacs remplis d’eau. Des bras de marionnettes à main s’insèrent les uns après les autres pour manipuler leur prédécesseur. Il n’y a pas d’histoire solide qui lie tous ces souvenirs dans ce sombre conte de fées pour adultes — seul un fort sens commun de souffrance.

Les quelques sous-titres à l’écran, la musique de fond non conventionnelle de Willem Breuker et les effets sonores énigmatiques de Koji Kasamatsu endossent le rôle de la conversation ou de la narration, traversant les scènes erratiques et créant un rêve lugubre avec un look de dessins au crayon. Yamamura refléchit à la source de la souffrance dans les temps modernes lorsque les croyances religieuses des gens sont rabaissées par la technologie avancée. Comment pouvonsnous survivre en cette ère si nous ne pouvons pas compter sur les règles religieuses pour alléger les causes de notre souffrance? (Jinyin Chen)

The Island

Anca Damian Romania/France/Belgium 2022 84:00 14+

Thursday, Sept 22 7:00pm

ByTowne Cinema (Gala)

Sunday, Sept 25 5:00pm

ByTowne Cinema

Jeudi, 22 sept 19h00

Cinéma ByTowne (Gala)

Dimanche, 25 sept 17h00

Cinéma ByTowne

Here’s a rare case of someone who is really making an admirable career out of creating innovative and diverse animated features. Anca Damian, whose previous works, The Magic Mountain (2015) and Marona’s Fantastic Tale (2019) couldn’t be more different, returns with The Island (2022), which might be her best work yet.

Oh-so-loosely based on Daniel Defoe’s famous novel, Robinson Crusoe (1719), Damian takes the basic story of a man (with the glorious name, Robinson) adrift on an island and from there creates a magic realist lo-fi musical that fuses Luis Bunuel and Masaaki Yuasa with mermaids, refugees, and broken families.

The result is what has to be the most upbeat, wild work about pretty dour situations. Don’t ask me how Damian pulled it off. Maybe it’s the collage, the bold, beautiful colours, a work drenched in warm sea blues.

We’re never quite sure if this is all (like Crusoe) in Robinson’s head as he sits adrift on a rock drowning in sorrow and madness, recounting characters from his past as a doctor, father, son, lover...

Like Mait Laas’s stop motion musical, Lisa Limone and Maroc Orange: A Rapid Love Story (2014), The Island is a light musical that lures us into a deeper and darker story that aptly reflects the maddening chaos of globalization and just downright awful human behaviour. (Chris Robinson)

Voici un cas rare de quelqu’un qui se forge réellement une carrière admirable à créer divers longs métrages animé s novateurs. Anca Damian, dont les oeuvres précédentes, The Magic Mountain (2015) et Marona’s Fantastic Tale (2019) ne pourraient être plus différentes, revient avec The Island (2022), possiblement sa meilleure œuvre à ce jour.

S’inspirant un brin du roman bien connu de Daniel Defoe, Robinson Crusoe (1719), Damian prend l’histoire de base d’un homme (au nom glorieux de Robinson) échoué sur une île, et en fait un comédie musicale magique et réaliste à basse fidélité, qui fusionne Luis Bunuel et Masaaki Yuasa avec des sirènes, des réfugié s et des familles brisées.

Il en ré sulte ce qui doit être l’oeuvre la plus dynamique et folle sur des situations plutôt sombres. Ne me demandez pas comment Damien y parvient. C’est peutêtre le collage, les magnifiques couleurs audacieuses, une oeuvre submergée de chauds bleus couleur océan.

Nous ne savons jamais vraiment si ça se passe (tout comme pour Crusoe) dans la tête de Robinson, alors qu’il est assis, naufragé sur une roche, se noyant dans la tristesse et la folie, et se rappelant des personnages de son passé dans son rôle de médecin, de père, de fils, d’amant...

Tout comme la comédie musicale image par image de Mait Laas, Lisa Limone and Maroc Orange: A Rapid Love Story (2014), The Island est une comédie musicale légère qui nous attire dans une histoire plus profonde et sombre qui reflète habilement le chaos enrageant de la globalisation et du comportement humain carrément horrible. (Chris Robinson)

Barber Westchester

Phillips (in attendance) USA 2022 90:00 14+

Friday, Sept 23 5:00pm

ByTowne Cinema (Gala)

Sunday, Sept 25 11:00am

ByTowne Cinema

Vendredi, 23 sept 17h00 Cinéma ByTowne (Gala)

Dimanche, 25 sept 11h00 Cinéma ByTowne

When budding young astronomer Barber Westchester gets an internship at NASA, it is a dream come true. The chance to move to Mountainia, escape their oppressive religious upbringing, and discover the secrets of the cosmos is an opportunity they can’t turn down. But what happens when the offer of a lifetime turns sour? Who will save Barber from the torment of night terrors, turbulent family life, and the disillusionment that comes with finding out not everything they once thought is as it seems?

Funded entirely via Patreon, Barber Westchester is a funny, gentle, introspective film that packs an emotional punch. Phillips’ 2D animation is bolstered by an original score from Dylan Kannera and a roster of guest animators. Jonni fans will recognize the character of Barber from their previous appearance in the Secrets and Lies in a Town of Sinners miniseries (2019-2020), which served as a prologue to this year’s release. Described by the filmmaker as a “semi-horror flick”, (don’t worry, it’s not too scary) Barber Westchester is a must-see for anyone interested in a quirky narrative about perseverance, embracing the chaos, and existing as one’s true self. An ambitious new project from a must-know emerging creator in the world of independent animation. (Ben Compton)

Jeune astronome en devenir, Barber Westchester se fait offrir un stage à la NASA et son rêve devient réalité. L’occasion de déménager à Mountainia, de fuir son éducation religieuse oppressive et de découvrir les secrets du cosmos en est une qu’iel ne peut pas manquer. Qu’arrive-t-il, par contre, lorsque l’offre d’une vie tourne à la déception? Qui sauvera Barber du tourment de ses terreurs nocturnes, de sa vie familiale turbulente et de la dé sillusion qui s’installe lorsqu’on découvre que la réalité ne correspond pas à ce qu’on croyait connaître?

Financé entièrement via le site Patreon, Barber Westchester est un film drôle, doux et introspectif qui donne un coup sur le plan émotionnel. L’animation 2D de Phillips est relevée d’une trame sonore originale de Dylan Kannera et d’une gamme d’animateurs-invité s. Les fans de Jonni reconnaîtront le personnage de Barber, par son apparition antérieure dans la minisérie Secrets and Lies in a Town of Sinners (2019-2020), qui a servi de prologue à la nouveauté de cette année. Décrit par la cinéaste comme étant un « film semi-horreur », (ne vous en faites pas, ce n’est pas trop épeurant) Barber Westchester est à ne pas manquer pour quiconque s’intéresse à une narration excentrique sur la persévérance, l’acceptation du chaos et la force de vivre qui l’on est vraiment. Un nouveau projet ambitieux d’une créatrice émergente à découvrir dans le monde de l’animation indépendante. (Ben Compton)

Jonni

Unicorn Wars

2022 93:00

14+ Friday, Sept 23 7:15pm

ByTowne Cinema Saturday, Sept 24 9:15pm

ByTowne Cinema

Vendredi, 23 sept 19h15

Cinéma ByTowne Samedi, 24 sept 21h15

Cinéma ByTowne

Unicorns and teddy bears battle for control of the magical forest. Bluey and Tubby, a set of teddy bear twins, are recruited by the military to help remove the unicorns from the magical forest and declare teddy bear supremacy over them. Along with other inexperienced recruits, Bluey and Tubby are sent on a dangerous mission to save the magical forest. Are they up to the challenge?

Don’t be fooled by the ‘cartoony’ visual style and seemingly ridiculously cute characters. Unicorn Wars, inspired by Alberto Vázquez’s short comic book made ten years ago, and his short film Unicorn Blood (2013), fuses dark comedy, fantasy, and drama to dive into themes of power, ecology, religion and the utter futility of war.

Unicorn Wars juxtaposes the technologically advanced teddy bear society, with the more primitive but compassionate unicorn world to show us that in war there are no winners, only victims. (Frank Remley)

Des licornes et des ours en peluche luttent pour avoir le contrôle d’une forêt magique. Bluey et Tubby, une paire d’ours jumeaux, sont recruté s par l’armée pour aider à faire sortir des licornes de la forêt magique et déclarer la suprématie des ours en peluche sur celles-ci. Aux côté s d’autres recrues sans expérience, Bluey et Tubby sont envoyé s dans une dangereuse mission visant à sauver la forêt magique. Sauront-ils surmonter le défi?

Ne vous laissez pas avoir par le style « bande-dessinée » et les personnages mignons à en frôler le ridicule. Unicorn Wars, inspiré par la courte bande-dessinée d’Alberto Vázquez sortie il y a dix ans, et son court métrage Unicorn Blood (2013), fusionne la comédie noire, le fantastique et le drame pour toucher aux thèmes du pouvoir, de l’écologie, de la religion et de l’extrême futilité de la guerre.

Unicorn Wars juxtapose la société des ours en peluche avancée sur le plan de la technologie, au monde plus primitif mais bienveillant des licornes pour nous montrer que la guerre ne fait pas de vainqueurs; que des victimes. (Frank Remley)

Alberto Vázquez Spain/France

Perlimps

Alê Abreu Brazil 2022 76:00 8+ Thursday, Sept 22 5:00pm ByTowne Cinema Saturday, Sept 24 1:00pm ByTowne Cinema Jeudi, 22 sept 17h00 Cinéma ByTowne Dimanche, 25 sept 13h00 Cinéma ByTowne

Claé and Bruó, two secret agents working for enemy kingdoms, are dispatched to the Enchanted Forest. They soon discover they’re on the same mission: To save the Perlimps creatures from the terrible Giants that have surrounded the Forest.

The long-awaited follow-up to Abreu’s Oscar-nominated feature, A Boy and His World (which debuted at OIAF 2013), Perlimps is a visually scrumptious coming-of-age film that features a vibrant, multicoloured palette that captures the beauty of the Enchanted Forest and the liberating wonders of childhood.

Perlimps is also a clash between the complexities of adulthood and the innocence of youth. Sometimes the truth, no matter how ugly and painful, must be faced headfirst in order to grow and learn. Along the way, Abreu encourages children to think about social and environmental issues while savouring the film’s artistic beauty. (Frank Remley)

Claé et Bruó, deux agents secrets qui travaillent pour des royaumes ennemis, sont assigné s à la Forêt enchantée. Ils découvrent rapidement qu’ils ont la même mission : celle de sauver les créatures Perlimps des terribles géants qui ont encerclé la Forêt.

La suite tant attendue du film d’Abreu nominé aux Oscars, A Boy and His World (qui a fait ses débuts à l’OIAF de 2013), Perlimps est un film de maturation d’un grand délice visuel, qui pré sente une palette muticolore vibrante, laquelle capture la beauté de la Forêt enchantée et l’émerveillement libérateur de l’enfance.

Perlimps met également en opposition les complexité s de la vie d’adulte et l’innocence de la jeunesse. Parfois, il nous faut confronter la vérité face à face, aussi laide et douloureuse soit-elle, afin de grandir et d’apprendre. En chemin, Abreu encourage les enfants à penser aux enjeux sociaux et environnementaux, tout en savourant la beauté artistique du film. (Frank Remley)

Wednesday, Sept 21 9:15pm

ByTowne Cinema (Gala)

Saturday, Sept 24 1:00pm

ByTowne Cinema

Dealing with War

Mercredi, 21 sept 21h15 Cinéma ByTowne (Gala)

Samedi, 24 sept 13h00 Cinéma ByTowne

Andreas Hykade | Germany | 1:26

Narrative Short Animation

War, what is it good for?

每天朝山顶推一秒的石头 (Being Sisyphus for One Second a Day)

Peixuan Cheng | China | 4:56

Student Animation

There’s no purpose, only process.

Pharrell Williams ‘Cash In Cash Out’

François Rousselet | USA/ France | 3:57

Commissioned Animation

On a spinning zoetrope, Pharrell, 21 Savage, and Tyler the Creator perform the impossible.

Presented by

O Homem do Lixo (The Garbage Man)

Laura Gonçalves | Portugal | 11:50

Narrative Short Animation

A family remembers their uncle Botão, who worked 30 years as a garbage man.

Sed Saepe Cadendo

Gina Kamentsky | USA | 3:00

Non-Narrative Short Animation

A beautiful sunny day for spanking and dancing.

Amok

Balázs Turai | Hungary/ Romania | 14:20

Narrative Short Animation

After losing his fiancée and his good looks in a freak accident, Clyde must confront his inner demon.

Cuco ‘Caution’

Cole Kush, Christopher Rutledge | USA | 3:04

Commissioned Animation

Cuco makes his way through a fantasy gateway and back.

The Record

Jonathan Laskar | Switzerland | 8:38

Narrative Short Animation

When an antique instrument dealer receives a magical vinyl record from a traveller, lost memories resurface.

The Humane Society International ‘Save Ralph’

Spencer Susser | USA/ United Kingdom | 3:53

Commissioned Animation

A day in the life of a cosmetic test rabbit.

Carlos Montaña

Ita Romero | Argentina | 7:52

Student Animation

Carlos flees to the mountains to find safety from the Argentinian dictatorship forces in 1976.

Klimax

Bea Hoeller | Germany | 2:46

Student Animation

Barbie finds heaven.

The Flying Sailor

Wendy Tilby, Amanda Forbis | Canada | 7:45

Narrative Short Animation

As we go up, we go down.

Thursday, Sept 22 3:00pm

ByTowne Cinema (Gala)

Saturday, Sept 24 3:00pm

ByTowne Cinema

Jeudi, 22 sept 15h00 Cinéma ByTowne (Gala)

Samedi, 24 sept 15h00 Cinéma ByTowne

Animal Collective ‘We Go Back’

Winston Hacking, Michael Enzbrunner | USA/Canada | 3:25

Commissioned Animation

A fresh collage smoothie.

The Pattern

Péter Bogyó | Hungary | 13:37

Student Animation

Three protagonists living in separate worlds yearn for the same yellow flower.

World Wildlife Fund ‘Can’t Negotiate the Melting Point of Ice’

Yannis Konstantinidis, Marcos Savignano | United Kingdom | 0:45

Commissioned Animation

A young polar bear fights to survive the melting Arctic environment.

Presented by

The Loach

Xi Chen, Xu An | China | 7:00

Narrative Short Animation

Good omens and misfortune plague a mother and her child.

Netflix: Clark ‘PSSY’

Nayon Cho, Simon Wilches Castro | USA | 1:18

Commissioned Animation

This guy can’t stop thinking about IT.

Lucky Man

Claude Luyet | Switzerland | 7:47

Narrative Short Animation

Be careful what you wish for.

飯縄縁日 (Iizuna Fair)

Sumito Sakakibara | Japan | 11:33

Non-Narrative Short Animation

A man is here yet elsewhere.

Kerwin Frost and Beats by Dre ‘The Cosmophones’

Christopher Rutledge, Dan Streit | USA | 1:41

Commissioned Animation

Thundercat finds a telescope revealing animated friends and a magical pair of headphones.

Drone

Sean Buckelew | USA | 15:34

Narrative Short Animation

After a malfunction at a CIA press event, a drone becomes sentient, taking on emotions it doesn’t quite understand yet.

Intermission

Réka Bucsi | Hungary | 4:50 Non-Narrative Short Animation

An exploration of the visual image for its own sake.

Hotel Kalura

Sophie Koko Gate | United Kingdom | 5:04 Narrative Short Animation

On the romantic island of Sicily, a woman and man meet at a hotel bar.

99¢ Pizza

Lucas Ansel | USA | 2:46 Student Animation

Is 99¢ pizza just too damn good to be true?

Thursday, Sept 22

9:15pm

ByTowne Cinema (Gala)

Saturday, Sept 24 5:00pm

ByTowne Cinema

11

Jeudi, 22 sept 21h15 Cinéma ByTowne (Gala)

Samedi, 24 sept 17h00 Cinéma ByTowne

Vuk Jevremovic | Croatia/ Germany | 5:28

Non-Narrative Short Animation

Ever wonder what happens in the heads of football players when they are about to take penalty kicks?

Letter to a Pig

Tal Kantor | France/Israel | 16:47

Narrative Short Animation

A traumatic memory of a Holocaust survivor sends a young schoolgirl on an inner journey.

TVFCU ‘A Place For All of Us’

Dale Hayward, Sylvie Trouvé | Canada/USA | 0:30 Commissioned Animation

Tennessee Valley is a place committed to being your helping hand.

Presented by

Cuber

Vince Collins | USA | 1:58

Non-Narrative Short Animation

At long last we learn what goes on inside a Rubik’s Cube.

Slouch

Michael Bohnenstingl | Germany | 17:57

Student Animation

A wannabe musician balances his desire for fame with new fatherhood.

Bucheon International Fantastic Film Festival ‘25 Years’

Kang Min Kim | South Korea/USA | 1:43 Commissioned Animation

A mysterious being takes revenge on a man who used to kill insects.

The Debutante

Elizabeth Hobbs | United Kingdom | 8:07

Narrative Short Animation

A spirited young debutante persuades a hyena from London Zoo to take her place at a dinner dance held in her honour. It probably won’t go well.

La bride (The Dog’s Leash)

Nicolas Piret | Belgium | 3:48

Student Animation

A dog tied to a long rope runs through the countryside.

Koerkorter (Dog Apartment)

Priit Tender | Estonia | 14:12

Narrative Short Animation

A boozy ballet dancer lives in a barking apartment.

Zoon

Jonatan Schwenk | Germany | 4:25

Student Animation

A two-legged forest dweller encounters a lustful group.

Friday, Sept 23 11:00am

ByTowne Cinema (Gala)

Sunday, Sept 25 1:00pm ByTowne Cinema

Vendredi, 23 sept 11h00 Cinéma ByTowne (Gala)

Dimanche, 25 sept 13h00 Cinéma ByTowne

Bird in the Peninsula

Atsushi Wada | France/ Japan | 16:08

Narrative Short Animation

As a group of boys learn a ritual dance, a young girl disrupts them.

Mac Miller ‘Colors and Shapes’

Sam Mason | USA | 4:20

Commissioned Animation

A dreamy surreal portrait of colours, shapes, and Mac Miller.

Mountain Blues

Lucie Levrangi | United Kingdom | 4:04 Student Animation

March 2018: I am in the Blue Mountains. March 2021: I am in lockdown in London.

The Hour Coat

Amy Kravitz | USA | 12:40

Non-Narrative Short Animation

The space between one life and the next.

100 Miles

Louis Bodart | Canada | 1:00

Narrative Short Animation

“Are we there yet!?”

&

More

Tsz-wing Ho | Hong Kong | 3:11

Student Animation

A geometric play of shapes and forms in the M+ museum.

Beware of Trains

Emma Calder | United Kingdom | 12:47

Narrative Short Animation

A woman with extreme anxiety is devoured by four major preoccupations.

在她的身体离开前 (Before Her Body Left)

Yuxin Yang | China | 7:23

Student Animation

A trans woman tries to find peace in the world and within herself.

Felhők felett (Above the Clouds)

Vivien Hárshegyi | Hungary | 14:00

Student Animation

A young girl suddenly finds herself in love again.

Friday, Sept 23 9:15pm

ByTowne Cinema (Gala)

Sunday, Sept 25 3:00pm

ByTowne Cinema

Donald Daffy

Vendredi, 23 sept 21h15

Cinéma ByTowne (Gala)

Dimanche, 25 sept 15h00

Cinéma ByTowne

Peter Millard | United Kingdom | 0:57

Non-Narrative Short Animation

Two iconic ducks finally meet.

Triangle noir (Triangle of Darkness)

Marie-Noëlle Moreau Robidas | Canada | 14:25

Narrative Short Animation

In the middle of Quebec’s 1998 ice storm, a woman seeks shelter in an elderly man’s home.

Les larmes de la Seine (The Seine’s Tears)

Yanis Belaid, Eliott Benard, Nicolas Mayeur, Etienne Moulin, Hadrien Pinot, Lisa Vicente, Philippine Singer, Alice Letailleur | France | 8:49 Student Animation

October 1961. “Algerian workers” fight against a curfew imposed by police.

Yin Mu (Silver Cave)

Caibei Cai | China | 14:23

Non-Narrative Short Animation

Stepping into a cave, sight fluctuates by firelight.

Kore ga masakano Are deshita ‘Online Business’ (Downright Suspicious ‘Online Business’)

Momoka Watanabe | Japan | 0:30

Commissioned Animation

A helpful hotline for young adults wanting to buy informational technologies.

Vampire

Xian Zhong | Taiwan/United Kingdom | 8:09 Student Animation

After a woman’s boyfriend goes missing, he returns as a vampire.

Sierra

Sander Joon | Estonia | 15:57

Narrative Short Animation

A father and son work together in unexpected ways to win a car race.

backflip

Nikita Diakur | Germany | 12:15

Narrative Short Animation

How many tries does it take an avatar to complete a backflip?

Sept 22-24

11:00am-9:00pm

Arts Court – ODD Box, Studio B

Sept 25

11:00am-6:00pm

Arts Court – ODD Box, Studio B

22-24 sept

11h00-21h00

Cour des arts – ODD Box, Studio B

25 sept

11h00-18h00

Cour des arts – ODD Box, Studio B

VR@OIAF: Virtual Reality Competition

RV@FIAO: Réalités virtuelles en compétition

Biolun (Biolum)

Abel Kohen | Germany/France | 25:00

Biolum immerses you in the mysterious beauty of deep-sea life on an intense dive that takes a shocking turn for the worse.

Castle of Unknowing

Damian Thorn-Hauswirth | USA | 5:55

Enter into a virtual reality surrealist allegory, where the viewer explores themes of suffering and transformation.

From The Main Square

Pedro Harres | Germany/Brazil | 19:00

The activities of a town square offer a compact illustration of social disruption. Viewers are immersed in the conflicts, contradictions, and rise and fall of a divided society.

Lavrynthos

Amir Admoni, Fabito Rychter | Brazil/Peru | 20:00

Lavrynthos places you at the heart of the labyrinth of Crete to tell you the story of the unlikely relationship between the Minotaur and his next meal: a girl named Cora.

Samsara

Hsin-Chien Huang | Taiwan | 21:00

After escaping global nuclear destruction and finding a new planet to live on, a lone protagonist finds that they always return to earth to learn the profound lesson of life.

Best

Les perles du RV@FIAO 2020 & 2021

Sept 22-24

11:00am-9:00pm

Arts Court –Courtroom, ODD Box

Sept 25

11:00am-6:00pm

Arts Court – Courtroom, ODD Box

22-24 sept 11h00-21h00

Cour des arts –Courtroom, ODD Box

25 sept 11h00-18h00

Cour des arts –Courtroom, ODD Box

Dislokacije (Dislocation)

Milivoj Popovic, Veljko Popovic | Croatia/ France | 8:00 | Mature

Dislocation takes a look at an absurd moment of disbelief and fear when people are forced from their homes, minds and everyday lives due to cataclysmic events. Winner of Best VR at OIAF 2020.

Strands of Mind

Adrian Meyer | Germany | 11:45 | 14+

Enter into a virtual reality surrealist allegory, where the viewer explores themes of suffering and transformation. Winner of Best VR at OIAF 2021.

We’re bringing back the “Best VR Award” winners from our two virtual editions, so the OIAF audience can finally experience these stellar projects in person.

Thursday, Sept 22

9:15pm

OAG – Alma Duncan

Friday, Sept 23

3:00pm Arts Court Theatre

Jeudi, 22 sept 21h00

GAO – Alma Duncan

Vendredi, 23 sept 15h00 Cour des arts Théâtre

Caresses magiques

‘Masturbation: la petite histoire d’un grand tabou’ (Magical Caresses ‘Masturbation: A Short History of a Great Taboo’)

Lori Malépart-Traversy | Canada | 5:00

A playful and uninhibited look at self-pleasure.

The Boys Presents: Diabolical ‘John and Sun-Hee’

Steve Ahn | USA | 13:00

An elderly man puts everything on the line to cure his wife’s inoperable cancer.

Safe Mode ‘Lana Among the Lilies’

Justin Tomchuk | Canada | 5:00

Within a digital world running in a protective Safe Mode, Smear is tasked with hunting down a virus. On his way out the door, he is antagonized by the neighbourhood kid Lana.

My Year of Dicks ‘The Sex Talk’

Sara Gunnarsdóttir | USA/ Iceland | 5:00

An imaginative 15-year-old is determined to lose her virginity in the outskirts of Houston in the early 90s.

Kop Op ‘Tandarts’ (Swop ‘Dentist’)

Job Roggeveen, Joris Oprins, Marieke Blaauw | Netherlands | 10:00

Sef doesn’t want to go to the dentist. He tricks Wesley into swapping heads with him.

La liste des choses qui existent ‘Le bain’ (The Great List of Everything ‘The Bathtub’)

Francis Papillon | Canada | 3:30

Cathon and Iris take us through the whys and hows of bathing throughout history.

TV Educativa (Educational TV)

Pablo Marcovecchio, Marco Caltieri | Uruguay | 12:26

A faux educational series that critiques ideas about education, stereotypes, and mass culture.

Big Mouth ‘A Very Big Mouth Christmas’

Henrique Jardim | USA | 33:00

Classic holiday stories get a rather naughty makeover.

Saturday, Sept 24

9:30am

OAG – Alma Duncan (Gala)

Sunday, Sept 25 9:30am

OAG – Alma Duncan

Samedi, 24 sept 9h30

GAO – Alma Duncan (Gala)

Dimanche, 25 sept 9h30

GAO – Alma Duncan

The Smortlybacks Come

Back!

Ted Sieger | Switzerland | 8:15

In search of greener pastures, TamLin herds his pack of Smortlybacks to the ocean. After finding themselves stranded on the shore of the ocean, a friendly mermaid helps.

Fuwa Fuwa Hour: PuiPui & MuuMuu ‘Wagamama GyuGyu’ (Fluffy Hour: PuiPui & MuuMuu ‘Selfish GyuGyu’)

Hiroyuki Mizoguchi | Japan | 5:00

Fairies PuiPui and MuuMuu live together in a fluffy forest. They meet a trio of GyuGyu and must help them find a place to live.

Toddler Talks

Diana Reichenbach | USA | 4:00

Follow Henry as he talks about his adventures, his distaste for lasagna, and Stevie Nicks.

雨天 (Rain)

Han Yuki | China | 4:00

A rainstorm inconveniences the creatures of the forest until a squirrel comes along with an umbrella.

La soupe de Franzy (Franzy’s Soup-Kitchen)

Ana Chubinidze | France/ Georgia | 8:38

Alien chef Franzy runs out of her special ingredient for her soup. Travelling to a different planet, she stumbles upon starving inhabitants.

Konigiri-Kun Parasol

Mari Miyazawa | Japan | 5:00

Konigiri-kun is on his way to a birthday party on top of a stack of hamburgers.

Čuči čuči (Hush Hush Little Bear)

Māra Liniņa | Latvia | 5:00

When mommy bear and daddy bear are away, the tiny cubs begin to play.

Spacapufi (Spuffies)

Jaka Ivanc | Slovenia | 11:00

The Spuffies go crazy for jubees. But when they eat the last one, they must travel to find more.

My Name is Fear

Eliza Płocieniak-Alvarez | Germany | 5:00

The emotion Fear gives an interview as to why being “fearful” is a superpower and why you shouldn’t be “afraid of being afraid”.

Don’t Be Scared

Richard O’Connor | USA | 3:00

Small animals find shelter in a fir tree during a winter storm.

Saturday, Sept 24

11:00am

OAG – Alma Duncan (Gala)

Sunday, Sept 25 1:00pm

OAG – Alma Duncan

Samedi, 24 sept 11h00

GAO – Alma Duncan (Gala)

Dimanche, 25 sept 13h00

GAO – Alma Duncan

Hello Stranger

Julia Ocker | Germany | 6:13

An astronaut lands on an unknown planet. Everything is foreign.

Luce et le rocher (Luce and the Rock)

Britt Raes | France/ Netherlands/Belgium | 13:00

Luce’s home is in shambles after a baby boulder comes to town.

La reine des renards (The Queen of the Foxes)

Marina Rosset | Switzerland | 9:00

The queen of the foxes is sad. In order to make her happy, her worried gang retrieves unsent love letters from the city’s rubbish to lay at her feet.

Zavtrak dlya ulitok (Snails’ Breakfast)

Eugeniy Fadeyev | Russia | 7:00

Stories have lost their value and cities have lost their streets. The only inhabitants are snails who never leave their homes.

Pisma na kraju sume (Letters From the Edge of the Forest)

Jelena Oroz | Croatia | 12:00

A group of forest animals set out on the adventure of learning to write.

Lost Brain

Isabelle Favez | Switzerland | 7:00

Louise the crocodile sneezes her brain out one day and nothing seems to work right anymore.

Chroniques de l’eau salée (Tales of the Salt Water)

Tamerlan Bekmurzayev, Antoine Carre, Rodrigo Goulão de Sousa, Alexandra Petit, Martin Robic | France | 9:00

As the summer comes to an end, a young man gets ready to leave his family home.

Friday, Sept 23

5:00pm

OAG – Alma Duncan

Sunday, Sept 25

11:00am

OAG – Alma Duncan

Vendredi, 23 sept 17h00

GAO – Alma Duncan

Dimanche, 25 sept 11h00

GAO – Alma Duncan

Presented by

Éviction (Eviction)

Alexandre Paquet | Mel Hoppenheim School of Cinema | 2:28

An eviction notice sends a tenant on a downward spiral as he imagines the challenges he’s about to face.

How to Cook an Egg

Marianne Lavergne | Concordia University | 0:50

They say breakfast’s the most important meal of the day.

Mangos with my Mom

Jay Clarke | OCAD University | 3:07

Over a plate of mangos, a Filipino mother shares her experience working as a nurse.

L’étincelle

Laurence Bertrand, Kisha Perth, Miguelle Cupit, Coralie Landa, Xin Lu | Université Laval | 0:45

A flame is looking for friendship but he might be too hot to handle.

Alledoags

Moze Mertens | Vancouver Film School | 1:51

The effects of trauma can be felt in even the most mundane circumstances.

A Great Big Terrible Dream

Maxine Lemieux | Toronto Metropolitan University | 4:30

As Susie’s relationship deteriorates, she begins to experience increasingly vivid and disturbing dreams.

Bridget

Ridaa Khan, Sima Naseem, Bella Park, Steven Ross, Lily Zhang, Cyril Chen | Sheridan College | 7:54

An old man finds out what happens when you go to bed angry.

Ursa

Ellie Hatzitolios | Seneca College | 5:20

A hunting expedition takes an unexpected turn.

Follow in my Footsteps

Ioannis Lazaras | Dawson College | 1:54

When the sun falls from its cradle, a little desert dweller must return it, pitting his determination against its heat.

Jardin d’ombres

Aurélie Galibois, Nicolas Roy, Éliot Ducharme, Philippe Carrier, Frédéric Blanchard | Université Laval | 4:08

When navigating a labyrinth, be wary of any surprise portals.

The Lost Seahorse

Benjamin Fieschi-Rose | Ryerson University | 10:46

A vulnerable seahorse is swept away from his reef and must survive the dangerous journey back home.

Tea Time

Emma Mckay | Emily Carr University of Art + Design | 1:45

Barry and Melon discover that sometimes the journey is more important than the destination.

Train Project

Luhan Wang | Sheridan College | 4:20

A young girl boards a train and finds a community among her fellow passengers.

Biofili

Ariana Greenidge | Concordia University | 2:36

While driving through the desert at night, a young woman finds herself in a valley of oddly shaped trees.

Mileage

Jennifer Wu, Kym Santiana, Ruyee Lu, Christopher Hsueh, Joy Zhou, Miranda Li, Nicole Taylor-Topacio, Ruby Saysanasy, Saul Benavides | Sheridan College | 7:47

Sometimes a late-night cab ride costs more than you bargained for.

I Had a Dream of a House at Night

Charlie Galea McClure | Concordia University | 1:41

But was it all just a dream?

Mikey’s Cubby

Fawn Chan | Sheridan College | 2:48

Mikey the mouse and his friend Computy are here to teach us about the internet.

If You Find Yourself in a Pocket Dimension

Maggie Zeng | Concordia University | 1:28

What to do in case of pocket dimension emergency. Don’t let the mirror people get you.

Sculptor

Andreas Fobes | University of the West of England | 4:07

Molding, stretching, squashing, bending, breaking, ripping, and tearing, a sculptor toils away attempting to shape raw material into the perfect form.

Thursday, Sept 22

5:00pm

OAG – Alma Duncan

Friday, Sept 23

7:00pm

OAG – Alma Duncan

Jeudi, 22 sept 17h00

GAO – Alma Duncan

Vendredi, 23 sept 19h00

GAO – Alma Duncan

Presented by

Century Egg ‘Little Piece of Hair’

Chris Shapones | 3:30

Alone in her bathroom, a crocheted woman ponders her life in comparison to the hairs that live on the floor.

Oskar

Max Vannienschoot | 8:30

Astride his motorcycle, Oskar is confronted with an impossible choice: should he face his inner turmoil or keep riding away from it?

Framing the Self

Andrea Cristini | 11:24

A conversation between a director and his character.

NFB ‘50 ans Vidéographe’ (NFB ‘Videographe 50th Anniversary’)

Karl Lemieux | 1:46

A video vignette marking the 50th anniversary of the artist-run centre Le Vidéographe.

Tanya Tagaq ‘Teeth Agape’

David Seitz | 3:33

A mother wolf will protect her young at all costs.

Pixie Cram | 5:01 Witch Woman

A fairy tale about a midwife, a young mother, and a Witch Hunter.

Baek-il

Grace An | 1:00

The Korean legend of Ungnyeo, a bear reborn as a woman, is given new meaning in these “unprecedented” times.

The Organizing Committee ‘The Day Computers Became Obsolete’

Guillaume Pelletier-Auger | 5:31

What happens when an A.I. writes a pop song? Turns out Skynet is still a bad idea, but not for the reasons you’d think...

We See Monsters

Bracken Hanuse Corlett | 4:00

As a skipper and fisherman head out to sea, the moon shines overhead and sea monsters conduct ceremonies in the depths below.

Chasing Birds

Una Lorenzen | 7:48

Just like holiday dinners, things get complicated when a large group of people realize they’re sharing the same table.

Red House

Barry Doupé | 3:00

A house shape-shifts into endless wacky configurations.

Premonition: On the Eve of Signing Treaty 6

Barry Bilinsky | 4:06

On the eve of the signing of Treaty 6, a Cree Elder has a premonition about the future.

Vincent Hurtubise-Martin | 5:12

A character from a 1970s album cover is brought to colourful, psychedelic, life.

Kaho Yoshida | 2:02 舌 (Tongue)

Tired of being talked at by men, a woman takes a sensual trip with unusual friends.

The Jeweller

Brandon Blommaert | 7:00

A sensual tale about power.

Eat Your Carrots

Laura Stewart | 3:11

Carrots are good for your eyes. Maybe too good.

L’Orchestre symphonique de Montréal ‘Harmonium Symphonique: Harmonium’

Thursday, Sept 22

1:00pm

OAG – Alma Duncan

Friday, Sept 23 3:00pm

ByTowne Cinema

Jeudi, 22 sept 13h00

GAO – Alma Duncan

Vendredi, 23 sept 15h00 Cinéma ByTowne

Algo en el Jardin (Something in the Garden)

Marcos Sánchez | Chile | 6:00

It’s nighttime in the suburbs but there’s something lurking in the dark.

Pony Henge

Gina Kamentsky | USA | 5:16

A magical place where rocking ponies are left to rust.

7 temi per il paesaggio periurbano in Umbria (7 Themes for the Peri-Urban Landscape in Umbria)

Giada Fuccelli | Italy | 2:21

A musical journey through the “green heart of Italy”.

Once More With Feeling

Pallavi Agarwala | India/ United Kingdom | 4:22

Fragmented colonial history told through statues and postcards.

Ice Merchants

João Gonzalez | Portugal/ France/United Kingdom | 14:33

A father and son go about their daily commute.

TNGHT ‘Brick Figures’

Christopher Rutledge, Dan Streit | USA | 2:50

Yet another unrealistic body standard for humans.

Szczypigłówki (Headprickles)

Katarzyna Miechowicz | Poland | 8:20

Ever wondered what it’s like to shower with socks on?

Bonjour Douala

José Ramón Bas | Spain/ Cameroon | 5:28

Come explore the streets of Douala, one of the busiest ports in West Africa.

Sjeti se kako sam jahala bijelog konja (Remember How I Used to Ride a White Horse)

Ivana Bosnjak Volda, Thomas Johnson Volda | Croatia | 9:40

Time elapses in The White Horse Cafe.

Guff Maturity

Peter Millard | United Kingdom | 1:06

Better out than in, I always say.

Of Wood

Owen Klatte | USA | 6:59

A brief history of wood.

Dies Irae

Maru Collective | Australia | 7:37

Two playful angels, seven sinful pigs, and one poor righteous soul.

Friday, Sept 23

9:15pm

Arts Court Theatre

Sunday, Sept 25

11:00am

Arts Court Theatre

Vendredi, 23 sept 21h15

Cour des arts Théâtre

Dimanche, 25 sept 11h00

Cour des arts Théâtre

Mind Garden

Dasom An | USA | 1:45

Deserted space in the mind flourishes into a colourful, imaginary garden.

患者的心态 (Patient’s Mind)

Zhiheng Wang | China | 6:05

A doctor reflects on the mental state of his suicidal patient.

An Ostrich Told Me the World is Fake and I Think I Believe It

Lachlan Pendragon | Australia | 11:18

A call centre employee meets a talking ostrich and everything falls apart.

Cost of Curiosity

Rachel Fitzgerald | United Kingdom/Ireland | 2:15

A rainstorm inconveniences the creatures of the forest until a squirrel comes along with an umbrella.

Nuisibles (Pests)

Juliette Laboria | France | 6:30

In the heat of summer, children and wasps gather around the same meal but sharing is not on the menu.

Now I’m In The Kitchen

Yana Pan | USA | 4:53

As she cooks a family recipe, a young woman reflects on her independence and her relationship with her mother.

Sestry (Sisters)

Andrea Szelesová | Czech Republic | 11:27

The burden of caring for a loved one often breeds resentment.

Championsheep

Jakub Dolny | Poland | 2:17

Cue up the Chariots of Fire theme because only one sheep will win.

Matapacos

Karla Riebartsch, Lion Durst | Germany | 6:56

A stray dog finds his home and becomes a symbol of resistance.

RIM

Hagar Faibish | Germany | 6:44

If that “As Seen on TV” product seems too good to be true, it probably is.

Apnoe (Apnea)

Aleksandra Kononova | Russia | 4:25

Swim through the emptiness and darkness to find the ground under your feet.

我忍你很久了 (I Hate You)

Xuan Li | China | 2:56

A confrontation between a ball of energy and a bird.

Au revoir Jérôme ! (Goodbye Jérôme!)

Adam Sillard, Gabrielle Selnet, Chloé Farr | France | 7:44

A man who’s clearly never heard of Orpheus arrives in paradise and tries to find his wife.

Viewing on Demand / Vidéo sur demande

Did you overdo it at an OIAF party and miss a screening? Did you get distracted by some YouTube video of a kid slipping on a banana and onto a runaway electric scooter that slammed respectfully into an empty nest of beavers? Did you get Covid and have to reside inside your fancy hotel digs? Or maybe you just want to see all the submissions?

Don’t fret, we have you covered. Throughout the OIAF you can access our Video on Demand service to catch up on a screening or revisit some films you loved or slept through. Even better, you don’t have to leave your hotel room. All you have to do is sign into your Eventival account, follow the link for VOD and bingo, you can watch films from your bed, floor, bathtub, toilet, closet, or ceiling. (Minibar charges not included.)

Vous vous êtes un peu trop amusée à un party de l’OIAF et vous avez manqué une projection? Avez-vous été distrait par une vidéo sur YouTube d’un enfant qui a glissé sur une pelure de banane et a foncé dans un scooter électrique qui a volé dans une hutte de castors inoccupée? Avez-vous attrapé la COVID et dû résider dans votre chambre d’hôtel de luxe? Ou peutêtre voulez-vous voir toutes les soumissions.

Pas de panique, on s’en occupe. Tout au long de l’OIAF, vous pouvez avoir accès à notre service de vidéo sur demande pour rattraper une projection ou revoir des films que vous avez adoré ou au cours desquels vous avez dormi. Mieux encore, pas besoin de quitter votre chambre d’hôtel. Tout ce qu’il vous faut, c’est vous connecter à votre compte Eventival, suivre le lien vers la vidéo sur demande, et voilà! Vous pouvez regarder des films à partir de votre lit, plancher, bain, toilette, placard ou plafond. (Les frais pour le minibar ne sont pas inclus.)

Regardless of how you want to land in the ever-expanding world of entertainment, CCS’s nationally ranked programs will get you there. Animation, game design, concept design, vis dev and film — CCS will prepare you for lifelong success at top companies including Disney, Netflix, Epic Games, Warner Bros., to name a few. collegeforcreativestudies.edu.

Artwork by Nicole Vrabel ‘24, Entertainment Arts

16+

Thursday, Sept 22 7:00pm

OAG – Alma Duncan

Friday, Sept 23 7:00pm Arts Court Theatre

Jeudi, 22 sept 19h00 GAO – Alma Duncan

Vendredi, 23 sept 19h00

Cour des arts Théâtre

All Alone Except for Everyone: The Work of Jonni

Phillips

by Ben Compton

California-based animator Jonni Phillips has amassed a devoted online following for her introspective and deeply funny films. In a loose style combining drawing, paper cutouts, and digital techniques, Jonni explores the banal and profound experiences that make up everyday life. We follow her characters as they lose and find themselves in monotonous day jobs, foreign places, and new relationships. It’s her quirky narrative voice and collaborative spirit that make Phillips a must-know emerging creator in the world of independent animation.

Spanning multiple films, shorts, and countless online clips, everything Jonni makes prioritizes feeling. “I’m not interested in achieving any sense of tangible reality,” she notes. “A lot of my choices are meant to communicate an emotional reality rather than a literal or logical one.” This might mean switching mediums or bringing in a rotating cast of guest animators, voice actors, and musicians. While Jonni cites Richard Condie and Sally Cruikshank as major influences, her work also conjures up all sorts of cultural touchstones beyond the field of animation. Again and again, Jonni’s proficiency with different formats (musical sequences, television programs, puppetry, etc.), as well as filmic language (match cuts, montage, POV shots...) is highlighted.

Although Phillips’ toolkit is broad, she only uses what is necessary. Some of her best moments are achieved with almost no animation at all. 2017’s Goodbye Forever Party includes a tough conversation between two characters, one of whom is wearing a yellow Teletubbylike costume. As she tells her partner that she has fallen out of love, the headpiece remains in a permanent smile. It’s a tragic narrative device that shows Jonni’s brilliant sense of restraint and efficiency. There is

virtually no movement accompanying the muffled sound from inside the head, which is then pulled off to reveal the character crying.

In other sequences, a wry sense of humour distils pop culture discourse into its simplest form. 2016’s Stilton’s In Charge features two characters watching a television program. A doctor hits a patient’s knee with a hammer, which the viewers observe in silence until one proclaims matter-of-factly, “I don’t agree with his methods.” Like a Gen Z update of Richard Condie’s “Sawing for Teens” program in The Big Snit (1985), this sequence feels distinctly “of the internet” without engaging in the irony and apathy that bogs down so much online content. Jonni instead opts for true sincerity, relishing in the mundane. The result is something sweet and off-kilter all at once.

Sight gags are another recurring comedic feature, often appearing on screen for minute amounts of time. Some are puns, and many are just funny words put together. A tour bus is made by “Greynoun”. A duck who is a salesman is named “Duck Salesman”. An electric piano is made by “ROLEX”. An ad for a television show reads, “Inchworms in Paradise: Only on ESPN.” A barista waits for customers in front of a sign that reads “Special Today: CREAM CREAM CREAM CREAM CREAM”. A vacant apartment advertises “1 bath, kitchen,” and “built-in rats.” The familiar is set askew.

Media around Jonni’s practice often describes her visuals as ‘DIY’, ‘indie’, and ‘lo-fi’. These descriptors are accurate to an extent. Her films are crowdfunded and embody the handmade aesthetics of zine, comic, and internet subcultures. Jonni’s first animations were

Lego Brickfilms. She also credits the mentorship of experimental animators like Lori Damiano and Melissa Bouwman for “cracking open her brain”. After being schooled at CalArts and landing jobs at studios, the fact that Phillips has prioritized her own projects signals a commitment to the ethos of independent filmmaking.

fingers and toes. Phillips’ choice plays into the broader narrative around the characters’ marginalization and new-found community. At the same time, the wonky fingers defy the guidelines around drawing hands that are taught in animation school. As online viewer @ Rosebloom notes in the comments under the video, Ascensia “rejects the alienation imposed by societal convention, be that convention as large as ableism or as small as the “rules” of animation.”

But terms like ‘DIY’ are also coded. They can delegitimize alternative filmmakers by implying that they don’t really know what they’re doing. This is far from the case with Jonni, who has skillfully created her own studio model (“Herbert Sorbet Studio”) with the help of Patreon and artistic friendships forged over years. Her career reflects a world where the border between “doing-it-yourself” and Professional Animator™ seems increasingly porous. When major production houses rely on freelance labour and the mainstream has splintered into millions of social media channels, Jonni’s indie projects should be understood as just as viable and worthy of consideration as something with studiobacking.

Phillips’ against-the-grain mentality is more than her relationship to industry. She also responds to the “arbitrary and formulaic” rules of animation as an art form. With each frame, Jonni pushes against the standards of The Animator’s Survival Kit or Pixar storytelling. In an interview with Terry Ibele, she explains, “A lot of the rules are made for a specific kind of person. For me, as someone who is transgender and neurodivergent…I’m looking for what works for me the most. What’s the thing that makes sense to me? How can I express myself in a way that feels correct?”

Like with her humour, the success of this gesture is in its subtlety. The stories and politics in Jonni’s work unfold slowly. There is also an inherent queerness to her films, which never surfaces in grandiose statements on identity or lived experience. Instead, the queerness of Jonni’s work feels more about gently poking fun at the institutions of family and work, challenging the parameters of her medium, and riffing on the (dis)comfort of coming into one’s own. There is also gender play in the androgyny of her characters and their voices. Regardless, something is resonating with people. Scrolling through her Youtube comments and Letterboxd reviews, one finds hundreds of people echoing the same sentiment: they feel seen.

The final sequence in Ascensia features “Hold on, Sailor”—a recording by the singer-songwriter Jenna Caravello. Like in Jonni’s films, Caravello’s lyrics sit in that bittersweet zone between hope and sorrow. You try to parse out what you’re feeling until you realize maybe it’s best to just let the emotion wash over you. The scene plays out and the quiet power of Phillips’ work takes hold once more.

Sometimes life can be misleading And you won’t get very far And some people don’t know what they need And bury who they are

This is all to say “How are you?” Treading water, castle burning All alone except for everyone On our asteroid turning [Chorus x2]

So hold on sailor Hold on partner Your family will find you Your pain will guide you

Screening List

The Earth is Flat | 2016 | 5:29

Rachel and Her Grandfather Control the Island | 2017 | 5:04

Stilton’s in Charge | 2016 | 4:00

Goodbye Forever Party | 2017 | 19:43

This is a simple but liberating idea that connects Phillips’ process and storytelling. For instance, in 2019’s The Final Exit of the Disciples of Ascensia, a group of misfit cult members are rendered with odd numbers of

The Final Exit of The Disciples of Ascensia | 2019 | 45:00

Barber Westchester (Trailer) | 2020 | 1:41

Thursday, Sept 22 7:00pm Arts Court Theatre

Friday, Sept 23 3:00pm OAG – Alma Duncan Jeudi, 22 sept 19h00 Cour des arts Théâtre Vendredi, 23 sept 15h00 GAO – Alma Duncan

Amy Kravitz: Monochrome Monarch by Keltie

“Many films are ‘about’ a topic, and have a message to deliver, or a story to tell. My films don’t embrace that approach. My intention is to create a non-verbal, visceral experience - an experience that transcends words. You have to understand the experience with your body, rather than with words.”

- Amy Kravitz

Amy Kravitz’s reputation as an inspiring, compassionate, and influential teacher has perhaps led some to forget that she’s also a hell of an animation artist. The oeuvre-to-date of our 2022 Honorary President is a small but mighty tribute to the power of paper, composed of films which show what a skilled hand can do with simple black and white dry media and a fibrous surface.

Through her films, Kravitz defines what she calls “the pure language” of abstract animation and, both as a filmmaker and a beloved instructor at Rhode Island School of Art and Design (RISD), raises the bar for experimental filmmakers everywhere. Working in black and white and a few shades in between, Kravitz’s process is centred around working with or against the paper’s surface, casting the viscosity and density of inks and crayon as the main performer.

Her three early works, The River Lethe (1985), The Trap (1988), and Roost (1998) are each an experiential impression in concept and a love letter to the richness of texture in substance, fusing a bright, full-value grayscale image with an enriching and informative soundtrack. Her newest film, The Hour Coat (2022), is a triumphant return to filmmaking after a busy absence spent focusing on family and teaching, easily echoing the tone of her earlier work without missing a beat.

Duncan

The titular – and mythical – river in Lethe cleanses spirits of memories, allowing them to be reborn with a clean slate. Working via stream-of-consciousness, a method Kravitz says feels more authentic to her process, she addresses concepts around memory and loss by working the paper surface through addition and subtraction, creating a swirling balance of negative and positive space. The first of two collaborations with Caleb Sampson, Lethe’s soundtrack lays the perfect foundation to allow the film to sweep away our own reality, carrying off any worry if only for a few minutes.

The Trap, a film which aims to capture the imagined experience of a persecuted Jew travelling on a crowded train without food, water, belongings, and family to a death camp during World War II, leverages the potential bleakness of black contrasted with white to paint a devastating and terrifying picture. Struck while researching personal accounts of the holocaust by a particular question from author and holocaust survivor, Elie Weisel, who wondered why allied forces didn’t just bomb the train tracks knowing full well who was in them and where they were going.

Visually, a zippy series of starkly contrasted, quicklymoving shapes create the sense of whizzing by cold, harsh, unfamiliar landmarks and landscapes. The black and white palette drives home the feeling of utter helplessness from a situation devoid of warmth and hope. Kravitz’s signature media choices perfectly communicate her conceptualization of the awful experience it must have been to lose everything in such a way, feeling that it could easily have been stopped. Caleb Sampson’s soundtrack supports the scene of institutional and systematic imprisonment. Chilling tones and metallic sounds complete the picture perfectly, fully realizing the suggested message of the film.

meditation on what lies beyond after we remove the cloak of life as we know it, showing Kravitz’s everdeepening range within the black and white spectrum.

On the gap between Roost and The Hour Coat, Kravitz says:

“I work slowly. Usually, whenever I try to do something quickly it just takes me LONGER. Over the past many years, I have had many responsibilities that have required extended attention. A colleague at RISD once told me, as we were discussing being teachers, mothers, and artists, that you can do two full-time jobs but you can’t do three full-time jobs. I had to earn a living (and I have a wonderful job that enables me to do that) and I would not compromise my family. Something had to give. My children are grown now, so I am able to spend more time again in my studio.”

Kravitz has had a long and balanced career thus far and continues to build her illustrious path forward as a beloved educator and artist. This screening package is quantifiable evidence of Kravitz’s deliberate nurturing of her unique filmmaking voice, but the rich ground on which she stood throughout the process also comes through in each frame. These films are a cohesive and impressive kicking-off point, and it will remain exciting to see what comes next.

By contrast, Roost, while existing in the same black and white monochromatic universe, uses a gauzier texture to tell a more hopeful tale. Inspired by two things – the piercing cry of a rooster crow she worked with while editing sound on a job and Issac Bashevis Singer’s story called “Cockadoodledoo” – Amy describes the context around making Roost :

“So the film began with these inspirations, but as I was making it, I had children. So the film shifted focus from the Rooster to a nest with an egg. It is, in its own way, the affirmation of faith that one experiences from children even in the midst of other pain.”

Working with ink and non-absorbent paper to create a flurry of visual language, and incorporating a few graphic line drawings which hint at recognizable forms, Kravitz suggests a softer message, one of new life and new beginnings. The soundtrack, this time by Kravitz herself, is a rich cacophony of organic sounds and samples of music by experimental vocalist, Joan LaBarbara.

The Hour Coat, Kravitz’s latest film, also in Official Competition this year, is her longest to date and explores more fully the use of graphic line drawing and recognizable forms. A waistcoat twists and turns as it hovers ungrounded in space over an airy, wispy, grey, backdrop. Described simply as “between one life and the next”, The Hour Coat continues an exploration of softness that can be achieved by delving into greyscale strokes. The result is an ephemeral

Screening List

River Lethe | 1985 | 7:12

The Trap | 1988 | 5:12

Roost | 1999 | 4:12

The Hour Coat | 2022 | 12:40

I Forgot to Remember to Forget: The Films of Marko Tadić

by Chris Robinson

You may think that the memories themselves vanish every time there’s a disappearance, but that’s not true. They’re just floating in a pool where the sunlight never reaches.

- The Memory Police (2019) by Yoko Ogawa

All memory is fiction. Fiction is a second rendering of a (possible) event. Then there are the photos and home movies. Sometimes I think my memories of a past moment are really just acquired from a photograph or home movie. I’ve confused them. Does it matter if my memory of myself is wrong? If I can imagine it, if I can dream it, isn’t it real?

That’s sort of the vibe going on throughout the work of Croatian animator and artist Marko Tadić. Shuffling documentary, history, and science-fiction, his films look to the past, but not necessarily a past that existed. In his films, he imagines utopia (I Speak True Things), a world with two moons (We Used to Call It: Moon), and an unhappy immortal (Borne by the Birds). There is a sense of loss, a ghostly vibe throughout, yet frequently Tadić seems to be toying with us because the loss isn’t necessarily real, only imagined.

Tadić’s road to animation, like so many, started in other worlds. After studying philosophy in Florence, he turned to painting. “I finished the Academy of Fine Arts in Florence in painting, although I never painted,” says Tadić. “From the first year, I started with photography, and then drawing was the main thing that I did.” Animation and Tadić met during a residency programme in Santa Monica, California, in 2008. At the residency, there was no pressure to create anything. It was a place to go and relax. “I’m alone in L.A. with a few friends, but I was there for two months with plenty of time and a gigantic place—kind of like a car depot or garage or something,” recalls Tadić. “And in it was this huge blackboard. Out of boredom, I started to make drawings.” Later, Tadić grabbed “the smallest, shittiest camera” and started taking photos of the drawings. “My idea was, now I’m going to make one thousand drawings that I will physically not have, they will only be photos,” adds Tadić. “How am I going to show 1,000 photos? It’s going to be the worst presentation in the world.”

During that time, he became friends with two Austrian artists. One of them saw the blackboard and camera experiment and told him that he would be better off making an animation film instead of taking still photos. “And I was like, not a bad idea,” says Tadić. “So I started The Black Ouija Board. At first, it was awful. It was a few lines, tack-tack-tack, you know. But then with

time, I was doing it for like 2 months, you know, and I got a little bit better. I intuitively got into the animation process. I took a lot of photos. And that’s my first animation.”

After the residency was completed, Tadić returned to Croatia, where he scrambled to get work done for a new show. “I was one of the four finalists for this contemporary art award here in Croatia,” says Tadić. “It’s the kind of thing where you apply and then six months later you have to do a solo show. I arrived home on Wednesday and the show was on Friday. Armed with jet lag and a Final Cut Pro, Tadić and a friend edited the film together and won the prize.”

The success encouraged Tadić to continue exploring animation. “It wasn’t like, ‘this is complete shit, don’t do it ever again’,” admits Tadić. “I did something completely new and different that I found interesting and that gave me this push.”

The Black Ouija Board (2008) is a ghostly lo-fi work about an apparent seance. The chalkboard drawings perfectly match the fleeting, fragile creepiness of the woman’s chilling moan that works as a recurrent riff for the film. Tadić lures us in, tempting us towards a resolution, but we’ve been tricked... the woman’s moans stop, and with them, the film. Essentially nothing happens.

“I was listening to old-time radio shows,” says Tadić. “That’s actually the clip inside the film. It’s like a seance, where that guy is actually trying to kill the woman and then her mom comes from the dead to tell her that he wants to kill her and whatever. And that’s like the seance part. And also in the animation, there’s the weird seance. And I really liked how it clicked. Just like that, poof, she’s gone. And then the film ends. It’s so weird and simple.”

Old radio shows, movies, and cartoons are a constant source of inspiration for Tadić. “While I was doing this film, I was filling it with a shovel every day with new stuff,” explains Tadić. “I was making these links between a landscape or at the time I was, let’s say, listening to Emma James or HP Lovecraft, and it was in that kind of atmosphere. It was this insane mix of content that I really enjoyed. And that’s how I got really stuck on animation.” With Tadić’s second film, I Speak of True Things (2010), you start to see the preoccupations that would continue throughout his body of work, notably the idea of utopia and urbanization. Like an animated architect, Tadić fuses past spaces with his

own architectural imaginings to create, essentially, new and impossible spaces. “Now everything is utopia this, dystopia that,” says Tadić. “But for me, it was formative. I grew up in Croatia and Yugoslavia. There was the war, and I was a kid, and all of a sudden this abstract fucking hell was happening. I like to think of my films as this subtle critique of everything. Then I could tell you they’re all utopian because I live in postwar Croatia, Yugoslavia. It’s a very bipolar place to live. That’s something I noticed about Serbia, Bosnia, and even Slovenia, but Slovenia is a bit different. Zagreb, Belgrade, Sarajevo, Skopje... all these are like islands. It’s like a time machine. I guess it’s okay, but it’s peculiar.”

Borne by the Birds (2013), explores the utopian idea of immortality through the tale of a 400-year-old man who wants to die. The idea started with an article Tadić read about a Chinese general who drank only green tea and ate leaves and lived to be 400 years old. “For me, it’s like ‘who can believe this shit’, you know?” says Tadić. “And then at the same time, it’s like the Wandering Jew—the story of this guy who lives forever and he sees everything. It was the perfect plot to start this journey with. This is a weird person travelling through the world because he’s got all the time in the world. And in the end, he wants death. He’s like...” no, I don’t want this. ‘This is too much.’”

This notion of “be careful what you wish for” has roots in the legend of Faust, who sold his soul to the devil for unlimited knowledge and wealth, only to grow bored with it all in the end. “For me, Faust is always a big part of almost every film,” admits Tadić. “This is just a brilliant story, mind-blowing. And that’s something. We are all cursed, everybody. There is this dire need to know; you always need more and more and more, to understand, see, hear, learn, whatever. You know, and that’s Faust. That’s Faustian; you’re unhappy all the time.”

Collage elements are a primary part of Tadić’s creative arsenal. Using old postcards, science magazine photos, and assorted found materials mixed with paint, chalk (which he eventually abandoned for health reasons) and drawings, Tadić takes these disparate elements to create his own fictional worlds with their own internal logic. As is the case with so many collage animators, impatience and lack of confidence in drawing skills were motivators for Tadić. “I can make a portrait with you, of course, but it’s going to take me a long time,” says Tadić. “First off, I don’t “draw” very often, and second, I’m not interested. There are people who love it, but I’m not one of those people. I like things to be quick. I don’t want to make a drawing for two days. Taking a magazine and cutting it up made everything faster. That’s probably something to talk about with a psychiatrist.”

There is also an anti-art aspect to collage. Its violent, imperfect nature takes the piss out of the preciousness of art. “It’s not glorifying art,” adds Tadić. “It’s not oil on canvas or something, it’s more about the process of art, about finding something out instead of creating this object that’s going to last forever and make you famous.”

Nostalgia is another impetus for using collage. Tadić’s use of old postcards harkens back to his youth when he collected postcards the way kids like me collected hockey cards. There’s a collaborative nature to this relationship. I would take hockey cards, for example, and make up my own teams and games. If I wanted a player on a different team, I’d cut out a logo and team name from a spare card and paste it over the player’s real team. It’s similar, albeit more mature, for Tadić. “It’s like my daily work,” says Tadić. “Going through thousands of beautiful old postcards. I love it. I use this material and I collaborate with this material. I would like to directly use the postcard. I etch away with a pen knife and I cut away the image, you know? So, in a way, the image becomes different. Everything is temporary. If I don’t use it now for something, then in a year’s time it’s just going to go to waste anyway.

The use of postcards and archival materials enhances the mysterious, sci-fi element of his work. In a sense, collage allows you to bring images from different times and spaces together to create new, impossible worlds. In Borne By The Birds (2013), Tadić uses old postcards as background scenery. “There’s this ‘Socrates prison’, there’s the fire in San Francisco, there’s the earthquake,” says Tadić. “The postcards themselves are quite interesting. You’d enjoy them as a slideshow, but animation enhances them and gives them something else to add to their already amazing history.”

For We Used to Call It: Moon (2011), which was made as a larger gallery project, Tadić uses hundreds of postcards and

old notebooks to re-imagine that there was once a second moon before it was removed from our lives. Using the guise of an archive, Tadić imagines what a world with two moons might have been like and how its existence might have been conveyed through collective memories (e.g., kitschy postcards and drawings). Jaunting between fiction, documentary, and science-fiction, Tadić explores and critiques censorship, but inadvertently (the film was made before our world started drowning in lunatic conspiracy theories), touches upon a society struggling to separate truth from nonsense.

Tadić’s philosophy studies drip through his films. He’s not making films to please you; he’s making work to challenge you and him. Tadić is especially into philosophers like Plato and Thomas More, who convey their ideas in the form of something like a fable. “I like the narrative way to explain something that’s mind-blowing and interesting and political and literary and entertaining at the same time,” says Tadić. “That’s something I kept in my artistic practice. This approach is to try and say something with the work, not to make something nice to put on the wall. But to have like a million postcards talking about the second moon.”

There are no answers to be found in Tadić’s work. Nothing is resolved. There’s only constant change stemming from this Faustian hunger to continually seek. Despite the dour tones of Faust, there’s also something liberating about that whole idea of utopia. While not a damn one of us could ever come to an agreement on what makes perfection (most of us can’t even agree on what pizza to order), each of us at least has the power to imagine our own personal heaven. We don’t need to make deals with devils, all the tools are there inside of us, within reach. There’s something quite comforting in that. Whether memory or imagination, there’s a beauty in unearthing what might have been or simply imagining what could be. Often it’s healthier than just staring out at what is.

Screening List

The Black Ouija Board | 2:31 | 2009

I speak true things | 5:45 | 2010 We Used to Call It: Moon | 4:15 | 2011 Borne By the Birds | 13:28 | 2013 Until a Breath of Air | 4:45 | 2015 Moving Elements | 6:40 | 2016 “1972-2004” | 6:04 | 2016 Events meant to be forgotten | 6:00 | 2020

LHD ‘The Tzar of Premantura’ | 4:39 | 2021

Temporary Form | 2022

16+

Friday Sept 23 5:00pm Arts Court Theatre

Saturday, Sept 24 1:00pm Arts Court Theatre

Vendredi, 23 sept 17h00

Cour des arts Théâtre

Samedi, 24 sept 13h00 Cour des arts Théâtre

Special Delivery: The Films of John Weldon

by Mark Langer

Polymath, humourist, musician, artist, author, social observer, and a thorn in the side of convention – John Weldon is all of these things and more. Born May 11, 1945, Weldon seemed destined by education and training for a more conventional path than the arts. After graduating with a degree in mathematics and psychology at McGill, he enrolled in Education at Macdonald College. The experience convinced Weldon that a teacher’s life was not for him. This was followed by a year as an insurance actuary trainee. During this period of study and training, Weldon turned to creative pursuits, writing the musical “Genius Is a FourLetter Word” and creating his own comic book. On the basis of these, and with no formal training in the arts, Weldon was hired by the National Film Board of Canada in 1970.

Weldon was a product of the baby boom counter-culture of the 1960s, shaped by the same trends that had produced post-modernist re-inscriptions of older media forms, like Zap Comix, or Firesign Theatre’s Nick Danger, Third Eye. These works adopted the conventions of comics, movies, television and other media only to undermine them and critique their role in re-enforcing a system of hypocrisy and social control. Disney was a particular target, from Harvey Kurtzman and Will Elder’s “Mickey Rodent” in MAD Magazine to the depictions in Air Pirates by Dan O’Neil, Bobby London and Gary Hallgren of Disney characters engaging in sex and drugs. Inspired by underground comix, Weldon created The Pipkin Papers — a 40-page work that was the first Englishlanguage underground comix in Quebec.

Many of Weldon’s early works were consistent with this new comix tradition, albeit tempered by a whimsy and irony lacking in the work of other comix artists. His Spinnolio (1977) begins with the prayer of a clockmaker to The Blue Fairy that the puppet he fashioned be turned into a real boy. Nothing happens, but the old man is convinced that Spinnolio the puppet has magically come to life. Thus begins the processing of the inanimate object as it rises through the education and corporate system until it is replaced by a computer. Abandoned on skid row, Spinnolio becomes a real person when the Blue Fairy finally appears to turn him into a middle-aged wino. The film neatly reverses the success story narrative of Pinocchio to follow the rise and fall of this object in a society where free will is irrelevant to one’s fate. In underground comix, the rejection

of “Golden Age” comic aesthetics is synonymous with the rejection of commercial culture. Similarly, Spinnolio is drawn in a deliberately crude style that would become a Weldon hallmark, with animation that Weldon now characterizes as “a bit klutzy”.

The use of deliberately “hand drawn” aesthetics and the re-inscription of earlier media forms can be seen again in perhaps Weldon’s greatest critical success. Special Delivery (1978 – co-directed with Eunice Macaulay) is a “cartoon noir” that both uses the conventions of 1940s radio drama, and may be the first instance of full-frontal male nudity in an NFB film. The film’s protagonist, Ralph, is a typical Weldonian downtrod hero. Following a cascade of events beginning with his failure to shovel snow from his front steps, Ralph escapes consequences through the incompetence of the legal system and the postal carrier’s union. There was some resistance to making this film within the NFB. Weldon recalls “when it was put to a committee to decide if it should be made, one guy said ‘our films are supposed to be morally uplifting and this is about a guy who gets away with irresponsible, criminal acts! I thought that it was doomed until another guy said ‘Yeah, but it’s funny’, and so I got to make it.” It went on to win the Academy Award for Best Short Film (Animated) and the first prize at Animafest Zagreb.

Log Driver’s Waltz (1979) was made for the Canada Vignettes series, animated to a recording of the Wade Helmsworth song. Music was performed by the Mountain City Four, comprised of Kate and Anna McGarrigle, Jack Nissenson and Weldon’s cousin Peter Weldon. One of several such NFB films made under a contract from CBC as part of a larger government project to enhance national unity through culture, Log Driver’s Waltz transcended its original purpose to become a Canadian favourite and Weldon’s most-seen film, perhaps due to the ideal matching of animator and musicians.

Real Inside (1984 – co-directed with David Verrall) marks a return to critiques of bureaucracy and makes reference to earlier animated films, something hinted at in the combination of live-action and animation seen at the very beginning of Log Driver’s Waltz. Four years before Who Shot Roger Rabbit, Weldon drew on early animation traditions of combining live-action and animated characters. In this case, Buck Boom (the last name anglicized from “Ba-Boom!”), disillusioned with cartoon acting, seeks a career change to corporate administration. The interaction between the animated Buck Boom and the live-action Mr. Mugeon (played by Colin Fox) follows a trajectory consistent with Weldon’s concern about the incompatibility of human needs and social institutions. Eventually, both characters become liberated from the boundaries of convention by embracing the world of the other. Significantly, Weldon weaves a

narrative thread that critiques racism, as the animation character’s route to advancement becomes a metaphor for a larger human rights struggle.

Weldon has written “My personal #1 favourite of my own films is ‘To Be’. Two philosophy professors have told me that they use this film in their classes. And a young lady who lives in a difficult circumstance wrote to tell me that when she saw this film at age 14, it changed her life. One friend said, ‘I HATE that film. It makes you THINK!!’” Released in 1990, To Be is both a philosophical meditation and a riff on the teleportation premise of the then-recent David Cronenberg film The Fly (1986). To Be reflects the teletransport paradox that fascinated such thinkers as Stanislaw Lem and Derek Parfit. As Parfit put it, if a teletransporter were modified so it simply replicated an individual, what are the ontological implications of such a technology? Typically for Weldon, this question is addressed in an unpretentious manner, with the impressively hi-tech pods of The Fly now represented by two vintage refrigerators. Other technological components appear as surrealistically repurposed household appliances. The film marked another collaboration with Kate McGarrigle, who sang the song in a score that Weldon wrote.

John Weldon regards The Lump (1991) as his second favourite film. “Admittedly, I was really joking about universal politics. I’m also pleased with my minimalist approach, scraps of material and cut-out photos pushed around under the camera.” It was made during changes in management and deep budget cuts in the Animation Department. Many were let go or left to work elsewhere. At a time when animation was embracing slick new computer technologies, The Lump announced a contrarian view, made obvious when Weldon replicated the new, computer-generated NFB opening logo as a low-budget swirl of multicoloured paper cutouts. One is tempted to see this as a poke in the eye of company executives demanding austerity. The Lump serves not only as a satirical fable about political corruption but also as a statement about the hand-made and personal nature of Weldon’s approach to filmmaking. As opposed to the cutting-edge technology, The Lump is defiantly lowbudget, low-tech, and personal with Weldon composing the music as well as doing the stop-motion collage with scraps of fabric, wood, plasticine, and other materials. Characters’ faces include photos of Weldon’s friends and colleagues. Although panned by some critics who didn’t “get” Weldon’s aesthetic statement (critic and historian Karen Mazurkewich claimed “Weldon manipulates unsightly puppets … paying little attention to movement and flow”), the film was and remains a favourite, nominated for a Genie, winning OIAF’s Gordon Bruce Award for Humour, and is included (with Special Delivery) as one of the eight films on the NFB’s Animation Greats DVD.

Like George in The Lump, the protagonist of Frank the Wrabbit (1998), is different from his peers. Intellectually gifted by virtue of his lima bean-sized brain, Frank is unable to explain his complex theology to rabbits. This time, Frank prevails over a hostile and life-threatening environment, achieving the positive ending of other Weldon heroes by having “long and happy years that followed” which lead to Frank’s death and deification. Frank the Wrabbit is significant due to John Weldon’s use of digital technologies. Rather than adapt to digital animation, Weldon makes the new technology conform to his collage aesthetics. Like The Lump, Frank the Wrabbit uses a mixture of contrasting styles, combining characters with visible pencil marks outlining digitally generated clothing patterns that move independently of those outlines. Sometimes movement is accomplished through traditional animation techniques and sometimes through digital distortion. The result bears a resemblance to the collage of materials used in The Lump but adapted to new technology.

Frank the Wrabbit acts as a precursor to the gently surrealistic The Hungry Squid (2002). The Hungry Squid continues Weldon’s love of folk music seen earlier in Log Driver’s Waltz, with the use of Arthur Scammel’s song “Squid-Jigging Ground”. In many ways the apotheosis of Weldon’s work, The Hungry Squid reiterates some of Weldon’s favourite themes – the mocking of scientists, psychological counsellors, religion, and other authority figures, skepticism of institutions and sympathy for an alienated protagonist trying to prevail in an indifferent or hostile world. Recalling The Lump through a combination of stop motion fabric puppets, photos, and computerassistancet (“my kind of thing”… “digital recylomation” according to Weldon) the film is perhaps the most charming of the filmmaker’s works, with its wacky yet gentle tale of a young girl’s scholastic and family problems being solved through the intercession of a giant squid and the Alberta Squid Jiggers’ Association. A favourite with both critics and audiences, The Hungry Squid has won seven awards internationally.

Retirement from the NFB has not meant retirement from creativity for Weldon. He continues to work on comix with his Ashcan Alley comic strip, available on his website Weldonalley.ca and short films combining live-action with animation, available on his Vimeo page (Vimeo.com/jfelix). The OIAF wishes him long and happy years to follow.

Screening List

Log Driver’s Waltz | 1979 | 3:00

Spinnolio | 1977 | 9:00

Real Inside | 1984 | 11:00

To Be | 1990 | 10:00

The Lump | 1991 | 7:00

Frank the Wabbit | 1998 | 9:00

The Hungry Squid | 2002 | 14:00

Special Delivery | 1978 | 7:00

14+

Thursday, Sept 22 11:00am OAG – Alma Duncan

Saturday, Sept 24 11:00am Arts Court Theatre

Jeudi, 22 sept 11h00 GAO – Alma Duncan

Samedi, 24 sept 11h00 Cour des arts Théâtre

16+

Thursday, Sept 22 3:00pm

OAG – Alma Duncan

Sunday, Sept 25 1:00pm

Arts Court Theatre Jeudi, 22 sept 15h00

GAO – Alma Duncan

Dimanche, 25 sept 13h00

Cour des arts Théâtre

Contemporary Chilean Animation / Animation chilienne contemporaine

In recent years, Chilean animation has demonstrated a notorious tendency toward transcendental themes in human, political, and reflective themes through aesthetic experimentation that is leaving a distinctive stamp marked by history. From the importance of materiality to new narrative approaches with more philosophical than moral foundations, Chilean animation is spontaneously breaking down the boundaries between the visual arts and animated film, placing these disciplines at the service of the questions that keep us alert in a world where chaos is constantly bursting into our lives. (Hugo Covarrubias)

Au cours des dernières années, l’animation chilienne a démontré une tendance notoire vers les thèmes transcendantaux humains, politiques et réflexifs au moyen de l’expérimentation esthétique qui laisse une étampe distinctive marquée par l’histoire. De l’importance de la matérialité, aux nouvelles approches de narration dont les fondations sont davantage philosophiques que morales, l’animation chilienne brise spontanément les frontières entre les arts visuels et les films animés, plaçant ces disciplines au service des questions qui nous tiennent en alerte dans un monde où le chaos éclate constamment dans nos vies. (Hugo Covarrubias)

Screening List / Liste des projections

Bestia | Hugo Covarrubias | 16:00”

Cantar con Sentido (Singing With Meaning) | Leonardo Beltrán, Cecilia Toro | 22:00”

Los Huesos | C. León, J. Cociña | 15:00”

Deshabitada | Camila Donoso | 7:00”

Algo en el Jardín | Marcos Sánchez | 6:00” Historia de un Oso | Gabriel Osorio | 10:00”

Waldo’s Dream | Jorge Campusano, José Ignacio Navarro, Santiago O’Ryan | 3:13” Immersed | Soledad Águila | 3:50”

Theodore Ushev: Unseen Connections

Theodore Ushev, the auteur behind worldrenowned animated shorts such as Tower Bawher, Gloria Victoria , Oscar®-nominated Blind Vaysha and his masterful The Physics of Sorrow, reveals his inner universe, formed by a half-century of personal experience acquired in a constantly changing world.

In this feature documentary by Borislav Kolev, Ushev reminisces about the “unseen connections” in his life—biographical and historical, cultural and subcultural. Connections that shaped him as a person and an artist.

Constantly interlacing a so-called “objective” reality and the parallel reality constructed by Ushev in his films and conceptual visual works, Theodore Ushev: Unseen Connections sends viewers on a trip through time and space. They witness a variety of past events, ranging from the funny and the sad to the downright absurd. And they learn much about the artist and his world.

Auteur de courts métrages d’animation de renommée mondiale tels Tower Bawher, Gloria Victoria , le film nommé aux Oscars® Vaysha l’aveugle et le magistral Physique de la tristesse, Theodore Ushev dévoile ici son univers intérieur, somme d’un demi-siècle d’expériences personnelles vécues dans un monde en perpétuel changement.

Dans ce long métrage documentaire de Borislav Kolev, Theodore Ushev se remémore les « liens invisibles » de sa vie : des liens personnels et historiques ou se rattachant à la culture et à la sous-culture. Des liens qui ont façonné la personne et l’artiste qu’il est aujourd’hui.

Theodore Ushev : liens invisibles entrecroise sans cesse la réalité dite objective et la réalité parallèle que crée Theodore Ushev dans ses films et ses œuvres visuelles conceptuelles. Le film nous transporte à travers le temps et l’espace. Surgissent divers événements du passé, tantôt amusants, tantôt tristes ou carrément absurdes, qui éclairent largement l’artiste et son univers.

14+ Sunday, Sept 25 7:00pm 9:00pm ByTowne Cinema

Dimanche, 25 sept 19h00 21h00

Cinéma ByTowne

Best of OIAF 22

The Best of Ottawa program showcases audience favourites and award winners from the 2022 Ottawa International Animation Festival competition. The screenings offer a sampling of exceptional animated short films that explore moments of humour, profundity, and inspiration. The works in this collection provide a unique cross-section of some of the best contemporary film artists from around the world.

Le programme Le meilleur d’Ottawa met en lumière les choix préférés du public et les gagnants de la compétition de 2022 du Festival international d’animation d’Ottawa. Les projections offrent un échantillon de courts métrages animés exceptionnels qui explorent des moments d’humour, de profondeur et d’inspiration. Les œuvres de cette collection fournissent un exemple unique de quelques-uns des meilleurs cinéastes contemporains de partout au monde.

OTTAWA INTERNATIONAL ANIMATION FESTIVAL

The Directors Guild of Canada is dedicated to advancing the creative, economic and workplaces rights of all Canadian directors.

La Guilde est dévouée à faire progresser les droits créatifs, économiques et en milieu de travail de tous les réalisateurs canadiens.

-Fair compensation & workplace protection -Health insurance & retirement benefits -Dozens of screenings & networking events -Preferred rates on production insurance -Advocating for funding & support -Annual awards gala

-Compensation équitable et protection sur le lieu de travail -Assurance maladie et prestations de retraite -Des douzaines de projections et des événements de réseautage -Taux préférentiels sur l'assurance-production -Milite pour un financement et soutien accrus -Gala annuel de remise de prix

Competition 1

Thursday, Sept 22, 9:30am Jeudi, 22 sept, 9h30

Christopher Rutledge | Caution Jonathan Laskar | The Record

Laura Gonçalves | The Garbage Man

Gina Kamentsky | Sed Saepe Cadendo Amanda Forbis, Wendy Tilby | The Flying Sailor

Competition 2

Friday, Sept 23, 9:30am Vendredi, 23 sept, 9h30

Christopher Rutledge | The Cosmophones

Winston Hacking | We Go Back

Péter Bogyó | The Pattern

Nayon Cho, Simon Wilches Castro | PSSY Sean Buckelew | Drone Lucas Ansel | 99¢ Pizza

Competition 3

Saturday, Sept 24, 9:30am Samedi, 24 sept, 9h30

Vuk Jevremovic | 11 Tal Kantor | Letter to a Pig Dale Hayward, Sylvie Trouvé | TVFCU - A Place for All of Us

Michael Bohnensting | Slouch Jonatan Schwenk | Zoon

Sept 22–25

Arts Court – Club SAW 67 Nicholas St

22–25 sept Cour des arts – Club SAW 67, rue Nicolas

Le directeur artistique de l’OIAF, Chris Robinson, anime un forum ouvert, révélateur, modérément amusant et parfois stupide, qui met en relation le public et les cinéastes et permet de mieux comprendre la pensée créative qui se cache derrière certains de vos films préférés du Festival.

Competition 4

Saturday, Sept 24, 11:00am Samedi, 24 sept, 11h00

Lucie Levrangi | Mountain Blues Amy Kravitz | The Hour Coat Louis Bodart | 100 Miles Emma Calder | Beware of Trains Vivien Hárshegyi | Above the Clouds

Competition 5

Sunday, Sept 25, 9:30am Dimanche, 25 sept 25, 9h30

Peter Millard | Donald Daffy Nicholas Mayeur | The Seine’s Tears Marie-Noëlle Moreau Robidas | Triangle of Darkness Momoka Watanabe | “Downright Suspicious” Sander Joon | Sierra Nikita DIAKUR | Backflip

OIAF Artistic Director Chris Robinson moderates a revealing, moderately amusing, and occasionally silly open forum that connects audiences and filmmakers, and allows for deeper insight into the creative thinking behind some of your favourite Festival films.

Meet the Filmmakers / Rencontres avec les réalisateurs

Sunday, Sept 25

Arts Court – Club SAW 67 Nicholas St

Dimanche, 25 sept Cour des arts – Club SAW 67, rue Nicolas

Filmmaker Focus

Featuring coffee, breakfast, mimosas, and indie filmmakers! Join the Directors Guild of Canada (DGC) for a Filmmaker Focus series of talks and a hangover brunch to kick off the last day of OIAF.

After Meet the Filmmakers, grab a coffee and breakfast sandwich and hear about the DGC’s new agreement with the NFB, then kick that Night Owl hangover with a mimosa and learn about taking care of your body and mind from a panel of freelance artists and filmmakers.

Meet the Filmmakers

9:30am–10:30am

See previous page for more details

Breakfast

10:30am–10:45am

A Look at the New DGC Agreement and What it Means for You

10:45am–11:30am

Presented by DGC Director Munro Ferguson (Falling in Love Again, Minotaur) and Nathalie-Anne Brassard (Directors Guild of Canada’s lead negotiator for the new DGC and National Film Board Agreement covering Animation Director)

Join our in-depth discussion about the latest Directors Guild of Canada Agreement with the National Film Board which enshrines dramatically improved economic rights for animation directors (be it compensation, benefits as well as financial repercussions for production delays) and discover how the DGC can assist you in resolving creative and legal disputes, and much more. This panel offers you the opportunity to be informed of this important, precedent-setting agreement.

Mimosa Break

11:30am-11:45am

Mental Health and Wellness for Filmmakers

11:45am-12:30pm

A panel of indie filmmakers share their tips and tricks for taking good care of their mental and physical health while working in the gig economy and collaborating remotely during a global pandemic.

À l’horaire : du café, un déjeuner, des mimosas et des cinéastes indépendants!

Joignez-vous à la Guilde canadienne des réalisateurs (GCR) à l’occasion d’une série de discussions et d’un déjeuner de lendemain de veille pour lancer la dernière journée de l’OIAF.

Après avoir rencontré les cinéastes, prenez un café et un sandwich à déjeuner et venez vous renseigner sur la nouvelle entente entre la GCR et l’ONF. Ensuite bottez votre gueule de bois du party Night Owl, mimosa à la main, et venez écouter un panel d’artistes et de cinéastes indépendants vous parler des moyens de prendre soin de votre corps et de votre esprit.

Rencontrez les cinéastes 9h30–10h30

Consultez la page précédent pour plus de détails

Déjeuner 10h30–10h45

Regard sur la nouvelle entente de la GCR, et ce que ça signifie pour vous 10h45–11h30

Présenté par Directeur de la GCR, Munro Ferguson (Falling in Love Again, Minotaur) et Nathalie-Anne Brassard (négociatrice principale de la Guilde canadienne des réalisateurs pour la nouvelle entente entre la GCR et l’Office national du film qui couvre la réalisation de l’animation)

Joignez-vous à notre discussion approfondie sur la toute nouvelle entente entre la Guilde canadienne des réalisateurs et l’Office national du film, entente qui solidifie les droits économiques considérablement amélioré s pour les réalisateurs d’animation (qu’il s’agisse de compensation, d’avantages ou de répercussions financières associées aux délais de production) et découvrez comment la GCR peut vous aider à ré soudre des litiges créatifs et juridiques, et plus encore. Le panel vous offre l’occasion de vous informer sur cette entente importante et créatrice de précédents.

Pause mimosa 11h30-11h45

La santé mentale et le mieux-être chez les cinéastes 11h45-12h30

Un panel de cinéastes indépendants feront part de leurs trucs et conseils pour bien prendre soin de leur santé physique et mentale tout en travaillant dans une économie à contrats et en collaborant à distance en cette pandémie mondiale.

Presented by

Thursday, Sept 22 1:00pm Arts Court Theatre

Jeudi, 22 sept 13h00 Cour des arts Théâtre

Workshops / Ateliers

Saturday, Sept 24 OAG (Ottawa Art Gallery)

Samedi, 24 sept GAO (Galerie d’art d’Ottawa)

Presented by

Drawing and Painting in Harmony for Professionals

11:00am–12:30pm / 11h00–12h00

The world of animation is in a state of constant change, reinvention, and creativity; pushing the limits of storytelling and animation. This workshop is intended for artists who are familiar with Harmony and want to learn the pro tips on drawing and painting in Harmony. Join talented artist MarieÈve Lacelle on September 24th at 11:00am for a 90 min workshop at the Ottawa Art Gallery.

Pre-registration required

Le monde de l’animation est dans un état de changement continuel, de réinvention et de créativité; il pousse les limites de la communication narrative et de l’animation. Cet atelier s’adresse aux artistes qui connaissent le principe de l’harmonie et qui veulent apprendre des trucs de pros pour dessiner et peinturer avec harmonie. Joignez-vous à la talentueuse artiste Marie-Ève Lacelle le 24 septembre, à 11 h, à l’occasion d’un atelier de 90 minutes à la Galerie d’art d’Ottawa.

Il faut s’inscrire d’avance. Instruction en anglais.

Drawing and Painting in Harmony for Students

2:00pm–3:30pm / 14h00–15h30

The world of animation is in a state of constant change, reinvention, and creativity; pushing the limits of storytelling and animation. This workshop is intended for artists who are familiar with Harmony and want to learn the pro tips on drawing and painting in Harmony. Join talented artist MarieÈve Lacelle on September 24th at 2:00pm for a 90 min workshop at the Ottawa Art Gallery.

Pre-registration required

Le monde de l’animation est dans un état de changement continuel, de réinvention et de créativité; il pousse les limites de la communication narrative et de l’animation. Cet atelier s’adresse aux artistes qui connaissent le principe de l’harmonie et qui veulent apprendre des trucs de pros pour dessiner et peinturer avec harmonie. Joignez-vous à la talentueuse artiste Marie-Ève Lacelle le 24 septembre, à 14 h, à l’occasion d’un atelier de 90 minutes à la Galerie d’art d’Ottawa.

Il faut s’inscrire d’avance. Instruction en anglais.

L’artiste et réalisateur Mike Geiger fournit une introduction impartiale aux NFT, au fonctionnement de l’écosystème et à la raison pour laquelle les artistes et les animateurs s’impliquent.

Artist and director Mike Geiger provides an impartial introduction to what NFTs are, how the ecosystem works, and why artists and animators are getting involved.

NFTs for Artists presented by Mike Geiger (Series Director, Nelvana)

Meet the wizards behind the curtain at the Exposé Talk Series, showcasing artists from this season’s hottest projects, including never-before-seen surprises, sneak peeks, and tips on jumpstarting your career in animation!

Rencontrez les magiciens et magiciennes derrière le rideau à la série de conférences Exposé, présentant des artistes des projets les plus en vogue de la saison. Vous y trouverez aussi des surprises jamais vues, des coups d’œil en primeur et des conseils pour lancer votre carrière en animation!

Netflix Animation Presents: Breaking Into

Curious about how to launch your career in animation? Netflix Animation invites you to a can’t-miss presentation that demystifies the unique opportunities across the animation production pipeline with particular emphasis on how to prepare yourself for careers in storyboarding, visual development, and writing. Learn more about how departments work together to create memorable stories and how to develop and showcase your skills to stand out to recruiters.

Vous aimeriez savoir comment lancer votre carrière en animation? Netflix Animation vous invite à une pré sentation à ne pas manquer qui démystifie les occasions uniques qui se trouvent dans l’éventail de la production d’animation, en mettant l’accent sur la façon de se préparer à des carrières en scénarisation, en développement visuel et en rédaction de scénarios. Apprenez comment les départements collaborent pour créer des histoires mémorables, et comment vous pouvez perfectionner et mettre en valeur vos compétences afin de vous démarquer devant les recruteurs.

Saturday, Sept 24

10:00am–11:00am

National Arts Centre –Canada Room

1 Elgin St

Samedi, 24 sept 10h00–11h00

Centre national des Arts –Salle Canada

1, rue Elgin

Presented

Saturday, Sept 24 11:30am–12:30pm National Arts Centre –Canada Room 1 Elgin St

Samedi, 24 sept 11h30–12h30 Centre national des Arts –Salle Canada 1, rue Elgin

Ahead

Starring an indoor cat and dog called Pud and Ham, who wake up to find that all humans have disappeared from Earth (including their own!). We Lost Our Human follows the two homebound pets as they venture for the first time into the outside world, desperate to find their owner, and discover strange mysteries, meet bizarre creatures, and maybe — with the audience’s help — save the universe along the way.

En avance de son lancement en 2023, les créateurs Chris Garbutt et Rikke Asbjoern, et la productrice déléguée Mani Beil nous donneront un coup d’œil en primeur de leur futur spécial interactif sur Netflix, We Lost Our Human

En vedette, un chat et un chien d’intérieur des noms de Pud et de Ham qui se réveillent et découvrent que tous les humains ont disparu de la terre (y compris le leur!). We Lost Our Human suit les deux animaux de compagnie d’intérieur alors qu’ils s’aventurent dans le monde extérieur pour la première fois, dé sespéré s de trouver leur propriétaire. On les voit découvrir d’étranges mystères, rencontrer des créatures bizarres et peut- être, pendant ce temps — à l’aide des télé spectateurs — sauver l’univers.

of its 2023 release, Creators Chris Garbutt and Rikke Asbjoern and Line Producer Mani Beil will give us a sneak peek of their upcoming Netflix interactive special, We Lost Our Human

Sneak Peek: We Lost Our Human presented by Chris Garbutt (Creator/Executive Producer), Rikke Asbjoern (Creator/Executive Producer), Mani Beil (Line Producer) | Moderated by Phil Lafrance (Creative Director/Co-Founder, Jam Filled Entertainment)

by

Animation presented by Grazia Como (Manager, Early Career Recruiting, Netflix Animation), Rynae Lewis (Program Manager, Early Career Animation)

Getting the Gig: Recruiter Roundtable

presented by Brooke Keesling (Head of Animation Talent Development, Bento Box Entertainment), Joe Hughes (Sr. Talent Development Specialist, Warner Bros. Animation & Cartoon Network Studios), Christine Luu (Senior Manager, Animation Recruitment, Nickelodeon Animation), Ellen Su (Head of Artistic Recruiting, Titmouse) | Moderated by Azarin Sohrabkhani (Corporate Events Manager, Netflix)

Your chance to hear from some of the industry’s leading talent recruiters as they share their tips for portfolio reviews, networking, interviewing, interning, and everything else you need to know to get (and keep) your dream gig.

Une occasion d’entendre certains des meilleurs recruteurs de talents de l’industrie donner des trucs pour se préparer à l’évaluation des portfolios, aux entrevues et aux stages, et vous offrir ce dont vous avez besoin pour obtenir (et conserver) votre job de rêve.

Saturday, Sept 24 1:00pm–2:00pm

National Arts Centre –Canada Room

1 Elgin St

Samedi, 24 sept 13h00–14h00

Centre national des Arts –Salle Canada 1, rue Elgin

Saturday, Sept 24 2:30pm–3:30pm

National Arts Centre –Canada Room

1 Elgin St

Samedi, 24 sept 14h30–15h30

Centre national des Arts –Salle Canada 1, rue Elgin

Presented by

Superhero Work: Bringing Preschoolers into the Animated

They are a team of incredible crimefighters who have banded together to oppose evil, combat crime and clean up the streets of Gotham City. They are… okay, they’re NOT Batman and Robin. They’re the Batwheels – an awesome group of sentient superpowered crime-fighting vehicles defending Gotham City alongside Batman, Robin, and Batgirl.

Join showrunner and co-executive producer Michael G. Stern and supervising producer Simon J. Smith for a behind-the-scenes presentation that takes a look under the hood of the first-ever Batman preschool animated series.

Produced by Warner Bros. Animation, Batwheels is coming soon to Cartoonito on Cartoon Network and Cartoonito on HBO Max.

Ils sont une équipe de justiciers incroyables qui se sont unis pour faire face au mal, combattre le crime et faire le ménage dans les rues de la ville de Gotham City. Ils sont… Bon d’accord. Ils ne sont PAS Batman et Robin. Ils sont les Batwheels – un groupe de véhicules vivants et possédant des super pouvoirs pour lutter contre le crime aux côté s de Batman, de Robin, et de Batgirl.

Joignez-vous au showrunner et producteur coexécutif Michael G. Stern et au producteur superviseur Simon J. Smith à l’occasion d’une pré sentation de l’arrière-scène qui jette un regard sous le capot de la toute première série animée de Batman destinée aux enfants d’â ge pré scolaire.

Produit par Warner Bros. Animation, Batwheels jouera bientôt sur Cartoonito, sur le Cartoon Network et sur Cartoonito sur HBO Max.

A Conversation with Scott Clark of Walt Disney Animation

Studios,

Walt Disney Animation Studios Head of Animation Scott Clark will discuss how the new Vancouver studio is building on the legacy of innovative storytelling in animation to create universal stories, imaginative worlds and compelling characters. Keltie Duncan, Associate Editor at Cartoon Brew, will moderate the conversation. Amil Niazi, Showrunner of CBC’s Pop Chat podcast, will moderate the conversation.

Scott Clark, directeur de l’animation chez Walt Disney Animation Studios, discutera de comment le studio nouvellement établi à Vancouver consolide son héritage et continue de livrer des récits animé s innovants regroupant histoires universelles, mondes fantastiques et personnages captivants. Amil Niazi, la showrunner du podcast Pop Chat sur CBC, animera la conversation.

Saturday, Sept 24 4:00pm–5:00pm

National Arts Centre –Canada Room

1 Elgin St

Samedi, 24 sept 16h00–17h00

Centre national des Arts –Salle Canada 1, rue Elgin

Presented by

Vancouver presented by Scott Clark (Head of Animation) | Moderated by Amil Niazi (Showrunner, CBC’s Pop Chat)

Batman Universe presented by Michael G. Stern (Showrunner, Co-Executive Producer), Simon J. Smith (Supervising Producer)

Saturday, Sept 24 5:30pm–6:30pm

National Arts Centre –Canada Room

1 Elgin St

Samedi, 24 sept 17h30–18h30

Centre national des Arts –Salle Canada

1, rue Elgin

Get a behind-the-scenes look at Prime Video’s Emmynominated animated anthology series, The Boys Presents: Diabolical. Showrunner Simon Racioppa, Supervising Director Giancarlo Volpe and Director Madeleine Flores will discuss creating the unseen stories from the universe of the Emmy-nominated live-action series The Boys, each episode having its own animation style, working with diverse teams and collaborating remotely.

Profitez d’un regard derrière les coulisses sur la série animée d’anthologie de Prime Video nominée pour un Emmy, The Boys Presents: Diabolical. Le showrunner Simon Racioppa, le réalisateur-superviseur Giancarlo Volpe et la réalisatrice Madeleine Flores discuteront de la création des histoires jamais vues de l’univers de la série The Boys, la façon dont chaque épisode a son propre style d’animation, ce que c’était que de travailler avec différentes équipes et la collaboration à distance.

Saturday, Sept 24 9:00am–4:30pm

National Arts Centre –Canada Room Foyer, Studio Foyer, Jose’s Salon 1 Elgin St

Samedi, 24 sept 9h00–16h30 Centre national des Arts – Foyer du Salle Canada, Foyer du studio, Salon Jose 1, rue Elgin

OIAF Animation Exposé Fair

Are you looking for the right animation program or your next career opportunity? Pack up your portfolio and come meet with representatives from animation schools, studios, and more at the Animation Exposé Fair on September 24th. Visit with a variety of representatives from Canadian and international companies to introduce yourself and learn about upcoming opportunities in the world of animation!

Participating Studios / Studios participants

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Cherchez-vous le programme d’animation idéal pour votre prochaine occasion professionnelle? Préparez votre portfolio et venez rencontrer des repré sentants d’écoles et de studios d’animation et d’autres encore à la foire de l’Animation Exposé le 24 septembre. Lors de votre visite, vous entrerez en contact avec divers repré sentants de compagnies canadiennes et de l’international afin de vous pré senter et de vous mettre au courant des prochaines occasions dans le monde de l’animation!

Participating Schools / Écoles participantes

• Algonquin College

• College for Creative Studies

• Savannah College of Art and Design

• School of Visual Arts NYC

• Seneca College

• Sheridan College

• Vancouver Film School

Must-sees / À ne pas manquer

• AniBoutique Pop Up Shop

• The Animation Guild and Local 938

• The Netflix Lounge

• Wacom

Behind-the-Scenes of The Boys Presents: Diabolical presented by Giancarlo Volpe (Supervising Director), Simon Racioppa (Showrunner/Executive Producer), Madeleine Flores (Director) | Moderated by Ramin Zahed (Editor-in-Chief, Animation Magazine)

Saturday, Sept 24 National Arts Centre – Studio Foyer

Samedi, 24 sept Centre national des Arts

Book Signings and Presentations

Mad Eyes Misfits: Writings

By/par Chris Robinson

on Indie Animation

2:30–3:00pm / 14h30–15h00

One of the most stylistically original and provocative writers in animation returns with this informal sequel to his previous books on indie animation, Unsung Heroes of Animation and Animators Unearthed. In this collection, award-winning writer Chris Robinson looks at a wide range of films and filmmakers, including cult favourites Don Hertzfeldt, Adam Elliot, Masaaki Yuasa, Wong Ping, Bruce Bickford, Rosto, Suzan Pitt, Clyde Henry, and Cartoon Saloon.

The Corners are Glowing: Selected Writings from the OIAF

Edited by/édité par Chris Robinson, Tom McSorley

3:30–4:00pm / 15h30–16h00

The Corners are Glowing is a selection of the best writings (many unseen for decades) culled from past OIAF catalogues. These wideranging texts cover the spectrum of animation from the familiar (Daffy Duck, Pee Wee Herman, Bob Clampett, Joanna Quinn, Hiyao Miyazaki, Frank Tashlin) to the more esoteric (Robert Breer, Emily Pelstring, Taku Furukawa, Michael Sporn, and even the use of furniture in animation!).

Pillowy

By/par Dave Cooper

5:00–5:30pm / 17h00–17h30

The long-awaited release of Pillowy, the 350-pg monograph of all of Dave’s finest work in fine art, graphic novels, illustration, and animation as well as a comprehensive interview in both English and French.

L’un des auteurs les plus originaux sur le plan stylistique et provocateurs de l’animation revient avec cette séquence informelle de ses livres précédents sur l’animation indépendante, Unsung Heroes of Animation et Animators Unearthed. Dans cette collection, l’auteur primé Chris Robinson jette un regard sur une gamme de films et de cinéastes, dont les animateurs cultes Don Hertzfeldt, Adam Elliot, Masaaki Yuasa, Wong Ping, Bruce Bickford, Rosto, Suzan Pitt, Clyde Henry et le studio Cartoon Saloon.

The Corners are Glowing est une sélection des meilleurs textes (plusieurs n’ayant pas été vus depuis des décennies)tiré s d’anciens catalogues de l’OIAF. C’est textes très divers couvrent le spectre de l’animation, du familier (Daffy Duck, Pee Wee Herman, Bob Clampett, Joanna Quinn, Hiyao Miyazaki, Frank Tashlin) au plus é sotérique (Robert Breer, Emily Pelstring, Taku Furukawa, Michael Sporn, et même l’emploi de mobilier dans l’animation!).

La sortie tant attendue de Pillowy, la monographie de 35 pages des plus belles œuvres de Dave dans les beaux-arts, les romans graphiques, l’illustration et l’animation ainsi qu’une entrevue exhaustive en français et en anglais.

Kids can explore the world of animation in Ottawa at Family Day on September 24, 2022

IGNITING CREATIVITY IN CANADIAN MEDIA FOR KIDS

The Shaw Rocket Fund is proud to partner with the Ottawa International Animation Festival to bring back the Family Day Program live for 2022

The OIAF is proudly partnering with Shaw Rocket Fund to present the Family Day program on Saturday, September 24th as a way for young animation fans and their families to get a taste of a real animation festival.

Schedule

9:30am: Animation for Young Audiences 3+ competition screening

11:00am: Animation for Young Audiences 7+ competition screening

1:00 pm: Feature Screening, Perlimps (dir. Alê Abreu, Brazil) (Rating 8+) See page 13 for competition details

Family Day Workshops

10:00am, 11:00am, 1:00pm, 2:00pm

Make a short animation with Tina Le Moine from MASC or visit the animation art room to build a flipbook and learn how to draw for animation. Go digital in the Animation Lounge by Switch Animation and try out some computer animation techniques. Drop in or pre-register at animationfestival.ca/familyday

Animation Celebration / Célébration de l’animation

Wednesday, Sept 21 /

Mercredi, 21 sept

11:00am, 1:00 pm / 11h00, 13h00

Ottawa Art Gallery (OAG) / Galerie d’art d’Ottawa (GAO) – Alma Duncan

2022

L’OIAF est fier de collaborer avec Shaw Rocket Fund afin de pré senter le programme de la Journée de la famille le samedi 24 septembre. Il s’agit d’une façon d’initier les jeunes amateurs d’animation et leurs familles à un vrai festival d’animation.

Horaire

9h30 : Projection du concours d’animation pour jeunes publics 3+ 11h00 : Projection du concours d’animation pour jeunes publics 7+ 13h00 : Projection principale, Perlimps (dir. Alê Abreu, Bré sil) (Coté 8+) Consultez la page « 13 » pour en savoir plus sur le concours

Ateliers de la Journée de la famille 10h00, 11h00, 13h00, 14h00

Saturday, Sept 24

9:00am–4:00pm

Ottawa Art Gallery (OAG) 10 Daly Ave

Samedi, 24 sept 9h00–16h00 Galerie d’art d’Ottawa (GAO) 10, avenue Daly

Presented by

Créez une courte animation à l’aide de Tina Le Moine, de MASC ou visitez la salle de l’art de l’animation pour faire un folioscope et apprendre comment dessiner pour l’animation. Faites un virage numérique dans le salon de l’animation de Switch Animation, et essayez quelques techniques d’animation à l’ordinateur. D’autres surprises vous attendent, comme l’occasion de jouer avec des effets sonores, du doublage, et plus encore! Pré sentez-vous sur place ou inscrivez-vous d’avance à animationfestival.ca/familyday

a program for elementary

students to come to OIAF and get a behindthe-scenes look at animation. Start by watching Britt’s animated short film Luce and the Rock and then join Britt for an exciting talk about how she made the film! There will be fun demonstrations, arts and crafts, and maybe a few surprises!

You can see Luce and the Rock screening in the Animation for Young Audiences 7+ competition (see page 39)

More information at animationfestival.ca/youngaudiences

Britt Raes sera l’animatrice invitée à l’occasion de la Célébration de l’animation de 2022; un programme en matinée invitant les élèves du primaire à venir à l’OIAF pour apprendre directement auprès d’une animatrice. Commencez par regarder le court métrage animé de Britt, Luce and the Rock, puis joignezvous à elle lors d’une discussion stimulante sur son processus de création du film! Il y aura des démonstrations amusantes, du bricolage, et peut-être quelques surprises!

Vous pouvez visionner la projection de Luce and the Rock lors du concours d’animation pour jeunes publics 7+ (voir la page 39)

Pour en savoir plus : animationfestival.ca/youngaudiences

Toon Apprentice Day for Teens / Journée apprenti Toon pour les ados

Toon Apprentice Day is the ultimate field trip!

High school students interested in animation are invited to a day exclusively for them which features a behind-the-scenes look at local animation studio Jam Filled Entertainment. Also, get inspired by a unique presentation by Winnipeg’s Sisler High School who were mentored by industry professionals at Nickelodeon. Teachers, bring your students to see amazing animated short films from around the world and catch presentations from some of the top animation schools including Algonquin College, Seneca College, Sheridan College, and Vancouver Film School.

More info at animationfestival.ca/toonapprentice

Toon Apprentice Pass

Saturday, September 24

High school students can attend Animation Exposé, and any OIAF screenings on Sept 24th until 6:00pm, for FREE with your Toon Apprentice Pass courtesy of Jam Filled Entertainment, sign up here: animationfestival.ca/boxoffice/#toonpass Pre-registration and school ID required

Animation Exposé at the National Arts Centre features live talks with animation artists and a Career Fair with leading animation schools and studios. Talk to your heroes and meet representatives to help start your education or career in animation (see page 70).

La Journée apprenti Toon, c’est la sortie scolaire par excellence! Les élèves du secondaire qui s’intéressent à l’animation sont invité s à une journée conçue exclusivement pour eux, qui offre une vue derrière les coulisses d’un studio d’animation local, Jam Filled Entertainment. De plus, soyez inspiré par une pré sentation unique de l’école secondaire Sisler, de Winnipeg, qui a reçu du mentorat par des professionnels de l’industrie chez Nickelodeon. Les enseignants, emmenez vos élèves voir des courts métrages de partout au monde et assister à des pré sentations données par les meilleures écoles d’animation, dont : le Collège algonquin, le Collège Seneca, le Collège Sheridan et l’École de cinéma de Vancouver.

Pour en savoir plus : animationfestival.ca/ toonapprentice

Friday, Sept 23 9:30am–2:20pm

OAG – Alma Duncan 10 Daly Ave

Vendredi, 23 sept 9h30–14h20

GAO – Alma Duncan 10, avenue Daly

Presented by

Laissez-passer apprenti Toon Samedi 24 septembre Les élèves du secondaire peuvent assister à l’Animation Exposé et à toute projection de l’OIAF le 24 septembre jusqu’à 18h00, GRATUITEMENT, grâce au Laissez-passer apprenti Toon, une gracieuseté de Jam Filled Entertainment. Pour vous inscrire : animationfestival.ca/boxoffice/#toonpass Il faut s’inscrire d’avance et présenter une pièce d’identité de l’école

L’Animation Exposé au Centre national des Arts pré sente des discussions en direct avec des artistes de l’animation et un salon des carrières mettant en vedette des écoles et des studios d’animation de premier plan. Parler à vos héros et rencontrez des repré sentants afin de commencer vos études ou votre carrière en animation (voir la page 70).

Britt Raes will be the guest artist at Animation Celebration

;

school

Sept 21–23

Château Laurier

21–23 sept Château Laurier

TAC (The Animation Conference)

TAC is back! Returning to Ottawa’s famous Château Laurier, TAC 2022 is your chance to reconnect with industry contacts and establish new relationships with the producers, broadcasters, artists, executives, and buyers in attendance.

This year’s programs include the return of everybody’s favourite boat cruise (thanks Toon Boom!); TAC’s signature pitching events Fast Track (powered by Tonic DNA) and Pitch THIS! (presented by Mercury Filmworks); and a copro focus with a spotlight on the recently renewed CanadaFrance treaty and a delegation of French producers in attendance.

For a taste of TAC, all passholders are welcome on Friday for a networking breakfast courtesy of WIA Vancouver, an artist talk with Oscar-nominated Chilean filmmaker Hugo Covarrubias, and a “Meet the Festivals” panel, before catching the shuttle to the Animators’ Picnic presented by Cartoon Network Studios.

La TAC est de retour! Faisant un retour au prestigieux Château Laurier à Ottawa, la TAC 2022 vous offrira l’occasion de renouer avec les personnes-ressources de l’industrie et d’établir de nouveaux liens avec les producteurs, les télédiffuseurs, les artistes, les hauts dirigeants et les acheteurs qui seront sur place.

Les programmes de cette année comprennent le retour de la croisière en bateau préférée de tout le monde (merci, Toon Boom!); les activité s de promotion signature de la TAC Fast Track (alimenté par Tonic DNA) et Pitch THIS! (pré senté par Mercury Filmworks); et un zoom copro mettant en lumière le traité Canada-France récemment renouvelé et une délégation de producteurs français sur place.

Souhaitez-vous avoir un avant-goût de la TAC? Ce vendredi, tous les titulaires de laissez-passer ont accès à un petitdéjeuner de ré seautage offert par WIA Vancouver, une discussion avec le cinéaste chilien Hugo Covarrubias, nominé aux Oscars, et un panel « Meet the Festivals » avant le départ de la navette vers l’Animators’ Picnic, pré senté par Cartoon Network Studios.

Wednesday, Sept 21 11:00pm–2:00am

Irish Village 67 Clarence St (indoor/outdoor event)

Mercredi, 21 sept 23h00–2h00

Irish Village 67, rue Clarence (activité à l’intérieur et à l’extérieur)

You must have an AnimaPass, TAC AnimaPass, TAC Only Pass or Wednesday Day Pass to attend. Must have a 19+ ID to attend and be served alcohol.

Vous devez posséder une AnimaPass, une TAC AnimaPass, un laissez-passer TAC seulement ou un laissez-passer du mercredi pour entrer. Il faut avoir 19 ans et + et une carte d’identité pour entrer et se faire servir de l’alcool.Let’s kick off OIAF22 in the best way possible: an epic party sponsored by Warner Bros. Animation! Join us at the Irish Village Bars in Byward Market for a night of meeting new contacts and connecting with familiar ones while enjoying karaoke, food, and dancing! Don’t forget to grab some props and capture the night at the Warner Bros. Animation photo booth station.

Donnons le coup de lancement de l’OIAF22 du mieux possible : un party épique commandité par Warner Bros. Animation! Joignez-vous à nous au Irish Village Bars dans le Marché Byward pour une soirée de nouvelles connaissances et de connexions avec des membres de l’industrie qu’on connaît, tout en profitant du karaoké, de la bouffe et de la danse! Et n’oubliez pas de prendre des accessoires et d’immortaliser cette soirée à la station de photos de Warner Bros. Animation.

Presented by

The Warner Bros. Animation Opening Night Party

Other Events and Parties / Autres

Thursday, Sept 23 11:00pm–2:00am

Arts Court – Club SAW 67 Nicholas St, Ottawa (indoor/outdoor event)

Jeudi, 23 sept 23h00–2h00

Cour des arts – Club SAW 67, rue Nicolas (activité à l’intérieur et à l’extérieur)

Salon des Refusés

You must have an AnimaPass, TAC AnimaPass, TAC Only Pass or Thursday Day Pass to attend. All ages are invited and must have a 19+ ID to be served alcohol.

We can’t all be winners but we can take rejection in stride. Salon des Refusé s is an opportunity for Festival passholders to view films that were not accepted into the Festival programming. Join us at Club SAW for libations, commiserations and a little crowd validation. We know rejection is a hard pill to swallow, so bring your OIAF rejection letter for a free drink to wash it down courtesy of Bento Box Entertainment, and all festival passholders are welcome to view the refused films and meet the creators.

Vous devez posséder une AnimaPass, une TAC AnimaPass, un laissez-passer TAC seulement ou un laissez-passer du jeudi pour entrer. Ouvert à tous les âges, mais il faut avoir 19 ans et + et une carte d’identité pour se faire servir de l’alcool.

On ne peut pas tous être gagnant, mais on peut pendre le rejet la tête haute. Le Salon des Refusé s permet aux titulaires d’un laissez-passer du Festival de visionner les films qui n’ont pas été accepté s dans le programme du Festival. Soyez des nôtres au Club SAW pour une soirée de libations, de commisérations et d’un peu de validation de la part du public. Nous savons que le rejet peut être difficile à avaler, alors apportez votre lettre de rejet de l’OIAF et vous recevrez une boisson gratuite pour le faire descendre, une gracieuseté de Bento Box Entertainment. Tous les titulaires de laissez-passer du Festival sont invité s à venir regarder les films refusé s et rencontrer les créateurs.

Presented by

You can’t miss the OIAF signature social event, the world-famous Animators’ Picnic presented by Cartoon Network Studios. Passholders can jump on a double-decker bus from the ByTowne or the Arts Court and head to Strathcona Park, one of Ottawa’s most scenic green spaces along the Rideau River! Chef Ric and his team will be providing a delicious menu including vegetarian and vegan options. Enjoy some beverages and don’t forget to show off your artistic talents in our pumpkin carving contest.

Buses leave from ByTowne Cinema after the 11am show or from the Arts Court at 12:30pm.

Vous devez posséder une Animapass, une TAC Animapass, un laissez-passer TAC seulement ou un laissez-passer du vendredi pour entrer. Il faut avoir 19 ans et + et une carte d’identité pour se faire servir de l’alcool.

Vous ne devez pas manquer l’activité sociale signature de l’OIAF, l’Animators’ Picnic, connu mondialement, pré senté par Cartoon Network Studios. Les titulaires de laissezpasser peuvent monter à bord d’un autobus à deux étages à partir du Marché ByTowne ou de la Cour des arts et se diriger vers le parc Strathcona, l’un des espaces verts aux plus beaux paysages d’Ottawa le long de la rivière Rideau! Le chef Ric et son équipe fourniront un menu délicieux qui comprend des options végétariennes et végétaliennes. Venez siroter quelques boissons et n’oubliez pas de démontrer vos talents d’artiste en participant à notre concours de sculpture de citrouilles.

Friday, Sept 23 12:30pm–4:00pm Strathcona Park 25 Range Road (outdoor event)

Vendredi, 23 sept 12h30–16h00

Parc Strathcona 25, route Range (activité à l’extérieur)

Presented by

You must have an AnimaPass, TAC AnimPass, TAC Only Pass, or Friday Day Pass to attend. Must have a 19+ ID to be served alcohol.

The Animators’ Picnic

Other Events and Parties / Autres événements & soirées

Friday, Sept 23 11:00pm–2:00am Arts Court – Club SAW 67 Nicholas St, Ottawa (indoor/outdoor event)

Vendredi, 23 sept 23h00–2h00 Cour des arts – Club SAW 67, rue Nicolas (activité à l’intérieur et à l’extérieur)

Care Bears 40th Anniversary Party

You must have an AnimaPass, TAC AnimaPass, TAC Only Pass, Weekend Pass or Friday Day Pass to attend. All ages are invited and 19+ ID is required to be served alcohol.

Welcome to the OIAF’s Kingdom of Caring! This year’s OIAF brings a blast from the past with the Care Bears 40th Anniversary Party presented by Nelvana at Club SAW. Have the chance to meet OIAF passholders from across the country while enjoying vintage episodes, dancing, and hanging out with our special guests; real-life Care Bears! Don’t forget to capture the magical night with our themed cocktail under our Care Bears rainbow balloon arch!

Vous devez posséder une AnimaPass, une TAC AnimaPass, un laissez-passer TAC seulement, un laissez-passer du weekend ou du vendredi pour entrer. Ouvert à tous les âges. Il faut avoir 19 ans et + et une carte d’identité pour se faire servir de l’alcool.

Bienvenue au Kingdom of Caring de l’OIAF! Cette année, l’OIAF nous fait vivre un retour en arrière grâce au party du 40e anniversaire des Calinours, pré senté par Nelvana au Club SAW. À vous l’occasion de rencontrer des titulaires de laissez-passer OIAF de partout au pays tout en prenant plaisir à regarder des épisodes d’avant, à danser et à passer du temps avec nos invité s spéciaux; de vrais Calinours! N’oubliez pas de capturer cette nuit magique avec notre cocktail conçu pour l’occasion, sous notre arche de ballons en forme d’arc-enciel Calinours!

Saturday, Sept 24 7:30pm National Arts Centre –Canada Room 1 Elgin St Samedi, 24 sept 19h30 Centre national des Arts –Salle Canada 1, rue Elgin

OIAF Awards Ceremony

Join OIAF’s

Chris Robinson and co-host Joel Frenzer for plenty of mischief with guest appearances from other animation legends. Stay tuned for the announcing of the winners of the Short, Feature, VR, and Young Audiences by the 2022 juries including our comical Kids Jury!

Artistic Director

Presented by

Saturday, Sept 24 9:00pm-2:00am

Arts Court – Club SAW 67 Nicholas St (indoor/outdoor event)

Samedi, 24 sept 21h00–2h00

Cour des arts – Club SAW 67, rue Nicolas (activité à l’intérieur et à l’extérieur)

Presented by

You must have an AnimaPass, TAC AnimaPass, TAC Only Pass, Weekend Pass or Friday Day Pass to attend. Individual tickets are pay-what-youcan. All ages are invited and must have 19+ ID to be served alcohol.

The OIAF’s famous Saturday night party NightOwl joins forces with Ottawa’s best party: Pique. Launched in 2021, Pique is a forward-thinking, artist-driven music and arts event featuring innovative and experimental performance and installation works focused on new ideas, collaboration, and site-specific intervention. The buildingwide all ages and pay-what-you-can event series is in its second season and is happy to partner with the Ottawa International Animation Festival for its fall edition. The NightOwl favourite Drink and Draw is back presented by Atomic Cartoons!

Vous devez posséder une AnimaPass, une TAC AnimaPass, un laissez-passer TAC seulement, un laissez-passer du weekend ou du vendredi pour entrer. Les billets à l’unité sont payables selon vos moyens. Ouvert à tous les âges. Il faut avoir 19 ans et + et une carte d’identité pour se faire servir de l’alcool.

Le party populaire du samedi soir de l’OIAF, NightOwl, unit ses forces avec le meilleur party à Ottawa : Pique. Lancé en 2021, Pique est un événement avant-gardiste de musique et d’art réalisé par des artistes, qui met en lumière des spectacles novateurs et expérimentaux ainsi que des œuvres d’installations se penchant sur de nouvelles idées, des collaborations et des interventions propres au site. Cette série d’événements à la grandeur de l’immeuble pour les personnes de tous â ges et payables selon vos moyens en est à sa deuxième saison, et ses organisateurs sont heureux de se joindre en partenariat avec le Festival international d’animation d’Ottawa pour son édition de l’automne. L’activité prisée de NightOwl, Drink and Draw (boire et dessiner), est de retour et pré sentée par Atomic Cartoons!

NightOwl / Pique

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Sept 20–23 | 9:00am–9:15pm

Sept 24 | 9:00am–3:00pm

Sept 25 | 9:00am–4:30pm

Arts Court Studio

20–23 sept | 9h00–21h15

24 sept | 9h00–15h00

25 sept | 9h00–16h30

Studio de la Cour des Arts

Aniboutique

Make sure you swing by the Arts Court Studio during the Festival to get that special something to commemorate OIAF 2022. The Aniboutique has the best in animation posters, t-shirts, books and more — a little something for everyone (and every budget!) Can’t make it to the Arts Court? OIAF will also have mini-boutiques set up at TAC, the ByTowne Cinema, and the National Arts Centre (Saturday only!).

Assurez-vous de passer par le studio de la Cour des arts durant le Festival pour vous procurer un petit quelque chose en souvenir de l’édition 2022. L’Aniboutique offre la meilleure sélection d’affiches, de t-shirts, de livres et d’autres objets autour de l’animation. Il y en a pour tous les goûts et tous les budgets! Impossible d’aller à la Cour des Arts? Des miniboutiques sont également installées au TAC, au Cinéma ByTowne et au Centre national des Arts (le samedi seulement!).

Sept 21–25 9:00am–9:15pm Jackson at the Ottawa Art Gallery (indoor event)

21–25 sept 9h00–21h Jackson à la Galerie d’art d’Ottawa (activité à l’intérieur)

Chez Ani

Chez Ani is the place where filmmakers and fans alike can get together, socialize, and do business - with wireless internet access! Whether stopping in early for a coffee, grabbing a bite or ending the night with a quiet drink or two, Chez Ani can be your go-to place to hang while in Ottawa and unwind between screenings. Chez Ani Café is found in Jackson at the OAG and will be open for the duration of the Festival, serving coffee, snacks, and alcoholic beverages.

Chez Ani est l’endroit où les cinéastes comme les amateurs de cinéma peuvent se rencontrer, socialiser et faire des affaires –avec un accès Internet sans fil! Qu’il s’agisse de passer tôt boire un café, prendre une bouchée ou finir la soirée tranquillement avec un verre ou deux, Chez Ani peut être votre pied-à-terre lors de votre séjour à Ottawa, le lieu où relaxer entre deux projections. Chez Ani Café est installé dans l’immeuble de la Cour des arts, et sera ouvert tout au long du Festival pour servir du café, des collations et des boissons alcoolisées.

Sept 22 | 11:00am–9:00pm

Sept 23 | 11:00am–9:00pm

Sept 24 | 11:00am–1:00am Sept 25 | 11:00am–5:00pm Arts Court – Atelier

22 sept | 11h00–21h00

23 sept | 11h00–21h00

24 sept | 11h00–1h00

25 sept | 11h00–17h00 Cour des Arts – Atelier

Presented by

Sheer Transit / Clear Plastic

An installation of painted works, printed matter, and material art by Dottie July Gordon, a visual artist, designer, and textile printmaker who lives and works in Montréal, QC.

With an affinity for maximalism, print, illustrated graphics, objects, and materiality, Dottie utilizes a diverse array of tactile disciplines and design techniques in their approach to image-making and spatial arrangement.

Une installation d’œuvres peintes, de matières imprimées et de matériel artistique par Dottie July Gordon, artiste en arts visuels, conception et gravure pour impression sur textile qui vit et habite à Montréal, Québec.

Ayant une affinité pour le maximalisme, l’impression, les graphiques illustré s, les objets et la matérialité, Dottie emploie une vaste gamme de disciplines tactiles et de techniques de conception dans leur approche de création d’images et d’aménagement spatial.

Augmented Reality Attractions / Attractions de réalité augmentée

Art and technology come together for an augmented reality exhibit that you find as you walk between venues at OIAF. The 14 works on display were created via a collaboration between the PIX Film Collective and SystemKollektiv based in Vienna.

Scan this QR code for a full map and the AR viewer.

L’art et la technologie se combinent pour faire place à une exposition de réalité augmentée que vous trouverez en marchant entre les sites de l’OIAF. Les 14 œuvres pré sentées ont été créées grâce à une collaboration entre la PIX Film Collective et SystemKollektiv, siégeant à Vienne.

Numérisez ce code QR pour obtenir la carte complète et le visualisateur de RA.

Artists in the program / artistes du programme:

The (Other) Cat’s Eye Marble | Madi Piller

Cosmos | Debashis Sinha

Free Sugar | Maria Legault Synergy of the Stitches | Khadija

Aziz

Memory Lane | Coco Guzmán Orbital Line | Nick Fox-Gieg Blobettes | Ron Loranger The Galorias | Elise Simard

Wild Things | Libby Hague Blue Molecular | Kate Wilson Josette Joseph | Daphney Joseph Ecstatic Cling | Winston Hacking

Strathcona Park / Parc Strathcona: Reflection, Obsession, Artifice and Self | Marco Royal Nicodemo Still Life | Nadine Valcin

Sunday, Sept 25 7:00pm-11:00pm

Arts Court Studio 2 Daly Ave, Ottawa (indoor event)

Dimanche, 25 sept 19h00–23h00

Studio de la Cour des arts 67, avenue Daly (activité à l’intérieur)

Closing Night Party / Party de clôture

You must have an AnimaPass, TAC AnimaPass, TAC Only Pass, Weekend Pass or Sunday Day Pass to attend. All ages are invited and 19+ ID is required to be served alcohol.

The end is near and the grand finale is here! Let’s get together for one final toast. A casual affair held in the Arts Court, the last chance for a chat or some chill and maybe a little dancing. That’s all folks!

Vous devez posséder une AnimaPass, une TAC AnimaPass, un laissez-passer TAC seulement, un laissez-passer du weekend ou du dimanche pour entrer. Tous les âges sont invités et il faut avoir 19 ans et + et une carte d’identité pour se faire servir de l’alcool.

La fin approche et la grande finale est arrivée! Rassemblons-nous pour lever notre verre une dernière fois. Une rencontre informelle qui aura lieu dans la Cour des arts, la dernière chance de bavarder ou de relaxer et peut- être de danser un peu. C’est fini, les amis!

Imagination and creativity matter

Our programs in creative arts and animation combine thinking and creating and challenge you to refine your talent. Choose from fields like animation, illustration, design, music, acting, gaming and visual effects. With a strong focus on honing your craft, you’ll graduate ready to take on the industry.

LEARN MORE. senecacollege.ca/create

Artwork by: Sunny Singh, Illustration Graduate

& MORE | Contact: Tsz-wing Ho, wing12381@ gmail.com

100 Miles | Contact: Elise Labbé, festivals@nfb. ca

11 | Contact: Vanja Andrijevic, vanja@ bonobostudio.hr

7 temi per il paesaggio periurbano in Umbria (7 Themes for the Peri-Urban Landscape in Umbria) | Contact: Giada Fuccelli, giadafuccelli@ gmail.com

99¢ Pizza | Contact: Lucas Ansel, lucasansel22@ gmail.com

A Great Big Terrible Dream | Contact: Maxine Lemieux, lemieuxmaxine@gmail.com Algo en el Jardin (Something in the Garden) | Contact: Marcos Sánchez, marcossanchezd@ gmail.com

Alledoags | Contact: Moze Mertens, mozemertens@gmail.com

Amok | Contact: Zsófi Herczeg, zsofi@daazo.com An Ostrich Told Me the World is Fake and I Think I Believe It | Contact: Lachlan Pendragon, lachlan.pendragon@hotmail.com

Animal Collective ‘We Go Back’ | Contact: Winston Hacking, winstonhacking@gmail.com & Michael Enzbrunner, enzi_@web.de Apnoe (Apnea) | Contact: Anna Ostalskaya, sharstudia@gmail.com

Au revoir Jérôme ! (Goodbye Jérôme!) | Contact: Luce Grosjean, festival@miyu.fr backflip | Contact: Luce Grosjean, festival@miyu. fr

Baek-il | Contact: Elise Labbé, festivals@nfb.ca Barber Westchester | Contact: Jonni Phillips, jonni@jonniphillips.com

Beware of Trains | Contact: Harriet Titlow, harriet@pearlyoyster.com

Big Mouth ‘A Very Big Mouth Christmas’ | Contact: Connor Walsh, benk.assistant@ titmouse.net

Biofili | Contact: Ariana Greenidge, aricreates@ gmail.com

Biolun (Biolum) | Contact: Danielle Giroux, publisher@astreaimmersive.io

Bird in the Peninsula | Contact: Luce Grosjean, festival@miyu.fr Bonjour Douala | Contact: Ismael Martin, info@ ismaelmartin.com

Bridget | Contact: DozenEye Studios, dozeneyestudios@gmail.com

Bucheon International Fantastic Film Festival ‘25 Years’ | Contact: Kangmin Kim, 30gibson@ gmail.com

Caresses magiques ‘Masturbation: la petite histoire d’un grand tabou’ (Magical Caresses

‘Masturbation: A Short History of a Great Taboo’) | Contact: Elise Labbé, festivals@nfb.ca Carlos Montaña | Contact: Esteban Dalinger, dalingerezequiel@gmail.com

Castle of Unknowing | Contact: Damian ThornHauswirth, damianswann@gmail.com

Century Egg ‘Little Piece of Hair’ | Contact: Knuckles Animation, knucklesanimationstudio@ gmail.com

Championsheep | Contact: Jakub Dolny, kuba_ dolny@wp.pl

Chasing Birds | Contact: La Distributrice de Films, serge@ladistributrice.ca Chroniques de l’eau salée (Tales of the Salt Water) | Contact: Luce Grosjean, festival@miyu.fr Cost of Curiosity | Contact: Rachel Fitzgerald, fitzgerald.rachel.rachel@gmail.com Cuber | Contact: Vince Collins, clubflyer@gmail. com Čuči čuči (Hush Hush Little Bear) | Contact: Sabīne Andesone, sabine@atomart.lv Cuco ‘Caution’ | Contact: Christopher Rutledge, chris@loaf.zone Dealing with War | Contact: Bianca Just, studio@ filmbilder.de

Dies Irae | Contact: Maru Collective, marucollective0@gmail.com

Don’t Be Scared | Contact: Richard O’Connor, richard@aceandson.com

Donald Daffy | Contact: Peter Millard, hellopetermillard@gmail.com Drone | Contact: Sean Buckelew, seanbuckelew@gmail.com

Eat Your Carrots | Contact: Laura Stewart, patonstewart@gmail.com Éviction (Eviction) | Contact: Alexandre Paquet, a.paquet432@gmail.com Felhők felett (Above the Clouds) | Contact: Vivien Hárshegyi, harshegyivivi@gmail.com Follow in my Footsteps | Contact: Ioannis Lazaras, ioannislazaras.3d@gmail.com Framing the Self | Contact: Andrea Cristini, andrestudio@hotmail.it

From The Main Square | Contact: Pedro Harres, pedroharres@gmail.com

Fuwa Fuwa Hour: PuiPui & MuuMuu ‘Wagamama GyuGyu’ (Fluffy Hour: PuiPui & MuuMuu ‘Selfish GyuGyu’) | Contact: Michelle Keane, m-keane@studio-placebo.jp Guff Maturity | Contact: Peter Millard, hellopetermillard@gmail.com

Hello Stranger | Contact: Bianca Just, studio@ filmbilder.de

Hotel Kalura | Contact: Sophie Koko Gate, sophiekokogate@gmail.com

How to Cook an Egg | Contact: Marianne Lavergne, marriyaney@gmail.com

I Had a Dream of a House at Night | Contact: Charlie Galea McClure, charliemcclure999@ outlook.com

Ice Merchants | Contact: Joaquim Pinheiro, agencia@curtas.pt

If You Find Yourself in a Pocket Dimension | Contact: Maggie Zeng, maggie.draws.stuff@ gmail.com

Intermission | Contact: Zsófi Herczeg, zsofi@ daazo.com

Jardin d’ombres | Contact: Aurélie Galibois, aurelie.galibois@gmail.com

Kerwin Frost and Beats by Dre ‘The Cosmophones’ | Contact: Christopher Rutledge, chris@loaf.zone

Khamsa - The Well of Oblivion | Contact: Khaled Chiheb, khamsaproject@gmail.com

Klimax | Contact: Anke Kletsch, festivals@ animationsinstitut.de

Koerkorter (Dog Apartment) | Contact: Kerdi Oengo, kerdi@nukufilm.ee

Konigiri-Kun Parasol | Contact: Mari Miyazawa, mari@4miyazawa.com

Kop Op ‘Tandarts’ (Swop ‘Dentist’) | Contact: Ursula van den Heuvel, Kaboom Distribution, ursula@kaboomfestival.nl

Kore ga masakano Are deshita ‘Online Business’ (Downright Suspicious ‘Online Business’) | Contact: Michelle Keane, m-keane@ studio-placebo.jp

L’étincelle | Contact: Université Laval, basa.elite@ design.ulaval.ca

L’Orchestre symphonique de Montréal ‘Harmonium Symphonique: Harmonium’ | Contact: Vincent Hurtubise-Martin, vincenthurtubise@gmail.com

La bride (The Dog’s Leash) | Contact: Nicolas Piret, nicolas.piret@ikmail.com

La liste des choses qui existent ‘Le bain’ (The Great List of Everything ‘The Bathtub’) | Contact: Elise Labbé, festivals@nfb.ca

La reine des renards (The Queen of the Foxes) | Contact: Marina Rosset, marina.rosset@gmail. com

La soupe de Franzy (Franzy’s Soup-Kitchen) | Contact: Mikhal Bak, mikhal.bak@gmail.com Lavrynthos | Contact: Fabito Rychter, fabitorychter@gmail.com

Les larmes de la Seine (The Seine’s Tears) | Contact: Patrick De Carvalho, patrick2carvalho@ gmail.com

Letter to a Pig | Contact: Luce Grosjean, festival@miyu.fr

Lost Brain | Contact: Nadasdy Film, distribution@ nadasdyfilm.ch

Luce et le rocher (Luce and the Rock) | Contact: Luce Grosjean, festival@miyu.fr

Lucky Man | Contact: Mikhal Bak, mikhal.bak@ gmail.com

Mac Miller ‘Colors and Shapes’ | Contact: Ry Glover, ry@hellohornet.com Mangos with my Mom | Contact: Jay Clarke, jasmineclarke147@gmail.com Matapacos | Contact: Karla Riebartsch, karla. riebartsch@filmakademie.de Mikey’s Cubby | Contact: Fawn Chan, fawnlenna@gmail.com

Mileage | Contact: Fuzzie Die Studios, animgroupb1@gmail.com

Mind Garden | Contact: Deanna De Maglie, ddemaglie@sva.edu

Mountain Blues | Contact: Lucie Levrangi, lucielevrangi@gmail.com

My Name is Fear | Contact: Eliza PłocieniakAlvarez, eliza.p.alvarez@gmail.com

My Year of Dicks ‘The Sex Talk’ | Contact: Pamela Ribon, pamie@pamie.com NFB ‘50 ans Vidéographe’ (NFB ‘Videographe 50th Anniversary’) | Contact: Elise Labbé, festivals@nfb.ca

Now I’m In The Kitchen | Contact: Yana Pan, yanapanyana@gmail.com

Nuisibles (Pests) | Contact: Luce Grosjean, festival@miyu.fr

O Homem do Lixo (The Garbage Man) | Contact: Joaquim Pinheiro, agencia@curtas.pt Of Wood | Contact: Owen Klatte, oklatte@gmail. com

Once More With Feeling | Contact: Pallavi Agarwala, pallavi.agarwala.works@gmail.com Oskar | Contact: Justine Baillargeon, info@ h264distribution.com Perlimps | Contact: Marc Nauleau, sales@ bffsales.eu

Pharrell Williams ‘Cash In Cash Out’ | Contact: Alice Wills, alice@division.global Pisma na kraju sume (Letters From the Edge of the Forest) | Contact: Vanja Andrijevic, vanja@ bonobostudio.hr

Pony Henge | Contact: Gina Kamentsky, ginak@ ginakamentsky.com

Premonition: On the Eve of Signing Treaty 6 | Contact: E.D. FILMS, info@edfilms.net Netflix: Clark ‘PSSY’ | Contact: Nayon Cho, nayoncho1@gmail.com Red House | Contact: Barry Doupé, barrydoupe@gmail.com

RIM | Contact: Hagar Faibish, hagarf7@gmail. com

Safe Mode ‘Lana Among the Lilies’ | Contact: Justin Tomchuk, jatomchuk@gmail.com

Samsara | Contact: Storynest Manager, manager@storynest.com

Sculptor | Contact: Andreas Fobes, andy_ fobes@hotmail.com

Sed Saepe Cadendo | Contact: Gina Kamentsky, ginak@ginakamentsky.com

Sestry (Sisters) | Contact: Alexandra Hroncová, alexandra.hroncova@famu.cz

Sierra | Contact: Wouter Jansen, info@ squareeyesfilm.com

Silver Bird and Rainbow Fish | Contact: Lya Li, lya@chineseshadows.com

Sjeti se kako sam jahala bijelog konja (Remember How I Used to Ride a White Horse) | Contact: Vanja Andrijevic, vanja@bonobostudio. hr

Slouch | Contact: Fabian Driehorst, fabian@ fabianfred.com

Spacapufi (Spuffies) | Contact: Viva Videnovic, viva@strup.si Szczypigłówki (Headprickles) | Contact: Marta Swiatek, marta.swiatek@kff.com.pl

Tanya Tagaq ‘Teeth Agape’ | Contact: David Seitz, dseitz@gmail.com

Tea Time | Contact: Emma Mckay, emmamckay5@gmail.com

The Boys Presents: Diabolical ‘John and SunHee’ | Contact: Connor Walsh benk. assistant@titmouse.net

The Debutante | Contact: Abigail Addison, abigail@animateprojects.org

The Flying Sailor | Contact: Elise Labbé, festivals@nfb.ca

The Hour Coat | Contact: Amy Kravitz, akravitz@ risd.edu

The Humane Society International ‘Save Ralph’ | Contact: Andy Gent, office@ams.london

The Island | Contact: Marc Nauleau, sales@ bffsales.eu

The Jeweller | Contact: Brandon Blommaert, brand.jan.blom@gmail.com

The Lost Seahorse | Contact: Kirsten Brass, kbrass@ryerson.ca

The Organizing Committee ‘The Day Computers

Became Obsolete’ | Contact: Guillaume PelletierAuger, pelletierauger@gmail.com

The Pattern | Contact (Distributor): Dominika Szosznyák, festival@mome.hu

The Record | Contact: Sophie Laskar-Haller, info@papierperfore.ch

The Smortlybacks Come Back! | Contact: Josef

Burri, jb@mollymonster.ch

TNGHT ‘Brick Figures’ | Contact: Christopher Rutledge, chris@loaf.zone

Toddler Talks | Contact: Diana Reichenbach, diana.reichenbach@gmail.com

Train Project | Contact: Luhan Wang, luhanwg@ gmail.com

Triangle noir (Triangle of Darkness) | Contact: La Distributrice de Films, serge@ladistributrice.ca TV Educativa (Educational TV) | Contact: Clara Charlo, claracharlo@gmail.com

TVFCU ‘A Place For All of Us’ | Contact: Dale Hayward, dale@seecreature.ca

Unicorn Wars | Contact: Ivan Miñambres, ivan@ uniko.com.es

Ursa | Contact: Ellie Hatzitolios, elliehatz@gmail. com

Vampire | Contact: Zhong Xian, bbirdysd@gmail. com

We See Monsters | Contact: Amanda Strong, spottedfawnproductions@gmail.com Witch Woman | Contact: Pixie Cram, pragmatopia@gmail.com World Wildlife Fund ‘Can’t Negotiate the Melting Point of Ice’ | Contact: NOMINT, london@nomint. com

Yin Mu (Silver Cave) | Contact: Caibei Cai, caibeiccai@gmail.com Zavtrak dlya ulitok (Snails’ Breakfast) | Contact: Anna Ostalskaya, sharstudia@gmail.com Zoon | Contact: Luce Grosjean, festival@miyu.fr 在她的身体离开前 (Before Her Body Left) | Contact: Yuxin Yang, yangyuxi18@gmail.com Ikuta no Kita (Dozens of Norths) | Contact: Luce Grosjean, festival@miyu.fr 患者的心态 (Patient’s Mind) | Contact: Zhiheng Wang, wzh71107110@gmail.com 我忍你很久了 (I Hate You) | Contact: Xuan Li, iamxuanxuanxuanxuan@gmail.com 春分 (The Loach) | Contact: Xi Chen, chenxicrz@163.com 每天朝山顶推一秒的石头 (Being Sisyphus for One Second a Day) | Contact: Peixuan Cheng, 4918962@qq.com 舌 (Tongue) | Contact: Kaho Yoshida, kahoanimation@gmail.com 雨天 (Rain) | Contact: Han Yuki, 752255832@ qq.com 飯縄縁日 (Iizuna Fair) | Contact: Sumito Sakakibara, info@sumitosakakibara.com