Contradiction of Emptiness – Irina Rubina -Source: piaff.net The Paris International Animation Film Festival (PIAFF) is in full swing until Sunday evening, offering a diverse and enthusiastic audience the rich pleasures of animated cinema. The opening night was marked by a celebration of centenaries and contemporary achievements, blending heritage delights with the vibrant energy of today’s animation scene. A Temple of Art House Cinema Émilie Nouveau, Director and Programmer at Studio des Ursulines, shared the history of this iconic venue—the first "Art et Essai" cinema in France. The theater we gathered in was inaugurated on January 21, 1926, with René Clair’s experimental film Entr’acte. The film featured legendary figures like Francis Picabia, Erik Satie, Marcel Duchamp, Man Ray, Darius Milhaud, and Georges Auric as extras. What a debut! Today, this historic temple of Art House cinema is particularly dedicated to programming for young audiences, continuing its legacy of artistic innovation and discovery. Émilie Nouveau and Alexis Hunot present the history of Studio des Ursulines on the occasion of its centenary. Photo: Clément Martin Entr’acte from  René Clair. Source image : https://soundart.zone/rene-clair-entracte-1924/ "The Town Rat and the Country Rat" To celebrate this centenary, Alexis Hunot programmed a screening of "Le Rat de ville et le Rat des champs " (1926) by Ladislas Starewitch, a pioneer of puppet animation. It was with deep emotion that we savored this puppet film, with its live-action shots and signature over-exposures—hallmarks of the visual tricks of silent cinema. A true homage to the artistry of the era. "Le Rat de ville et le Rat des champs" (1926) - Ladislas Starewitch - © Léona Béatrice Martin-Starewitch One Centenary Can Hide Another "Never two centenaries without a third," as Clément Martin and Alexis Hunot reminded us, highlighting the centenary of André Martin’s birth—a tireless critic, filmmaker, researcher, and champion of animation. Born in Bordeaux, André Martin left an indelible mark on five decades of animation history, even coining the term "film d’Animation" in 1952 (1). 1956 – First International Animation Film Days, Cannes Top row, left to right: Atamanov, Ivanov Vano, Zeman, Trnka, Hofman, Paul Grimault, Alexandre Alexeieff, Claire Parker. Bottom row, left to right: Unidentified woman, Henri Gruel, Pierre Barbin, André Martin, Jabely. Photo: Geneviève and André Martin Collection Clément Martin and Alexis Hunot then presented André Martin’s life's work highlighting his profound impact on the world of animation. - photo Sying Yu The Giannalberto Bendazzi Award 2026 Since 2022, PIAFF has awarded the Giannalberto Bendazzi Prize to individuals who have significantly contributed to promoting animation. This year, the honor went to Mariam Kandelaki, a Georgian producer and artistic director of the Nicosia Festival, who has dedicated 40 years to animation. Mariam Kandelaki received, as part of this award, an original watercolor from Théodore Ushev’s film Life with an Idiot. Photo: Clément Martin Mariam Kandelaki shared her emotions: The joy of being in Paris at Studio des Ursulines, reflecting on her beginnings 40 years ago under the Soviet regime and the journey that brought her here. Her pride in receiving the Giannalberto Bendazzi Award, having collaborated with him a decade ago on the Georgian animation history section of the encyclopedic work "Animation: A World History." Beyond the Opening Presentations: A Dive into the Short Film Competition After the highly anticipated opening ceremonies, we had the privilege of attending the first session of the Short Film Competition. GAMCA Animation highlighted several standout films that left a lasting impression. From 1930s Stradivarius to 2020s Violins One of the evening’s gems was "Contradiction of Emptiness" by Irina Rubina, created using a pins-screen during her residency from April 8 to June 8, 2023, at La Bande Vidéo studio in Québec (2). Irina Rubina, Director Source: irinarubina.com This poetic reflection on the Russian aggression in Ukraine plays with abstract forms, evoking the spirit of Fernand Léger’s Cubist and Futurist influences, particularly his 1924 masterpiece Ballet Mécanique ... also centenary ! What makes this film even more remarkable is its creation on "L'Alpine", the first pins-screen ever sold by Alexandre Noyer to La Bande Vidéo. Noyer is the first person to successfully build a pins-screen since Alexandre Alexeieff and Claire Parker, whose invention dates back to 1930—nearly a century ago! (3) Contradiction-of-emptiness Irina Rubina -source image https://www.animafest.hr/en/2024/film/read_all/contradiction_of_emptiness Another Garden The PIAFF also presented a film that could easily have fit into the experimental category, proving the festival’s delightfully eclectic programming. "Estes no es tu jardín" by Carlos Velendia and Angélica Restrepo (Colombia, 2025) takes us on a journey through vegetation, rendered as clouds of 3D-scanned dots. This fascinating voyage is accompanied by: A play of colors, A soothing, and sometimes unsettling soundscape of electronic tones, wind, birds, streams, and fire. The film invites us to reflect on nature and its fragility. Watch the trailer:   https://www.youtube.com/watch?v=hB-C-FlrFGI Silent Cinema In "Silent Cinema", Krste Gospodinovski offers a single-take animation inside a theater that screens only silent films. The fluid camera movement serves as a metaphor for the isolation of this cinema from the outside world—a world that continues to change beyond its walls. Silent cinema Krste Gospodinovski . source image https://www.youtube.com/watch?v=hB-C-FlrFGI Craque Ganache: Horribly Funny! Finally, we must highlight "Craque Ganache" by Étienne Bonnet, a deadpan comedy about a boy’s jaw surgery. The film is as cringe-inducing as it is hilarious, with a punchline that leaves the audience in stitches. Craque ganache, horribly funny - image https://www.film-documentaire.fr/4DACTION/w_fiche_film/72313 Étienne Bonnet, present at the screening, discussed his film with the same sharp humor. Alexis Hunot in conversation with Étienne Bonnet -  Photo: Clément Martin  The PIAFF Continues Until Sunday Don’t miss the rest of the festival’s treasures! Check out the full program here: PIAFF 2026 Catalog #PIAFF2026 #StudioDesUrsulines #EmilieNouveau #MariamKandelaki #LadislasStarewitch #AndreMartin #Centenary #GAMCAAnimation References: (1)123 Cent ans : toujours là ! https://www.gamca.info/post/123-cent-ans-toujours-l%C3%A0 123 : A Century : Still Here! https://www.gamca.info/en/post/123-a-century-still-here (2) https://labandevideo.com/fr/lalpine-lecran-depingles/ (3) 94 Le Carrefour du Cinéma d'Animation 2024 a du piquant ! https://www.gamca.info/post/le-carrefour-de-l-animation-2024-a-du-piquant

Festival poster by Antoine Bieber – Source: Piaff.net The 18th edition of the 2025 festival is just around the corner ! This animated short film festival will take place at the legendary Studio des Ursulines from January 15 to 18. This year’s poster is more mysterious than ever, with the shadow of the Piaff looming over the world of animation... The Piaff Team The passionate and dedicated Piaff team has once again curated a program of animated shorts that is as diverse as it is surprising. The Piaff Team: Jan Kosyk – Website, Anne Ory – Festival Director, Antoine Bieber – Graphic Designer, Alexis Hunot – Artistic Director, Marie-Pauline Mollaret – President. Photo by Clément Martin An Exceptional Lineup Alexis Hunot and Marie-Pauline Mollaret had to make tough choices to select the films in competition, given the sheer number of outstanding submissions. As the first festival of the year, Piaff offers a stunning overview of global animation cinema, featuring previously unseen films across six categories: Short Films, Studies, Music, Experimental, Youth, Horizons. The program promises a captivating journey through the world of animation, showcasing its diverse graphics, arts, cultures, music, and the sheer joy these "synthetic" creations bring. Highlights include : The Émile Reynaud Prize 2025, awarded to " Fille de l'eau "  by Sandra Desmazières, where you can admire "animated Gauguins" (1). "Fille de l'eau" – Sandra Desmazières, 2025 - Source: sandradesmazieres.blogspot.com The fluid animation style of Siying Yu’s "Inlé", featured in the Music competition, offers a visual experience that only the art of watercolor can deliver. "Inlé" – Siying Yu, 2025 Source: https://www.youtube.com/watch?v=FF_V0jZBNeM You can bring your children on Sunday, January 18 at 4:00 PM for the Youth competition, where they can discover : the tender and beautifully crafted mystery of "J’ai trouvé une boîte" by Éric Montchaud—a delightful and freely superb experience. "J'ai trouvé une boîte" d'Eric Montchaud. - https://www.focusfilms.fr/catalogue/jai-trouve-une-boite/ Or "Une guitare à la mer"  by Sophie Roze. Une guitare à la mer" – Sophie Roze Source: sophieroze.com In the Studies competition, don’t miss the stunning " La voie de l'écuyère " , Sarah Renault’s graduation film from the Institut Sainte Geneviève. The film is so beautifully crafted that you won’t know whether your emotions are stirred by its exceptional visuals or its remarkable animation—it’s simply breathtaking. "La voie de l'écuyère" – Sarah Renault, 2025 Image: Sarah Renault The Experimental Competition promises a wealth of discoveries, with films that we rarely get the chance to see, which offers formal and sensory delights that are sure to captivate. "Jean" – Laura Murphy Source: piaff.net You can download the full program at: piaff.net/catalogue-2025 . (Note: Despite the "2025" in the URL, this is indeed the correct and current catalog ! :-)) A Centenary Hiding Another! In January 2026, we celebrate the 100th anniversary of the legendary Studio des Ursulines, France’s first "Art et Essai" cinema, where the Piaff Festival has been held since 2021. A historic milestone not to be missed! The Studio des Ursulines Turns 100 ! Source: pariszigzag.fr Watch out for a second century While celebrating this milestone, let’s not forget another significant centenary: the birth of André Martin, a dynamic and visionary figure in the world of animation. A true champion of the art form, Martin coined the term "film d’Animation" in 1952, elevating these works beyond the limited label of "dessins animés", a technique among others, and recognizing animation as a distinct and powerful cinematic language (2). André Martin on Set for the NFB in Montreal, 1966 Photo: Geneviève and André Martin Collection A Centenary Film for Centenary Celebrations ! What better way to honor these milestones than with a film that’s 100 years old ? Kicking off the opening night, and the first screening of the Short Film competition, will be "Le Rat de ville et le Rat des champs" (1926) by Ladislas Starewitch, a Russian filmmaker who settled in France in 1919. This rare opportunity allows us to experience the work of a pioneer in puppet animation, screened in the stunning setting of the Studio des Ursulines, a true jewel of cinematographics arts. Don’t miss it! "Le Rat de ville et le Rat des champs" (1926) – Ladislas Starewitch © Léona Béatrice Martin-Starewitch PIAFF: A Serious Contender If you need one reason to visit the Studio des Ursulines from January 15 to 18, it’s the chance to meet and connect with animators, graphic designers, musicians, directors, critics, and creators at a festival that would surely win the title of "Most Welcoming Animation Festival in the World", if such a contest existed ! The End of the 2025 Festival, Late into the Night. A big thank you to the bar owner for the photo! See you Thursday, PIAFF is coming! #piaff2026 #studiodesursulines #gamcaanimation References: 1) 120 Prix Émile Reynaud 2025: Une fille au fil de l’eau (1) 120 Émile Reynaud Award 2025: A Girl Along the Water (2) 123 Cent ans : toujours là ! (2) 123: A Century: Still Here!

La ferme de Papi (Grandpa’s Farm) - 2025 - Student film directed by Elise Coupet, Yseult Duval, Yves Dubois, Matthis Acker, Anaïs Mulier, Camille Majorczyk The PIAFF festival always ends with the joy of reuniting with friends in the animation world and sharing the wonderful discoveries the festival brings each year. End of the 2026 Festival as the last enthusiasts pose for a final memory. – Thanks to the owner of the "Les Ursulines" bar for the photo. We return to our daily lives with heads full of memories, encounters, and remarkable films. Today, GAMCA Animation wants to tell you about "La ferme de Papi" (Grandpa’s Farm), a student film made in 2025. This film is remarkable, and here’s why! La ferme de Papi (Grandpa’s Farm) – Student film directed by Elise Coupet – PIKTURA, School of Image – 2025 Elise Coupet : Direction, animation, layout, skeletal animation Yseult Duval : Character design, textures, 3D modeling of characters, objects, and sets Yves Dubois : Skeletal animation, visual effects, lighting, compositing, script Matthis Acker : Environment modeling, rendering, compositing Anaïs Mulier : Modeling, animation Camille Majorczyk : Painting, modeling PIAFF 2026: Elise Coupet, Matthis Acker, Yves Dubois talk about their film "Grandpa’s Farm" after the screening. – Photo Clément Martin The PIKTURA School Since 2003, PIKTURA, located in Roubaix and Tourcoing, has been training students for innovative and in-demand careers in the global video game and animation industries, as well as in other fields such as architecture, health, and textiles. The school offers programs in 2D and 3D animation, video games, and illustration. Six students from this school created this film. The PIKTURA school, its students, and staff! – Source: https://www.piktura.fr/presentation-de-l-ecole-piktura.html The short film: 5 images for a beautiful metaphor of succession The film is made in 3D using an elaborate technique that showcases the students' skills. From character and set design to animation and lighting, the students demonstrate mastery of their craft. However, technical quality alone is not enough to give a film its soul. Elise Coupet, the director, is the daughter and granddaughter of farmers. She chose a different path from her parents and will not take over the family farm. She felt the need to express her roots in the agricultural world, which is currently facing many challenges, through this film. For once, we will reveal the film’s progression through 5 images, as the metaphor it presents is so successful. A grandfather tends to his farm before quietly disappearing behind a row of corn. 1 The grandfather at work. Source: https://www.facebook.com/pikturaschool 2 The subtle shot where the grandfather passes behind a row of corn, watched by his granddaughter. Source: https://www.facebook.com/pikturaschool The farm begins to slowly deteriorate, piece by piece, as the granddaughter’s smile fades and the music stops. 3 The farm falls apart. Source: screenshot The granddaughter explores the farm and finds her grandfather’s boots. 4 The granddaughter finds her grandfather’s boots. Source: screenshot The granddaughter puts on her grandfather’s oversized boots and starts working, as the house stops deteriorating, slowly repairs itself, and the music resumes. 5 The granddaughter gets to work. Source: screenshot Music as a character in the film Music and sound always play a crucial role in film. The film’s emotional depth is amplified here by Maurice Ravel’s 'Pavane pour une infante défunte' (1899), performed in its orchestral version(1). The piece’s serene, melancholic rhythm mirrors the film’s contemplative tone, while its pauses and resumptions underscore the narrative’s themes of loss and renewal.The film team offers us an encouraging example of "praxis du cinéma". (2) The meaning of the legacy The film addresses the beautiful subject of transmission and the weight that an inheritance can represent. Often superficially presented by some as an "unfair" blessing that falls from the sky, inheritance actually involves responsibilities, investment, respect, skills, and learning—along with the regret that we can only question the departed for inner answers. The film treats this subject with gentleness, simplicity, and metaphorical finesse. Elise Coupet does not take over her parents’ and grandparents’ farm, but with her team, she delivers this film that invites us to reflect on the succession of our elders when they disappear, with its burdens... and its joys. #lafermedepapi   #grandpasfarm #elisecoupet   #piktura   # ravel   #piaff2026 #gamcaanimation #animationfilm (1) You can listen  to "Pavane pour une infante défunte" (1899) in its orchestral version at https://www.youtube.com/watch?v=2_c8JRCKq1A (2) Read "Une praxis du cinéma" by Noël Burch, Folio essais collection, 1969. The book explores cinematic language through a formal analysis of the relationships between off-screen space, editing continuity, and off-screen areas. Explore an excerpt here (in french) https://www.cineclubdecaen.com/analyse/livres/burchunepraxisducinema.htm Or interesting comments (in french) http://repertoire-critiques.cinematheque.fr/fiche_auteur.php?objId=122&display=print

The unloved one - Advertisement for Intermarché – Agency: Romance – Illogic Studios – Image: Illogic Studios A 2-minute-30-second advertisement is already uncommon. Here, Intermarché and the Romance advertising agency gift us a beautiful Christmas present with an ad largely created through animation by Illogic Studios. Cherry on the cake the ad has achieved global success on social media, racking up hundreds of millions of views. Some even mention a billion contacts. Place your bets, viral success is here! Without AI, What a Marvel ? Media outlets of all kinds have eagerly embraced the interpretation of a "monotonous ostinato" on the theme of "a film made without AI." 138 years after the birth of animation cinema with Émile Reynaud’s optical theater, a myriad of techniques have emerged to complement—and sometimes profoundly disrupt—the creation of animated films (1) (2). This synthesis and total operational control over animation, compared to "classical" cinema, an art of recording, makes it unclear why so much emphasis is placed on the "marvel" of producing an animated film without using AI even if it is a "new" technique. This proclaimed triumph likely responds to a diffuse anxiety about the place of generative AI in all professions, artistic or otherwise. To borrow a timely culinary metaphor, we find ourselves marveling at the success of a three-Michelin-starred dish compared to a reheated frozen meal ... Rather than dwelling on this debate, Gamca Animation aims to analyze where this little gem comes from, how it was made, and why it has achieved such success. Six Students and a Remarkable Graduation Film It all began with six friends—Florian Babikian, Vincent Bayoux, Victor Caire, Théophile Dufresne, Gabriel Grapperon, and Lucas Navarro—from MoPA, an animation school specializing in 3D located in Arles. In 2018, they were nominated for an Oscar for their graduation film, Garden Party , which they created in 2016. The Four Founders of Illogic Studios at the Oscars. Source image:   https://www.illogicstudios.com/about-us You can watch the film on https://www.youtube.com/watch?v=bX8GaZ3O4-Q   A Firmly Established Studio In 2018, four friends from the Garden Party  adventure—Théophile Dufresne, Victor Caire, Gabriel Grapperon, and Lucas Navarro—founded Illogic Studios in Montpellier. This animation studio specializes primarily in advertising, working with prestigious brands such as Guerlain, Ralph Lauren, Google Play Games, Swarovski, Clarens, Oasis, and Van Cleef & Arpels. You can watch the Guerlain ad here: https://vimeo.com/1104474965 Advertisement for Guerlain by Illogic Studios – Where Animation Poetically Expresses Floral Scents on a 'Mouillette' (Blotting Strip). It’s another well-known brand in mass retail, Intermarché, that the studio adds to its portfolio with " Le Mal-Aimé" (The unloved one), and it’s safe to say this project is anything but discreet... 70 people, including Illogic Studios employees and freelancers, worked for eight months on the production of this animated film. But why has this advertisement achieved such global success? Characters Rooted in Our Collective Imagination The film first touches us through its characters. With this "unloved" wolf—a devourer of animals—and the forest creatures, we are plunged back into: The classic tale  that has lulled and continues to captivate generations for centuries, imprinting an emotional connection with animals from childhood. The animated cartoon , from Walt Disney to Tex Avery and Bugs Bunny, which—from the poetry of Bambi to the lustful antics of Tex Avery’s wolf, and the sly cunning of Bugs Bunny—has shaped our childhoods for a century. The wolf meets Little Red Riding Hood  – Walter Crane, 19th century Source image:   https://www.meisterdrucke.fr/fine-art-prints/Walter-Crane/308957/'Le-Petit-Chaperon-Rouge',-le-loup-l'accostant-dans-la-for%C3%AAt.html In tales, the wolf is the predator, the embodiment of fear (much like AI 😉). In Little Red Riding Hood, he devours children; in Tex Avery’s cartoons, he is a lustful, predatory figure; in rural life, he attacks livestock. No matter the cultural or sociological angle, the wolf is the "unloved" creature, the embodiment of evil. Tex Avery’s lustful wolf Source image:   https://www.facebook.com/Marie.Cecile.Gueguen/posts/le-loup-de-tex-avery-est-en-garde-%C3%A0-vue-/3854182314670818/ Here, we have a solid foundation: the "big bad wolf" and the gentle forest animals are deeply ingrained in each of us. A strong base, but one that still needs to rise to the occasion... Wibke Rauers, Illustrator Wibke Rauers © privat   This isn’t the first time an illustrator has been the key to success in an animated film. Here, it’s Wibke Rauers , a German illustrator, who played a pivotal role. The team found inspiration in her online work. The anthropomorphism of her animals, drawn from children’s literature, perfectly matches the offbeat tale spirit. The illustrator’s work favors a poetic and expressive seriousness over mere imagery or caricature—qualities that are so precious in creation. " She joined the adventure, and we’ll be working with her again "  enthuses Lucas Navarro. Wibke Rauers’ illustrations, known for their expressive and anthropomorphic animals, bring us closer to the characters. Source image:   https://wiebkerauers.tumblr.com/image/143781673813 The Expertise of Illogic Studios The concept is solid. The advertising agency Romance spent months developing it with their client. Now, it’s time to bring the animated film to life—and that’s where Illogic Studios’ expertise comes into play, mobilizing the necessary talent. First, a refined and fluid animatic is created, already showcasing the film’s future qualities and allowing the sequencing of scenes, sounds, and music. Image of the fishing sequence animatic Source:   https://www.illogicstudios.com/project/itm The 3D character creation process then allows for texturing and painting with a "bold brush" technique, leaving visible brushstrokes, and lighting them according to the scene’s needs. Animal characters from the film   Source:   https://www.illogicstudios.com/project/itm Finally, carefully crafted backgrounds with meticulous lighting immerse us in the wintry forest of our childhood tales. A film’s forest landscapes Source:   https://www.illogicstudios.com/project/itm The Script and the Music The script fully embraces the advertising concept of the "unloved" outcast who adapts to gain acceptance. A wolf turning to vegetarian cooking... with studious passion—this is anything but ordinary! Claude François’ 1974 song " Le Mal-Aimé "  (The unloved one) musically illustrates the script to perfection, adding a " frenchy " , internationally popular touch—which is rather ironic, as the song is actually a cover of the 1973 American hit " Daydreamer "  by David Cassidy. It works! The trick is done! Spirit, Are You There? The advertisement’s message promotes healthy eating and the joy of cooking, with: Characters deeply rooted in our collective imagination, filling us with emotion, A whimsical, uplifting tale script, Music that adds a nostalgic emotional touch, perfectly aligned with the message in its playful incongruity. In this era marked by fierce conflicts and divisions, could this global success be due to a story that reconciles the irreconcilable, a successful illustration of the "Spirit of Christmas" ? You can watch the film (english subtiltled version) here: https://www.youtube.com/watch?v=iLERt5ZkpQ4 With such a resounding success, this film is a strong contender for the Best Commissioned Film Cristal at Annecy next June. Stay tuned! #lemalaime  #unloved #romance   #illogicstudios   #gamcaanimation (1) 1981-03 Banc-Titre no 16 "L’animation est morte, Vive l’Animation" par André Martin (2) 117 Plaisirs d'archives durent un moment : L'animation est morte, vive l'animation ! 1ère partie https://www.gamca.info/post/117-plaisirs-d-archives-durent-un-moment-l-animation-est-morte-vive-l-animation-1ère-partie

André Martin, Raymond Maillet, and Guy L. Coté demonstrating a replica of Émile Reynaud’s Théâtre Optique  at the 1967 Montreal World’s Fair (Expo 67). Image source: guylcote.com/myportfolio/animation/ On December 31, 2025, André Martin would have celebrated his 100th birthday ! Critic, filmmaker, researcher, and tireless champion of animation, this native of Bordeaux left his mark on five decades of animation cinema—even coining its name in 1952 (1). Cover of Issue No. 6 of L'Âge du Cinéma  (1952), where the term " film d’animation"  (animated film) appears for the first time in an article by André Martin and Michel Boschet. Source: https://calindex.eu/sommaire.php?revue=AGC&numero=6 André Martin’s course was inextricably linked to animation, shaping every phase of his career: In the 1940s, in Bordeaux, where he directed his first animated film; In the 1950s, when he founded the Journées du Cinéma  and, alongside Michel Boschet and Pierre Barbin, the Journées Internationales du Cinéma d’Animation  (JICA); In the 1960s, as the JICA evolved into the renowned Annecy International Animation Film Festival , and he produced numerous works, notably with Films Martin-Boschet ; In the 1970s, when he continued his groundbreaking work as an animation historian; In the 1980s, as he passionately advocated for new images  and their artistic potential. Advertisement for Radio Clinique  (c. 1948) featuring André Martin, Michel Boschet, and José Piquer. Photograph source: CNC Archives Commemorative photo from the third International Animation Film Days  in Annecy, 1960. Maison Vole by André Martin - Philippe Quéau - INA (1982) – Image: histoire3d.siggraph.org/index.php/Fichier:Maison_vole1.jpg With over a hundred publications—from Cahiers du Cinéma  to Banc-Titre —André Martin was a keen observer of the evolution of animation cinema. Cover of Cahiers du Cinéma  No. 49 (July 1955) , where André Martin reviews the state of animation cinema in 1954 and 1955.* Image: Collection Geneviève and André Martin. As Director of Research at the Canadian Radio-television and Telecommunications Commission (CRTC) for nearly a decade, André Martin also stood out for his "McLuhanesque" analysis (2) of telecommunications and media, offering a visionary perspective on society that remains strikingly relevant today. Earlier, he collaborated with Michel Boschet to produce two documentaries on photography and two documentaries on television and media at the National Film Board of Canada. Cover of André Martin’s personal copy of The Gutenberg Galaxy  by Marshall McLuhan. Brochure for André Martin’s two documentaries at the NFB (National Film Board of Canada). Image: Collection Geneviève and André Martin Circa 1971: André Martin engages in debates on media and research within his department. The year 2026 will be an opportunity to highlight these many facets through publications and republished articles on this blog—including an English version—as well as a series of projects and events we will follow closely. Beyond the heritage aspect of this centenary celebration, it is also a wonderful chance to explore 50 years of creation, media, technology, sociology, and animation cinema ! In the meantime, his son, five grandchildren, and five great-grandchildren join GAMCA Animation   in wishing him a happy birthday ! André Martin as the "patron saint of animation cinema" (Ottawa, Gatineau Park, 1975 ). Photo: Clément Martin To be continued ! #Andremartin #Centenary #gamcaanimation #annecyfestival (1)   L’Âge du Cinéma , no. 6 (1952), "Dessin Animé et Pesanteur"  (p. 36). This article features the f irst known use of the term "film d’animation" (animated film). (2)   Image et Son , no. 182 (March 1965), "Ou en est le culte de l’image reine?"

Visual created for the 14th "Les Chemins de la Création" Encounters © Vergine Keaton – Fontevraud 2025 – Vergine Keaton Source image:   https://nefanimation.fr/2025/07/05/les-prochaines-rencontres-a-fontevraud-seront-les-10-et-11-octobre-2025/ "** The 14th Creation Encounters took place on October 10 and 11 at the Royal Abbey of Fontevraud. Unlike animation film festivals—where choosing between screenings, making-ofs, pitches, meetings, and live scriptwriting feels less like a Cornelian dilemma and more like pure sadism, with heavy remorse battling the pleasures of choice—these encounters offer the joy of devoting ourselves entirely to listening to creators. They open the doors to the mysteries of how an animated film is conceived. We're off! After waking up at dawn to catch the ‘Animabus’  to Fontevraud, we never tire of rediscovering this grand monument before heading to the refectory. The day kicks off with the film projects presented by the artists in residence, followed by speeches from the event’s organizers!" The artists in residence – Photo by Clément Martin Marie-Anne Fontenier, President of NEF Animation, opens the 14th edition of the Fontevraud Encounters. We can also admire the brand-new stained glass windows of the refectory, created by François Rouan, which successfully evoke the spiritual and carceral universes of Fontevraud Abbey’s history. Photo: Clément Martin Feature films in development Louis Clichy’s " Le Corset" . It’s all about balance! Source image:   https://animation.ciclic.fr/actualites/le-projet-de-long-metrage-de-louis-clichy-le-corset-en-residence-vendome While there may be some uncertainty about the current and future economic situation of animated cinema, the ongoing feature film projects still show a certain vigor, with five projects presented this year. We had the opportunity to delve into the creative process behind " Le Corset" , the upcoming feature film by Louis Clichy, which will mark our 'inclination' toward the agricultural Beauce region. If Louis Clichy has lost none of the inspiration from the animation classics he showcased in his first short film, A quoi ça sert l'amour?  (2004), he harnesses it here for a deeper, more grounded story : that of a young boy, the son of a farmer, struggling with a physical disability. You can watch Louis Clichy’s first short film here: https://www.dailymotion.com/video/xz1vy7 . With the project Les Enfants de la Liberté  by Rémy Schaepman and Léahn Vivier-Chapas, we discovered a future spy film in which children find themselves entangled in a terrorist plot in New York during the early 1940s." Olivier Catherin moderated the discussion between Rémy Schaepman, Léahn Vivier-Chapas, and Sarah Delmas (producer at Folivari - Photo by Clément Martin Les enfants de la liberté (Children of Liberty) by Rémy Schaepman and Léahn Vivier-Chapas -  source image https://folivari.com/en/projet/children-of-liberty/ We can also mention Fleur , the upcoming feature film by Rémi Chayé, which takes place at the beginning of the last century in the 'Zone' of Paris . With Catherine Totems, Rémi Chayé discusses his film. Photo by Clément Martin Fleur by Rémi Chayé  - Source image:   https://www.lefilmfrancais.com/cinema/169289/avance-sur-recettes-radu-mihaileanu-remi-chaye-saphia-azzeddine-parmi-les-beneficiaires This project's presentation included a reading of an excerpt from the script and two songs performed by Salomé Boulven, accompanied on piano by Rémi Chayé. Salomé Boulven also lends her voice to Fleur, the heroine of the film. Salomé Boulven and Rémi Chayé performed two songs from the film for us. Photo: Clément Martin We also learned about two other short film projects: "Starseed" by Anca Damian, who is preparing an ecological fable where myths intertwine with baroque metaphysics in a magical imagery that only she can conjure. Isabelle Vanini and Anca Damian discuss the creation of Starseed  – Photo by Clément Martin Starseed  by Anca Damian – Image source Africa, ecology, and the film’s contemporary mythology are a logical extension of her previous feature, The Island , which is sure to delight her many fans. You can watch the trailer for The Island  (2023) sur   https://www.youtube.com/watch?v=kfSvKvqfWwg And Lucy Lost  by Olivier Clert, which tells the story of a young girl’s childhood on an island in the Scilly archipelago, where a mystery awaits discovery... Joan Chiron, Olivier Clerc, and Marc du Pontavice present Lucy Lost  – Photo by Clément Martin Animated Documentary: Everything is a Matter of Recording! It’s not one, but two César Award winners for Best Animated Short Film who came to present their work-in-progress short film: Marine Laclotte, César winner in 2022 for "Folie douce, folie dure" Émilie Pigeard , César winner in 2023 for "La vie sexuelle de mamie" (Granny's Sexual Life) Jean-Baptiste Garnero from the CNC moderated this discussion on animated documentaries with Marine Laclotte and Émilie Pigeard . – Photo by Clément Martin Marine Laclotte’s film, "Un monde comme ça" , is built from recordings of children in a school, capturing their sharp and uncompromising perspective on the world. You can watch an excerpt of the project here https://vimeo.com/931004537 Émilie Pigeard’s short film, "Somniloquence" , immerses us in the intimacy of her sleep to explore the phenomenon of sleep-talking. The film is constructed from recordings made using a mobile app whenever she speaks in her sleep. Émilie Pigeard presents a few images from her film project. Photo by Clément Martin The Return of the Little Cat Two César Awards weren’t enough, we had to talk about the César and Oscar-winning, 2024 box-office king: "Flow" . The delighted producer, Ron Dyens, showed us the original and unconventional work of Gints Zilbalodis in creating this film. As often happens, you can sense the admiring complicity between Ron Dyens and his director. A small budget, global success, and the highest honors—this film proudly flies the flag for animation. For those who haven’t seen the film yet, you can watch the trailer on https://www.youtube.com/watch?v=vob8AGZM4Wc Studious Pins The Saturday breakfast set a studious tone as Florence Miailhe and Pierre-Luc Granjon prepared their presentation on the pins screen Photo by Clément Martin Last year, we were fortunate to have Michèle Lemieux present on creating with the Parker-Alexeieff pins screen. If you’re unfamiliar with this unique instrument, you can learn more by reading (1)  and (2) . This year, a presentation on the same pins screen brought together two directors who participated in the initial training organized in Annecy in 2015 with Michèle Lemieux and the CNC: Florence Miailhe, a defining figure in French animated painting, needs no introduction. She is the only director to have won the André Martin Award for both a feature film and a short film (4) , (5) . Pierre-Luc Granjon, renowned for his stop-motion films, achieved the short film grand slam at Annecy, winning the Cristal, the André Martin Award, and the Audience Award (6) . Both artists shared their experiences working with such a unique instrument. Pierre-Luc Granjon and Florence Miailhe share the story behind the adventure that led to their films .  Photo by Clément Martin We were treated to excerpts from Pierre-Luc Granjon’s endearing "Les bottes de la nuit"  ( The Night Boots ), a film that captivates both children and adults with the nocturnal adventures of a little boy in the forest. "Les bottes de la nuit": The lake where monsters aren’t what they seem...  [Source: Annecy Festival] "Les bottes de la nuit": The lake where monsters aren’t what they seem...  [Source: Annecy Festival] Then, we discovered—or rediscovered—on the big screen Florence Miailhe’s rarely screened "25, Passage des Oiseaux"   (1) , a stunning film created during a "test" on the pin screen. Mastered by this virtuoso, the instrument fully reveals the director’s signature style.  In "25, Passage des Oiseaux" , we find the entire universe of Florence Miailhe. Source: Mubi You can watch "25, Passage des Oiseaux" on : https://www.facebook.com/watch/?v=3286175124728585 Roundtable: Japanese Animation and Its Influences With Anouk Driller, Jérémie Périn, Anaïs Chevillard, Matthias Jambon-Puillet, and Ilan Nguyên — A passionate discussion among Japanese animation enthusiasts. Photo by Clément Martin This presentation featured lively exchanges among Japan and Japanese animation enthusiasts, some of whom have been fans since the 1970s, when Japanese animation flooded television screens, followed by restrictions in the 1980s to promote French productions. The discussion was undoubtedly fascinating but challenging for non-specialists to follow, as there were no visual illustrations or film excerpts shown. Personally, I would have loved for Jérémie Périn to delve deeper into how Japanese animated cinema influenced the making of his recent and highly successful sci-fi thriller, "Mars Express"   ( 8) . Art Roman: Follow the Guide ! The planned meeting with Andrea Martignoni, an Italian sound designer and animation historian, unfortunately couldn’t take place. Instead, Xavier Kawa-Topor organized a visit to the Abbey during that time slot. Xavier Kawa-Topor guides us through the Abbey, exploring its spiritual... and penitentiary past. Photo by Clément Martin Founded in 1101 by Robert d’Arbrissel, the Abbey of Fontevraud suffered 15 years of degradation after the French Revolution. In 1804, it was converted into a prison, with the last inmates leaving in 1985. With Xavier Kawa-Topor’s insightful commentary, we wandered through the nave of the abbey church, the cloister, and other buildings, including a mysterious structure with multiple chimneys—believed to have been a kitchen or smokehouse. The nave of Fontevraud Abbey, featuring its four recumbent effigies. Photo © Leonard de Serres The recumbent effigies of Eleanor of Aquitaine and Henry II, King of England. Photo by Clément Martin André Martin, a passionate advocate of Romanesque art (7) , would have loved this visit! Fashion Week: The Grand Prize After 14 years, NEF Animation finally awarded a prize for creative journeys—spontaneously deciding to honor the most beautiful animation T-shirt... and the winner is yours truly! 🎉 Philippe Caillet, Clément Martin, and Xavier Kawa-Topor: the triumph of the most beautiful animation T-shirt! Photo by Dominique Hoff. This "distinction" rewards a T-shirt featuring a character from René Laloux’s "La Planète Sauvage"  (1973). It’s true that Xavier Kawa-Topor co-wrote a book with Fabrice Blin about the epic production of this animated film ... which strongly influenced the "improvised jury" of this playful award. :-) For more on "La Planète Sauvage"  and its production saga, read (9) . Meeting with Alê Abreu Xavier Kawa-Topor moderated the discussion with Viviane Guimarães and Alê Abreu. Photo by Clément Martin The 2025 event concluded on an international note, welcoming two Brazilian directors: Viviane Guimarães and Alê Abreu. Viviane Guimarães, who co-directs films with Abreu, also served as the Portuguese-French translator while sharing insights into their collaborative work. Alê Abreu began his animation career in 1993 with his short film "Sirius" , but it was his second feature, "The Boy and the World"  ( "O Menino e o Mundo" , 2013), that brought him widespread acclaim. The film won the Cristal Award at Annecy and the Grand Prix for Best Feature Film at Animafest Zagreb in 2014 (among 51 other awards), and was nominated for an Oscar in 2016. Through the eyes of a child, the film contrasts the innocence of youth with the pessimism of adulthood. "The Boy and the World"  – Alê Abreu, 2014. Source: Angles de Vue Viviane Guimarães began collaborating with Alê Abreu as co-director on "Perlimps"  (2022). Today, they form a creative duo, with Guimarães contributing to writing, storyboarding, and animation. "Le Secret des Perlims" (2022) – Source: Le Polyester Given that Alê Abreu was deeply influenced by René Laloux’s "La Planète Sauvage"  and "Les Maîtres du Temps"   (10) , it’s only fitting that this playful "Fashion Week" moment and the "Most Beautiful Animation T-Shirt" award found their place ! For those who missed these vibrant creative encounters, know that this was a marathon as dense as it was joyful. So don’t miss the next "Rencontres de la Création" at Fontevraud in October 2026. Yes, you’ll be "imprisoned" for two days in the world of animated cinema and the mysteries of its creation "within the walls of a former prison" but what a joy to come together and experience the spiritual essence of this art. #lescheminsdelacreation #nefanimation #abbayedefontevraud #gamcaanimation References & Further Reading 1) 94 Le Carrefour du Cinéma d'Animation 2024 a du piquant ! https://www.gamca.info/post/le-carrefour-de-l-animation-2024-a-du-piquant (2) 22 Jacques Drouin, l'apporteur d'épingles (1943-2021)  : passion et transmission. https://www.gamca.info/post/jacques-drouin-l-apporteur-d-épingles-1943-2021-passion-et-transmission (3) 115 - Annecy 2025 : Les Bottes de la nuit, le grand chelem ! https://www.gamca.info/post/115-annecy-2025-les-bottes-de-la-nuit-le-grand-chelem (4) 28  Prix André-Martin du long-métrage 2022-Durant La Traversée le jury a pris le bon chemin. https://www.gamca.info/post/prix-andr%C3%A9-martin-du-long-m%C3%A9trage-2022-durant-la-travers%C3%A9e-le-jury-a-pris-le-bon-chemin (5) 86 Prix André Martin 2024 pour un court-métrage : "Papillon", la mémoire de l'eau. https://www.gamca.info/post/prix-andré-martin-2024-pour-un-court-métrage-papillon-la-mémoire-de-l-eau (6) 115 - Annecy 2025 : Les Bottes de la nuit, le grand chelem ! https://www.gamca.info/post/115-annecy-2025-les-bottes-de-la-nuit-le-grand-chelem (7) 113 - Plaisirs de patrimoine durent un moment : Ils avaient la couleur ! https://www.gamca.info/post/plaisir-de-patrimoine-durent-un-moment-ils-avaient-la-couleur (8) 64 Mars Express : Embarquement immédiat ! https://www.gamca.info/post/mars-express-embarquement-imm%C3%A9diat (9) 65 - Une jeune planète : "La planète sauvage" a 50 ans. https://www.gamca.info/post/une-jeune-plan%C3%A8te-la-plan%C3%A8te-sauvage-a-50-ans (10) Les Esprits de la forêt : Alê Abreu revient au grand écran avec « Perlimps » https://www.animationmagazine.net/fr/2022/09/Les-esprits-de-la-for%C3%AAt-Ale-Abreu-reviennent-sur-grand-%C3%A9cran-avec-Perlimps/

"Water Girl" from Sandra Demazières. Image source https://sandradesmazieres.blogspot.com/2016/10/les-filles-de-leau.html The Émile Reynaud Award 2025: Water Girl  by Sandra Desmazières The Émile Reynaud Award is a distinction that honors a French professional animated short film. Originally created in 1943 by La Critique Cinématographique Parisienne, it has been awarded annually since 1977 by the Association Française du Cinéma d’Animation (AFCA). This year, six short films were selected: Water Girl  by Sandra Desmazières ( Caïmans Productions, Animais AVPL, Valk Productions ) The Death of the Fish  by Eva Lusbaronian ( Miyu Productions ) Mise en culture, récolte et dispersion des épines  by Jeanne Girard ( Novanima, A Perte de Vue, l’Incroyable Studio ) God Is Shy  by Jocelyn Charles ( Remembers ) Long Distance  by Iulia Voitova ( Welaï Productions, Avec ou sans vous ) Carcassonne–Acapulco  by Marjorie Caup, Olivier Héraud ( 12//24 Films ) selected shorts films - Image source AFCA On this World Animation Day, celebrated on October 28th, the six shortlisted films were shown on the big screen at Cinéma Le Méliès  in Paris and at the Théâtre National de Bretagne  in Rennes.This remarkable selection, which brought this October’s "Fête du Cinéma d’Animation" to a close, offered audiences a delightful mix of offbeat humor, sharp wit, dance, the supernatural, moments of weightlessness, and deep dives into poetic worlds. There could only be one winner — and the members of the AFCA  awarded the Émile Reynaud Prize  to "Water Girl" by Sandra Desmazières  ( Caïmans Productions, Animais AVPL, Valk Productions ). Water Girl  by Sandra Desmazières France, Portugal, Netherlands – 2025 – 15'06'' Written and directed by Sandra Desmazières Produced by Jérôme Barthélemy, Daniel Sauvage & Olivier Catherin In co-production with Animais  – Nuno Amorim & Vanessa Ventura  – and Valk Productions  – Richard Valk Original music by Manuel Merlot, Cedryck Santens Train Train Studio:   Gilles Cuvelier, Marine Blin 12//24 Studio:   Marianne Chazelas, Maxime Fossier Editing by Guerric Catala Sound editing by Antoine Citrinot, Alexis Place Foley by Grégory Vincent Sound mix by Cyril Holtz Color grading by Richard Deusy With gentleness and tenderness, the film draws us into the world of female divers of all ages who harvest shellfish from the sea.When these women dive, age seems to dissolve as if, beneath the surface, they return to their true element. The freediving women come to sell their catch. Image source   https://sandradesmazieres.blogspot.com/2016/10/les-filles-de-leau.html “Water Girl " follows the life of Mia, one of the divers, filled with joys, sorrows, encounters, and disappearances through a contemplative journey across time, . Mia, the film’s main character . Image source https://www.unifrance.org/film/61943/fille-de-l-eau The water and the marine world blend poetically with reality, memories, and the dreams of Mia, now an old woman. The sea, as a constant presence, envelops the entire course of her life. Mia encounters love. Source: press kit. Sandra Desmazières wanted to make a film about women’s lives, about the transformation of their bodies, motherhood, and the passage of time.The story found its setting when she discovered a documentary about these female divers, whose world became the framework for her narrative. The animation was created primarily using TVPaint, except for the sequences handcrafted by Sandra Desmazières herself. The images were printed, then drawn and painted by hand, rescanned, cut out, and re-integrated into the animation. Background painting at the Animais studios in Portugal - Photo source Olivier Catherin More than 25 000 Images were drawn and painted by hand to give the film its organic vibrancy and remarkable graphic quality, at times reminiscent of a “living Paul Gauguin”, immersing us fully in the world of these female divers. Sandra Desmazières talks about her film (in french) : https://www.youtube.com/watch?v=CQepC-JMb-o While waiting to see it on the big screen, you can watch the film on the ARTE  platform: https://www.arte.tv/fr/videos/108511-000-A/fille-de-l-eau/ If the platform is not available in your country you can watch the trailer on : https://www.youtube.com/watch?v=lo3FEZtoaY8 Sandra Desmazières  gifted us with a beautiful poem about a woman’s life along the water. As with any well-deserved award, it was celebrated properly… without water! Jérôme Barthélemy, Sandra Desmazières, and Olivier Catherin celebrate the award with a well-deserved drink ! - Photo Clément Martin #filledeleau #watergirl   #sandrademazieres   #jeromebarthelemy   #oliviercatherin #prixemilereynaud #afca   #arte   #gamcaanimation

Arco and Iris, the film’s two young protagonists — Image courtesy of the Cannes Film Festival website Ugo Bienvenu’s first feature film, Arco , hits French theatres on Wednesday, October 22, and in the US on November 14. This highly anticipated animated film already promises to be a remarkable success on the big screen. Premiered last June at the Annecy International Animation Film Festival, Arco received the Fondation Gan Special Prize as part of the 2023 Creation Award. Selected at Cannes, the film went on to win the Cristal Award and the SACEM Prize for Original Music in the feature film category at Annecy 2025. The English version had its world premiere in the “Centerpiece” section of the Toronto International Film Festival on September 7. The Director Ugo Bienvenu studied at École Estienne, Gobelins, l’école de l’image, CalArts in Los Angeles, as well as at Les Arts Décoratifs de Paris and through the Animation Sans Frontières program. A prolific artist, he first gained recognition through his short films, graphic novels, music videos, and animated segments for documentaries, as well as campaigns for luxury brands and a mini-series for Marvel and Disney. Préférence Système , graphic novel by Ugo Bienvenu - Image courtesy of the Amazon France website He directed ARCO , his first feature film, within the production company Remembers, which he co-runs with Félix de Givry, and where he also serves as a producer. ARCO — France, 2025 — 1h28 Directed by Ugo Bienvenu Written by Ugo Bienvenu and Félix de Givry Produced by Félix de Givry, Sophie Mas, Natalie Portman, Ugo Bienvenu Music by Arnaud Toulon Executive Producers Audrey Tondre, Remembers Studio Art Direction & Character Design Ugo Bienvenu Art Supervision Félix de Givry Storyboard Ugo Bienvenu, Adam Sillard, Jocelyn Charles, Tamerlan Bekmurzayev Animation Direction Adam Sillard Assistant Director Anaëlle Saba Design Assistant Simon Cadilhac Compositing Supervision Benoît Galland Background Color & Stylization Louise Seynhaeve, Ugo Bienvenu, Fabio Besse Background Supervision Fabio Besse Colorscript Louise Seynhaeve Post-production Supervision Clara Vincienne Editing Nathan Jacquard Assistant Editor Albert Bonnier Sound Design Nicolas Becker Sound Editing Andrea Ferrara Mixing Damien Lazzerini Foley Grégory Vincent A co-production with France 3 Cinéma and with the participation of Netflix, France Télévisions, Diaphana, and Goodfellas Animation Voices Zoya Bogomolova (Ada), Wyatt Danieluk (Clifford), Romy Fay (Iris), Will Ferrell, America Ferrera, Flea, Natalie Portman, Mark Ruffalo, Andy Samberg Arco takes us on a futuristic adventure. The film follows the journey of a young boy, Arco, who lives in the year 2 932 and travels back in time to 2 075, using a mysterious cloak and crystal that enable him to move through time. The world of Arco in 2932 — image source : https://actu.fr/cinema/ceff-2025-apres-son-cristal-d-or-a-annecy-arco-d-ugo-bienvenu-montre-pour-la-premiere-fois-a-paris_62805950.html The “journey” is far from being under control for our young hero. He ends up in the year 2 075, where Iris discovers him in the forest after a violent fall. Iris discovers Arco after his journey through time. Image source   https://www.fondation-gan.com/laureats-et-films/gan-laureats/arco/ The arrival of this extra-temporal being in Iris’s world triggers a series of adventures and twists, as Arco tries to find his way back to the space-time of his parents. Blending science fiction, with robots and time travel, and ecological fable, through the presence of nature and the effects of climate change, the film movingly portrays the deep friendship that grows between Iris and Arco. Nature plays an active role in the film’s visual storytelling. Image source   https://www.cinelapsus.com/arco-2025-di-ugo-bienvenu/ The film also offers, as a backdrop, a reflection on the consequences of disobedience and transgression, as all these adventures stem from the use of time-travel devices intended for adults and forbidden to children. Ugo Bienvenu and his team have brought together all the ingredients of a successful family spectacle: A script whose main storyline has already proven globally successful with E.T. , filled with twists and suspense that fully engage the audience; Picturesque characters, such as the trio Dougie, Stewie, and Frankie — as comical as they are threatening to Arco’s mission to return; Emotion in the relationships between characters that deeply resonate; Music by Arnaud Toulon, award-winning at Annecy, providing the film with the support of this classic ally of spectacular cinema; Carefully crafted sets and backgrounds; Sound design by Nicolas Becker, so crucial in animation. Finally, the evident inspiration from the imagination and style of Japanese animation , particularly Studio Ghibli, is sure to delight parents who bring their children to this film. You can watch the teaser trailer on : https://www.youtube.com/watch?v=UNUkW6ywV-c We wish Arco the same success in France and internationally as a certain little cat enjoyed last year, taking it from the César to the Academy Award for Best Animated Feature (1) ! Young spectators, get ready, this is Arco , the show you’ll echo ! With all the ingredients of a hit, it will captivate audiences just as Studio Ghibli films enchanted your parents. To be continued ! #arco #ugobienvenu #remembers #annecyfestival #fondationgan #gamcaanimation (1) 105 Oscar 2025 : Attention un doublé peut en cacher un autre ! (in french) https://www.gamca.info/post/oscar-2025-attention-un-doublé-peut-en-cacher-un-autre

Presentation of the projects with the Institut Sainte-Geneviève. Photo by Florentine Grelier. The cultural association “GAMCA Animation”  was officially registered on September 15, 2025 . GAMCA  is a contraction of “Geneviève et André Martin des Communications Animées.”  The word animation  was added to make it easier to find through online search engines. The association’s mission is to promote animation films  and it now manages the website GENEVIÈVE ET ANDRÉ MARTIN : DES COMMUNICATIONS ANIMÉES   , which has existed since 2019. The first two projects as a legal entity are being carried out in collaboration with the Institut Sainte-Geneviève  and the second-year DNMADE Animation Cinema students , with two themes that GAMCA Animation  will have the opportunity to return to later. For GAMCA Animation , this represents an opportunity to: Take part in two educational projects  and share with younger generations key historical insights that helped shape animated cinema  in France and internationally over fifty years of its history; Prepare a few surprises  to celebrate the centenary of André Martin’s birth , who was born on December 31, 1925 — an anniversary that GAMCA Animation  will celebrate throughout the year 2026 . Mariane Pinel, teacher at the Institut Sainte-Geneviève, and Clément Martin, president of GAMCA Animation, present the first project to the students. Photo by Florentine Grelier. To be continued ! André Martin at home in 1977. Photo Clément Martin #gamcaanimation   #institutsaintegenevi eve   #marianepinel   #florentinegrelier

Traces directed by Sophie Tavert Macian et Hugo Frassetto - Image source :   https://www.lesfilmsdunord.com/traces The Carrefour du Cinéma d’Animation, held at the Forum des Images, concludes this Sunday, 2019 December 15th with a full day of wonderful screenings. Last night, the final screening of the day featured French short films. Among them was a remarkable 13-minute animated film: Traces France 2019 Direction, Screenplay: Sophie Tavert Macian, Hugo Frassetto Animation: Hugo Frassetto, Hannah Letaïf, Nicolas Liguori, Clémentine Robach Editing: Christian Cuilleron, Hugo Frassetto, Sophie Tavert Macian, Cyril Besse Voices: Emilie Charbonnier, Claudio Dos Santos, Jérôme Fonlupt, Anny Vogel Sound, Music: Fabrice Faltraue Mixing: Nils Fauth The directors wished to tell the story of the origins of the Chauvet–Pont d’Arc cave mural ( http://archeologie.culture.fr/chauvet/fr ), and of the artist who created it, taking certain liberties in their interpretation of these ancient traces. They knew that animation has the power to synthesize and condense an invented form of life; here, it allows us to travel through time with a sensitive realism, recreated from the artworks found in this cave. The film’s team transports us into the world of hunting and prehistoric cave art — the living world of 36,000 years ago. When the time of the Hunt and the Trace returns, Gwel leads the group of hunters, while Karou the Tracer and his apprentice Lani set out to paint in the monumental cave. L’apprentissage de Lani pour apprendre le dessin souvent sévère et parfois brutale.  Source Image https://www.lesfilmsdunord.com/traces Two techniques are used: oil painting on glass to create the scenes, and sand on glass for the elements related to drawing within the film. These techniques offer us a world that is both austere and primitive, yet refined — powerfully transporting us back to that distant time when hunting met the essential needs of nourishment and clothing. The hunt : Source Image http://www.studio-wasia.com/promofilms/Tra/FrTra/tra-img.html Oil painting allows for the freedom of movement necessary to remain close to cave murals from a graphic standpoint, while also offering great flexibility in animation. The long drying time of oil paint makes it possible to move very fine areas within the image, to shift the material itself, and to make touch-ups that bring out delicate, refined details. Austere, raw, and refined world - source Image : http://www.studio-wasia.com/promofilms/Tra/FrTra/tra-img.html The second technique, using black sand, allows the murals to be recreated with their grain and graphic purity. This technique, highly suited to transformations, enables the metamorphoses that animate these murals, completing our immersion in this recreated time. This invented yet so real world gives us an exceptional short film and a remarkable tribute to the creators who came before us 36,000 years ago. Watch on Arte TV if available in your country : The Making Of — https://www.arte.tv/fr/videos/092888-000-A/making-of-traces/ Yous can also watch a trailer of the short film : https://www.youtube.com/watch?v=k46pd-f_NbY #traces # sophietavertmacian #hugofrassetto #lesfilmsdunord #gamcaanimation

This is the first paragraph of my new blog post. I hope you enjoy it! This is the second paragraph. I'm adding more content here to make it more engaging.

Présentation des projets avec l'Institut Sainte-Geneviève. Photo Florentine Grelier L'association culturelle "GAMCA Animation" a été officiellement enregistrée le 15 septembre 2025. GAMCA est une contraction de "Geneviève et André Martin des Communications Animées". Le mot animation a été accolé afin de faciliter les recherches dans les moteurs de recherches internet. Cette association a pour but de promouvoir le cinéma d'animation et prend en charge le site GENEVIÈVE ET ANDRÉ MARTIN : DES COMMUNICATIONS ANIMÉES qui existe depuis 2019. Les deux premiers projets en tant que personne morale se font avec l'Institut Sainte-Geneviève et les étudiants de 2e année en DNMADE Cinéma d'Animation avec deux sujets sur lesquels GAMCA Animation aura l'occasion de revenir. C'est pour GAMCA Animation l'opportunité de : Participer à deux projets pédagogiques et de transmettre aux plus jeunes des éléments historiques importants qui ont construits "le cinéma d'animation" en France et à l'international sur 50 ans d'histoire du cinéma d'animation; Préparer quelques surprises pour l'anniversaire du centenaire de la naissance d'André Martin né le 31 décembre 1925 et que GAMCA Animation fêtera tout au long de l'année 2026. Mariane Pinel, enseignante à l'Institut Sainte-Geneviève, et Clément Martin, président de GAMCA Animation, présentent le premier projet aux étudiants. Photo Florentine Grelier A suivre ! André Martin chez lui en 1977. Photo Clément Martin #gamcaanimation #institutsaintegeneviève #marianepinel #florentinegrelier