Little Amélie or the Character of Rain  by Maïlys Vallade and Liane-Cho Han The National Animation Film Festival came to a close after six days of a whirlwind of animated creations and encounters. I was delighted, during the festival’s awards ceremony, to announce the winner of the André Martin Award for a feature film. The André Martin Award was established in 2015 by Francis Gavelle, CITIA, and the AFCA to recognize a French short film and a French feature film (or French co-production) released in 2025. This award holds special significance this year, as it coincides with the centenary of André Martin’s birth. Eleven feature films were in competition this year, showcasing a diversity of themes, techniques, and accolades that reflect the vitality of French animation. We hope this vitality endures in these turbulent and financially challenging times: Hola Frida ! by André Kadi and Karine Vézina  La vie en gros by  Kristina Dufková La mort n'existe pas by Félix Dufour-Laperrière Falcon express de Christian Tassy and Benoît Daffis Amélie et la métaphysique des tubes (Little Amélie or the Character of Rain )  by Maïlys Vallade and Liane-Cho Han Le secret des mésanges by Antoine Lanciaux Slocum by Jean-François Laguionie Arco by Ugo Bienvenu Marcel et Monsieur Pagnol by Sylvain Chomet Maya, donne-moi un titre by Michel Gondry La Vie de château, mon enfance à Versailles by Clémence Madeleine-Perdrillat et Nathaniel H'Limi.  The award was presented to Little Amélie or the Character of Rain by Maïlys Vallade and Liane-Cho Han, which had previously won the Audience Award at the most recent Annecy Festival. It is always a great pleasure to announce the André-Martin Award for Feature Film. Photo: Gwendal Le Flem The perks of announcing the award? You get a great spot for photos :-).  From left: Jeanne Frommer (back to camera), Maïlys Vallade, Claire La Combe, Isabelle Vanini. - Photo Clément Martin Maïlys Vallade, Claire La Combe (Puffin Pictures), and Lisa Peuch (Ikki Films).  Photo: Gwendal Le Flem The Jury The 2026 jury was composed of French, Canadian, and Romanian professionals: Apolline Caron-Ottavi: Editor and Programmer at Cinémathèque québécoise (Canada) Christophe Chauville: Editor-in-Chief of Brefcinéma (France) Nicolas Métayer: Co-Director of Le Vincennes cinema (France) Mihai Mitrica: Director of Animest Festival (Romania) Caroline Vié: Journalist and Film Critic at 20 Minutes (France) They awarded an exceptional film—here’s why. Credits Directed by Maïlys VALLADE & Liane-Cho HAN Written by Liane-Cho HAN, Aude PY, Maïlys VALLADE, Eddine NOËL Graphic Design Eddine NOËL, Marietta REN, Liane-Cho HAN, Maïlys VALLADE, Rémi CHAYÉ, Marion ROUSSEL, Justine THIBAULT, Simon DUMONCEAU Art Direction Eddine NOËL Edited by Ludovic VERSACE Original Music & Orchestration Mari FUKUHARA Sound Kevin FEILDEL, Fanny BRICOTEAU Line Producers Nidia SANTIAGO, Edwina LIARD, Claire LA COMBE, Henri MAGALON Executive Producers Jean-Michel SPINER, Mireille SARRAZIN Character Design Marion ROUSSEL, Maïlys VALLADE, Marietta REN Background Design Eddine NOËL Prop Design Camille LETOUZE, Marick QUEVEN Storyboard Artists Lucrèce ANDREAE, Olivier CLERT, Chloé NICOLAY, Alice BISSONNET, Jonathan DJOB NKONDO, Nicolas PAWLOWSKI, David CANOVILLE, Éléa GOBBÉ- MÉVELLEC, Alexander PETRESKI, Merwan CHABANE, Liane-Cho HAN, Marietta REN, Rémi CHAYÉ, Ahmed NASRI, Maïlys VALLADE 1st Assistant Director Laetitia NURDIN 2nd Assistant Director Auriane LABOISSE Layout & Posing Supervision Marion ROUSSEL, Hanne GALVEZ Animation Direction Juliette LAURENT Animation Drawing Direction Joanna LURIE Background Layout Direction Eddine NOËL Color & Background Direction Justine THIBAULT Compositing Direction Tevy DUBRAY Special Effects Direction Stéphane CHUNG Lighting & Shadows Direction Pascal HERBRETEAU Pipeline Direction Clément GENDRON, Fanou LEFEBVRE, Jérôme FROMEAUX Production Management Diane MOSCET, Kelsey CHUNG, Xavier PARIAS, Sophie COUTAZ Based on "Amélie ou la métaphysique des tubes" by Amélie NOTHOMB (Éditions Albin Michel). Production A MAYBE MOVIES and IKKI FILMS production,in co-production with 2 MINUTES, FRANCE 3 CINÉMA, PUFFIN PICTURES, and 22D MUSIC. With the support of: CNC (Centre National du Cinéma),CANAL+, ÎLE-DE-FRANCE REGION, RÉUNION REGION, NOUVELLE-AQUITAINE REGION, MAGELIS, CHARENTE DEPARTMENT, BRITTANY REGION, EUROPEAN UNION, CICLIC – CENTRE-VAL DE LOIRE REGION (in partnership with the CNC),and the support of ALCA. Residency & Funding Benefited from a residency at CICLIC ANIMATION,with the support of ANGOA and PROCIREP,and the participation of FRANCE TÉLÉVISIONS, ADN, and CINÉ+ OCS.Financially supported by PALATINE ÉTOILE 20, INDÉFILMS INITIATIVE 11, and SG IMAGE 2021. Sales & Distribution International Sales: GOODFELLAS ANIMATION Theatrical Distribution: HAUT ET COURT A Team of Friends "Little Amélie or the Character of Rain" "(Amélie ou la métaphysique des tubes") is, above all, a film made by friends who have worked together for years. Maïlys Vallade and Liane-Cho Han first collaborated 14 years ago as storyboard artists on Mark Osborne’s The Little Prince (2015). Since then, they’ve worked closely with Rémi Chayé on films like Long Way North and Calamity. Rémi himself also contributed to the storyboard and layout of Amélie. Others, like Eddine Noël, are regular collaborators within this "artistic family"—a tight-knit group that keeps creating together. Maïlys Vallade in her office in Brittany. Photo: Maïlys Vallade Liane-Cho Han.Photo source: The Movie Database An Ambitious Adaptation Adapting a novel, especially a bestseller, is always a daunting task. Tackling an autobiographical novel about the early childhood of Amélie Nothomb, a prolific and singular writer as renowned as she is complex, is no small feat. The team not only had to make careful choices about which elements of the literary narrative to include but also had to craft a cohesive story, structured here by the rhythm of the seasons. The characters of Amélie’s family. Photo: Press Kit The Subject The film explores the first three years of a Belgian expat girl’s life in Japan, from her birth to age three, including the pivotal moment at two and a half, when her language and perceptions burst forth in a flood of emotions. It delves into grief: the loss of loved ones, of places left behind, of life’s fleeting phases, all seen through the child’s eyes, her perceptions, and her raw emotions. From her origins, where Amélie fancies herself God, to early childhood—with its discoveries, joys, frustrations, separations, and loves—the film strikes straight to the heart. It’s impossible not to feel Amélie’s emotions deeply, as the film powerfully evokes the formative experiences of our own childhoods, resonating with an almost visceral force. The film is also a meticulous portrayal of late-1960s Japan, with precise research into its homes, furniture, objects, and natural landscapes. A special focus is placed on Amélie’s relationship with her nanny, Nishio-San. Like all children, her bond with this adult figure creates lasting, indelible connections—deeply rooted in memory and identity. Yet this fusion is disrupted by a character haunted by the traumas of World War II and its deaths, which seep into the little girl’s relationship with the world. The Art of Framing and Staging The film delivers a purely cinematographic pleasure, with every shot’s composition serving the storytelling while maintaining the simplicity essential for an animated feature. The carefully constructed movement continuity draws us into an intimacy, a closeness that immerses us in Amélie’s world. We find ourselves living her life alongside her. The film also masterfully captures a child’s-eye perspective. For instance, Amélie’s house was fully modeled in 3D—even though the film is 2D—to ensure accurate scales, angles, and perspectives, placing the child authentically within each frame. The joy of crafting shots—so effective in immersing us fully in each scene. Image: Film Press Kit In an interview for Issue 7 of Blink Blank (1), Liane-Cho Han discusses "Maïlys Vallade’s cinematic grammar", a signature style clearly evident in this film. This comes as no surprise when you look back at Vallade’s graduation film from Gobelins, created with five other students 17 years ago. The short already showcases their early fascination with framing, focal length, and staging, the very foundations of their visual storytelling. You can watch the film, which won the Best Graduation Film award at Annecy in 2010, here: https://www.youtube.com/watch?v=AMHssmQrbiI Color and Light To fully immerse us in Amélie’s world, the colors, constrained by the economic realities of feature-length animation, may lack the texture and vibrancy of more organic techniques. Yet they are so meticulously composed, precise, and symbolic that they burst into a luminous, colorful explosion, carrying us through the rhythm of the seasons. The flat hues transform into radiant variations, and when combined with the careful framing and staging, they create a true sensory explosion. Frame composition and color palettes - Image source : Maïlys and Simon Dumonceau In Amélie, There Is Rain The film transports us to late-1960s Japan, with its traditions, interiors, and meticulously recreated objects. Nishio-San, Amélie’s nanny, shares elements of Japanese history and culture in a way the child can grasp. She traces the characters of Amélie’s name, explaining that it contains "amé" (雨), the word for "rain" in Japanese. The Japanese character for "rain" (雨, ame). But in Amélie, there is also "âme" (soul), and this film proves that animation can reveal the depths of the human soul. Kudos to the teams who brought this film to life, and to the jury for awarding it the André Martin Prize in this, the year of his centenary! While we wait to watch (and rewatch) the film on the big or small screen, you can check out the trailer here: https://www.youtube.com/watch?v=pQfevunCodU 📖 Get your hands on the "Amélie et la Métaphysique des Tubes" artbook! Dive into 256 pages of storyboards, animation, backgrounds, and behind-the-scenes secrets from the film.🔗 Order now #amelieoulametaphysiquedestubes #littleamelieorthecharacterofrain  #mailysvallade #lianechohan #prixandremartin #festivalnationaldufilmdanimation #afca #citia #gamcaanimation (1) Interview with Liane-Cho Han, Maïlys Vallade, and Eddine Noël in Blink Blank no.7, p. 39.

André Martin captivates his audience with commentary on an exhibition at the "Journées du Cinéma" Photo: Geneviève and André Martin Collection The 32nd National Animation Film Festival has now come to a close. After six days filled with short and feature-length films, exhibitions, pitches, conferences... and a tribute session dedicated to André Martin. For those who were unable to attend or wish to learn more, here are some key highlights from the session, along with... the trailer for the short films! Isabelle Vanini, Director General of the French Animation Film Association, introduced the screening. (Note: "Maison vole" was released in 1983) - Photo: Vincent Burlot Clément Martin delivered a 30-minutes conference presenting his father’s career, supported by numerous archival images to illustrate André Martin’s prolific work. The presentation included an overview of the films screened, placing them within the chronological context. The creation of "Les journées du cinéma" : Cinema took over the city of Versailles—its streets, shop windows, and movie theaters. Photo: Anne Le Tallec Presentation of the "Tree of Animation Techniques": both the original and the version published in " Le Cinéma chez soi pratique "  (Issue 31, 1960).  Photo: Vincent Burlot This conference was followed by the screening of four films by André Martin: Demain Paris (Tomorrow’s Paris) Michel BOSCHET, André MARTIN | France | Original French | 1959 | 16 min | Color | Produced by Les Films Roger Leenhardt Commissioned by the French Ministry of Construction, this film traces the history of Paris’s development and the planned projects for the Île-de-France region. It offers a forward-looking vision of urbanization from that era. Produced by Roger Leenhardt, the film already brought together the future team of Films Martin-Boschet—including René Foin, Michel Roudevitch, Julien Pappé, Jacques Leroux, and Manuel Otero. The animation style evokes that of UPA during its golden years in the early 1950s, before the shift to mass production for television. Demain Paris (Tomorrow’s Paris) by Michel Boschet and André Martin - Image FRL Productions The film reflects André Martin’s distinct interests: His passion for history, art, and architecture; His dedication to writing, as seen in the film’s verse texts; His fascination with the future and foresight; A lingering sense of humor. Patamorphose ou le désespoir du peintre (Patamorphose, or The Painter’s Despair) André Martin and Michel Boschet | France | 1960 | 17 min | Music: Geneviève Martin A painter in the Luxembourg Garden attempts to capture the palace on canvas. Played by Michel Boschet, the painter struggles—with comic difficulty—to complete his work. Patamorphose presents a series of scenes showcasing various frame-by-frame filmmaking techniques, all delivered in a burlesque and entertaining style. The film underscores André Martin’s enduring passion for technique, whether in animation or all forms of image production. André Martin collaborated with the RTF (French radio and television) Research Department from its inception by Pierre Schaeffer in late 1959. There, he gave lectures, produced experimental broadcasts, and created animated film. Extensive excerpts from "Patamorphose" were later featured in two television programs, "Le Septième Art Bis", produced by the Research Department and hosted by Michel Boschet and André Martin. These programs are a treasure, embodying the spirit of the "Journées du Cinéma", and we hope to screen them soon in this centennial year. The Animated Painter in Ink and Charcoal - Image collection: Geneviève and André Martin Mais où sont les neiges d'antan (Where Are the Snows of Yesteryear? ) Michel Boschet and André Martin | 1962 | 16 min | Music: Geneviève Martin In the early 1960s, André Martin worked under the auspices of UNESCO on projects and conferences exploring folk and ethnographic music in cinema. Where Are the Snows of Yesteryear? addresses copyright protection and cultural diversity, a theme he developed during his work with UNESCO. This film was a co-production between the RTF (French radio and television) Research Department, Argos Films, and Films Martin-Boschet. It won the Émile Cohl Award in 1963. Where Are the Snows of Yesteryear? André Martin and Michel Boschet | Image: Argos Films An ethnographer travels to a small African village, where he records local sounds and music—only to exploit them for his own profit. The film offers a forward-looking perspective (for its time) on the cultural and economic role of African music within global music. This time, the graphic style evokes the work of Faith and John Hubley, particularly in its backgrounds, reminiscent of films like "Seven Lively Arts". A Title Change Where Are the Snows of Yesteryear?  is a line from a 15th-century poem by François Villon, later quoted by Rabelais in the 16th century in "Pantagruel". But what does this have to do with a film about Sub-Saharan African folk music? The answer is simple: it’s an inverted pun by André Martin. The film’s original title was " Mais où sont les nègres d'antan" ("Where Are the Blacks of Yesteryear?"). In french "nègre" and "neige" sounds nearly the same. André Martin had a penchant for puns. Here, a 1953 riddle booklet written by André Martin published by Éditions Fleurus. Image collection: Geneviève and André Martin The word "nègre" is now considered racist, though this was not the case during the time of Aimé Césaire (1913–2008), the Martinican writer, former president of the Regional Council of Martinique, and advocate of "négritude"—a movement that affirmed a distinct cultural identity in opposition to the French culture imposed by colonization. To avoid offending anyone and to prevent this beautiful film   from being censored due to its title, the rights holders and Argos Films decided to reverse the pun in the title. This reversal has an absurd, even pataphysical quality, something André Martin himself would likely have appreciated. It playfully nods to the challenges that sometimes arise when preserving a heritage that helps us better understand the present. Maison Vole André Martin, Philippe Quéau | France | 1983 | 2 min | Color | Music: Geneviève Martin A passionate advocate for "new digital images" at a time when animation professionals largely ignored them, André Martin, alongside the Institut National de l'Audiovisuel (INA) and Sogitec, created a demonstration film using 3D animation. Both narrative and poetic, the film was entirely synthetic (images and music), produced using a flight simulator for the visuals and the IRCAM’s 4X system for the music, composed by Geneviève Martin. Maison Vole  André Martin and Philippe Quéau | Image: INA This film was created using the Sogitec flight simulator, which was not designed for animation production. With tools that would now be considered rudimentary compared to today’s technology, the Sogitec team managed to adapt the simulator to produce this film, leveraging André Martin’s directorial expertise to craft a feasible narrative. André Martin was determined to demonstrate the potential of digital animation systems at a time when the winds were far from favorable. He founded the "Forum des Nouvelles Images" in Monte Carlo in 1981, which later became "Imagina". History has proven him right... We can only wonder what he would have thought about the use of generative AI techniques in image creation. Don’t we need a new vision to integrate these tools into the creative process while preserving the unique value of human craftsmanship? It’s up to today’s creators to invent that vision... or not. The legacy now belongs to the young . Florentine Grelier, a filmmaker and animation teacher at Institut Sainte-Geneviève, presented the ongoing work of students at the institute, including a teaser for six animated shorts about André Martin’s career, which she edited. These shorts are currently in production with students, with post-production set to wrap up in May. The students had to navigate chronological constraints, extensive documentation, multimedia elements, and the challenge of portraying an extraordinary figure to bring their project to life. Thanks to them and their teachers, we can already enjoy this teaser while we wait for the six finished shorts! Florentine Grelier then presented the stages of the students’ work during a screening of their video mapping projects. These projects, completed in the first term, explored the use of text in animation and were based on articles written by André Martin. Florentine Grelier presents the stages of the students’ work .  In the background on the left, Valentin Derouané, the stage manager: thanks to his attention to detail and his team, the presentation and screenings took place under optimal conditions. Photo: Anne Le Tallec A discussion with Florentine Grelier about the students’ work on André Martin’s texts. Photo: Vincent Burlot Acknowledgments Partners of the Tribute Session to André Martin Behind these logos are the women and men who made this tribute to André Martin possible.GAMCA Animation warmly thanks: The teams of AFCA , and in particular Isabelle Vanini  and Jeanne Frommer , who made this tribute session possible; The teaching teams of Institut Sainte-Geneviève (DNMADe ANIM-OBJET) , and especially Florentine Grelier  and Anne Le Tallec , for their commitment and camaraderie; The second-year students of Institut Sainte-Geneviève (DNMADe Cinéma d'Animation au service du réel) , for their creative work on André Martin’s career and archives; Actress Pénélope Martin  for voicing the teaser; FRL Productions  and Antoine Jezequel  for the screening of " Demain Paris " ; ARGOS Films  and Ellen Schafer  for the screenings of: "Patamorphose ou le désespoir du peintre" "Mais où sont les neiges d'Antan" The use of an excerpt from "La Joconde ou l'histoire d'une obsession" by Henri Gruel in the teaser for the animated shorts; Institut National de l'Audiovisuel (INA)  and Sophie Le Goff  for: Providing and screening the digital copy of " Maison Vole " ; The use of INA archive excerpts for the teaser and animated shorts; Forum des Images  for providing digital copies of: "Demain Paris" "Patamorphose ou le désespoir du peintre" "Mais où sont les neiges d'Antan" Centre National du Cinéma et de l'Image Animée (CNC)  and Sophie Le Tétour  for the restoration and digitization of " Poste en souffrance "  and permission to use an excerpt in the teaser and animated shorts; CITIA  and Jean-Baptiste Garnero  for permission to digitize and use " Poste en souffrance "  in the animated shorts; Jean-Baptiste Garnero  for digitizing sound archives of Geneviève Martin and for his support and guidance in archival classification and enhancement over the past 10 years; The heirs of Michel Boschet and André Martin  for their trust and permission to use their parents’ and grandparents’ creations; And, of course, Geneviève and André Martin , incredible parents, for the precious legacy they left us. The work for the centenary of André Martin’s birth by GAMCA Animation is not yet complete. The association and its partners are preparing new surprises for you! #andremartin   #festivalnationaldufilmdanimation   #institutsaintegenevieve   #afca   #frlproductions   #argosfilms   #cnc   #ina   #citia   #genevievemartin   #forumdesimages   #gamcaanimation More to read (in french) (1) 8 La genèse d'Annecy 2 : Des journées pour le cinéma https://www.gamca.info/post/la-genèse-d-annecy-2-des-journées-pour-le-cinéma (2) 62 Des   journées patrimoniales particulières https://www.gamca.info/post/des-journées-patrimoniales-particulières (3)  16 naissance-du-cinéma-informatique-1ère-partie Des pionnières et des pionniers https://clementmartin75.wixsite.com/cinemadanimation/post/naissance-du-cinéma-informatique-1ère-partie-des-pionnières-et-des-pionniers     23  Naissance du cinéma Informatique 2e partie : Les années 60 et les pionniers du numérique. https://www.gamca.info/post/naissance-du-cinéma-informatique-2e-partie-les-années-60-et-les-pionniers-du-numérique (4) 46 Maison Vole : L'envolée a 40 ans ! https://www.gamca.info/post/maison-vole-l-envolée-a-40-ans

Element from the storyboard of " Mais où sont les neiges d'antan "  by André Martin and Michel Boschet, 1962 – Collection Geneviève and André Martin As promised, Gamca Animation continues to prepare, alongside its partners, events throughout 2026 to commemorate the centenary of André Martin’s birth. We could not miss this opportunity to offer you these unique journeys through 50 years of animation cinema, writing, and research. Art, graphics, movements, techniques, productions, discourse, research, sociology, and communications that will engage you through these creations, forward-looking visions, and contemporary voices. The next event will take place in Rennes at the National Animation Film Festival, with a screening organized by the French Association of Animation Cinema on Friday, April 10, at 4:00 PM in Cinéma Arvor, Room 5. GAMCA Animation thanks its partners and the women and men behind these organizations who made this screening possible. Partners involved in the screening The Program André Martin: Critic, Theorist, and Animation Filmmaker Clément Martin will present his father’s journey and the films to be screened, illustrated with materials from the "Geneviève and André Martin Collection." You will discover the journey of this influential critic, who was instrumental in founding numerous animation festivals, including the Annecy Festival. As an animation and documentary filmmaker, and an tireless researcher, he left an indelible mark on the history of animation and a legacy that remains vibrant today. André Martin was all of these: A pioneer of animation film festivals , helping to build an international network for animation cinema. A scholarly and witty filmmaker , known for his finely crafted texts. A visionary theorist , who expanded the definition of animation and championed its status as a fully-fledged art form. A committed critic , whose writings remain essential references for understanding the evolution of animation, imagery, and media in the 20th century. A cultural bridge between France and Canada, through his collaborations with the NFB, ORTF’s research department, Radio Canada, and INA. A researcher who decoded technological advancements to pave the way for future innovations. André Martin on set in Montreal for the National Film Board of Canada in 1966. Photograph from the Geneviève and André Martin Collection Institut Sainte-Geneviève: Honoring a Legacy Florentine Grelier (1), animation filmmaker and teacher at Institut Sainte-Geneviève in Paris, will present the work of animation students inspired by André Martin, both completed and in progress, to celebrate the legacy he continues to inspire: A project on the use of typography in animation, based on texts by André Martin. Excerpt from projects by Alexandre Le Gal. Excerpt from projects by Victoria Toczek Excerpts from project by Noémie Chollet. A series of six short animated films (two minutes each) tracing André Martin’s prolific journey from his birth to the era of "new images," including his films, research, writings, the festivals he founded, his time in Canada, and his work in media. A "making-of" for these films is currently in production. Preparatory image for film #2. Animation illustrating "Les journées du cinéma" . Image: Institut Sainte-Geneviève. Animation illustrating the first Annecy Festival in 1960. Image: Institut Sainte-Geneviève. The Animated Films Four animated films will be screened during this session: "Demain Paris" Michel Boschet, André Martin | France | 1959 | 16 min | Color | French | Productions Les Films Roger Leenhardt Commissioned by the Ministry of Construction, this film traces the history of Paris’s development and the plans for the region’s future. It offers a forward-looking vision of urbanization in Île-de-France during that era. "Demain Paris Image" : FRL Productions "Patamorphose" André Martin, Michel Boschet | France | 1960 | 17 min | Music by Geneviève Martin A painter in the Luxembourg Gardens attempts to paint the Luxembourg Palace. This humorous film showcases various animation techniques as the painter, played by Michel Boschet, struggles to complete his work.  Patamorphose, Ink and charcoal animation. Image: Geneviève and André Martin Collection "Mais où sont les neiges d'antan ? " Michel Boschet, André Martin | 1962 | 16 min | Music by Geneviève Martin An ethnographer travels to a small African village to record local sounds and music, only to exploit them for personal gain. A film about defending authors' rights and cultural diversity. Mais où sont les neiges d'antan. Image: Argos Films "Maison Vole"André Martin, Philippe Quéau | France | 1983 | 2 min | Color A pioneer of "new digital images" at a time when animation professionals ignored them, André Martin collaborated with Institut National de l'Audiovisuel (INA) and Sogitec to create a fully synthetic 3D animation film, both narrative and poetic, using a flight simulator for visuals and the IRCAM 4X system for music composed by Geneviève Martin. Maison Vole . Image INA Don’t miss this special event on Friday, April 10, at 4:00 PM at Cinéma Arvor in Rennes, a tribute to André Martin featuring classic and rare films, as well as student projects inspired by his remarkable journey ! Stay tuned ... #centenaireandremartin #festivalnationaldufilmdanimation #afca #institutsaintegenevieve #frlproductions #argosfilms #ina #forumdesimages #gamcaanimation (1) Florentine Grelier received the André Martin Short Film Award at Annecy in 2018 for "Mon Juke Box." Read more and watch "La Complainte de l’Automate" here .

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