The NFB at the 2025 Annecy International Animation Film Festival. An opening-night film, three shorts in official competition, activities at the film market and more.
May 28, 2025 - Montreal - National Film Board of Canada (NFB)
The National Film Board of Canada (NFB) is back at the Annecy International Animation Film Festival (June 8-14), with a strong presence throughout the event. Three NFB short films have been selected for the official competition, including the eagerly awaited The Girl Who Cried Pearls ( La jeune fille qui pleurait des perles ) by the Oscar-nominated duo of Chris Lavis and Maciek Szczerbowski ( Madame Tutli-Putli ). It will screen as a world premiere on the festival's opening night.
The NFB will also be taking part in the Annecy International Animation Film Market (MIFA).
The NFB at the 2025 Annecy festival
The Girl Who Cried Pearls ( La jeune fille qui pleurait des perles ) by Chris Lavis and Maciek Szczerbowski (opening-night film, official competition, world premiere)
Two other films in official competition: Bread Will Walk ( Le pain se lve ) by Alex Boya and Hairy Legs ( Poil aux jambes ) by Andrea Dorfman
MIFA: Telefilm Canada / NFB networking event and panel on Canadian animation, with Suzanne Guvremont, Government Film Commissioner and Chairperson of the NFB, in attendance
SHORT FILMS - OFFICIAL COMPETITION
The Girl Who Cried Pearls (La jeune fille qui pleurait des perles) by Chris Lavis and Maciek Szczerbowski (NFB, 16 min) - OPENING-NIGHT FILM AND WORLD PREMIERE
Press kit: mediaspace.nfb.ca/epk/the-girl-who-cried-pearls
First screening: Sunday, June 8, 8:30 p.m. (Short Films Official 1)
A haunting fable about a girl overwhelmed by sorrow, the boy who loves her, and how greed leads good hearts to wicked deeds. The film was presented at a Work in Progress at Annecy in 2023. With the voice of: Colm Feore. Original Music: Patrick Watson. Sound Designer: Olivier Calvert. Artistic Director: Brigitte Henry.
Bread Will Walk by Alex Boya (NFB, 11 min 18 s)
Press kit: mediaspace.nfb.ca/epk/bread-will-walk
First screening: Friday, June 13, 3:30 p.m. (Short Films Official 6)
A devoted sister flees with her brother, a benevolent, bread-turned zombie. A mob pursues, mouths agape. Streets twist into mazes, reason dissolves, hunger reigns. Can love defy appetite? The film was just featured as part of the Directors' Fortnight in Cannes. Actor Jay Baruchel voices all the characters in the original English version.
Hairy Legs (Poil aux jambes) by Andrea Dorfman (NFB, 17 min)
Press kit: mediaspace.nfb.ca/epk/hairy-legs
First screening: Wednesday, June 11, 3:30 p.m. (Short Films Official 4)
Deciding not to shave her legs at 13 led a young Andrea Dorfman to question and ultimately defy society's expectations. The film received an Honourable Mention for the DGC Award for Best Canadian Animation at the Ottawa International Animation Festival (2024).
MIFA
Telefilm Canada / NFB networking event: Canada, Your Next Animation Partner
Tuesday, June 10, 7 to 9 p.m.
This soiree will underscore the presence of Canadian animation at Annecy and provide opportunities to develop new partnerships. With Suzanne Guvremont, NFB Chairperson, and Julie Roy, Executive Director and CEO of Telefilm Canada, in attendance. By invitation only.
Panel - Investing in the Future: Canadian Animation at the Forefront
Wednesday, June 11, 10:45 to 11:45 a.m.
This panel will bring together leaders from the Canadian animation industry as well as filmmakers presenting their projects. With Suzanne Guvremont of the NFB and filmmakers Chris Lavis and Maciek Szczerbowski, among others, in attendance.
WOMEN AND ANIMATION, 10 YEARS
Thursday, June 12, 5:30 p.m.
Affairs of the Art (L'art dans le sang) by Joanna Quinn (Beryl Productions International Ltd/NFB, 2021, 16 min 23 s)
How to Be at Home ( la maison) by Andrea Dorfman (NFB, 2021, 4 min 51 s)
HONORARY CRISTAL RECIPIENT JOANNA QUINN
The NFB congratulates filmmaker Joanna Quinn, who this year is a recipient of the Annecy Festival's prestigious Honorary Cristal. She will also lead a captivating masterclass during the festival, talking about her passion for drawing and animation, and sharing secrets of how she brings her characters to life.
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Winnipeg Free Press
13-06-2025
- Winnipeg Free Press
Sweet bite of life
Animated documentaries are hardly new. The 2008 Oscar-nominated film Waltz with Bashir was a fine early example, a dark and compelling depiction of the 1982 war in Lebanon from the vantage point of director Ari Folman, whose fractured memories of the event suggest a PTSD-induced defence mechanism. Folman's animation was dramatic, dark and surreal, but it also served to put a indelible pictures to events that were largely erased from history. Endless Cookie Ontario Inc. The film bounces between Shamattawa in northern Manitoba and Toronto in the 1980s and '90s. A 'toon documentary in the mould of Endless Cookie, however, is something that feels new. Directed by half-brothers Seth and Peter Scriver, it's a freewheeling trip that bounces between the First Nations community of Shamattawa in northern Manitoba and Toronto in the 1980s and '90s, specifically zeroing in on the funky downtown neighbourhood of Kensington Market. Seth Scriver, who made the animated 2013 road movie Asphalt Watches, was inspired to make the film by his older brother Peter, whom Seth describes as one of the best storytellers in the world. The best storytellers don't always stay strictly true. So it is here, where we see Seth securing funding money from the NFG (it stands not for 'No f—-ing good,' Seth says). The NFB — National Film Board — did not finance the film. The cartoon Seth flies to Shamattawa and attempts to lay down the requisite clean audio track of Peter's various reminiscences. But because Peter shares a house with nine kids and a couple of dozen dogs, clean audio is a dream akin to world peace … or a Maple Leafs Stanley Cup win in our time. They abandon clean audio and a planned two-year timeline and go with the flow. The constant interruptions by the kids become part of the film's loosey-goosey texture. Indeed, the interruptions occasionally play front and centre, allowing Peter's offspring to shine on their own. Endless Cookie Ontario Inc. Peter Scriver travelled to Shamattawa to interview his brother Peter, but getting clean audio was impossible. The process of making the film, almost entirely animated by Seth, ultimately takes nine years. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. The key to understanding the film rests in the Kensington Market, where the brothers' dad operated a funky second-hand shop. This would seem to be the source of the film's hippy esthetic, not just pertaining to animation (reminiscent of underground comic artist Kim Deitch), but to the whole narrative thread, which proceeds in the desultory manner of a stoner on a constantly interrupted mission. And yet, a discipline is at work here. The Scrivers touch on serious themes, especially pertaining to injustices done to Indigenous people, but the tone stays philosophical, funny and affectionate. The two main locales, Shamattawa and Kensington Market, could not be more different. One is remote, one is urban, but they reflect off each other in interesting ways. Each has a cavalcade of colourful characters and each yields a stream of oft-hilarious stories. If a harmony exists between those two places, the film suggests, there is hope for the entire country. Endless Cookie Ontario Inc. It took nine years for Peter Scriver to animate the feature. Randall KingReporter In a way, Randall King was born into the entertainment beat. Read full biography Our newsroom depends on a growing audience of readers to power our journalism. If you are not a paid reader, please consider becoming a subscriber. Our newsroom depends on its audience of readers to power our journalism. Thank you for your support.


Globe and Mail
09-06-2025
- Globe and Mail
Oscar-winning stop-motion filmmaker devoted his life to storytelling
Canadian animator Jacobus (Co) Hoedeman almost didn't make the short film that won him an Oscar at the 1978 Academy Awards ceremony. As a full-time animator at the National Film Board, Mr. Hoedeman needed the approval of a committee of NFB filmmakers before starting work on his 13-minute stop-motion animated film The Sand Castle. According to his 2021 autobiography Frame by Frame: An Animator's Journey, his whimsical story idea initially received only lukewarm support but after much debate 'the project was accepted, and I would happily play with sand for the next year or so.' After filching a supply of sand from a local farm, Mr. Hoedeman built a set at the NFB's Montreal studio and created a cast of sand characters who frolicked on a dune, dancing and shapeshifting before finally banding together to build a castle. His puppets were sculpted from a foam rubber mattress, given internal wire 'skeletons' and then soaked in latex before being coated with sand. He worked on the film full-time for more than a year and faced several setbacks, including a weekend theft of half his puppets and a pungent assault on his film set by a cat that used it as a litter box. In his autobiography he called it 'my perfect film.' His hard work was rewarded with the Oscar for 1977's best animated short film, 25 years after the NFB's previous Academy Award for Norman McLaren's stop-motion documentary short, Neighbours. (Minutes after The Sand Castle's win, the NFB won another Oscar for I'll Find a Way in the live-action short film category.) Mr. Hoedeman, an internationally renowned animator with 32 short films to his credit, died in hospital on May 26 after an eight-year battle with multiple myeloma. He was 84. Jacobus Willem Hoedeman was born on Aug. 1, 1940, in Amsterdam, less than three months after Nazi Germany invaded the Netherlands. Like their neighbours, his parents, Anna-Maria (Holtkamp) and Gosen-Jacobus Hoedeman, a tailor, faced five years of brutal military occupation that included constant threat of forced-labour camps, strict curfews, and near starvation during the Hunger Winter (Hongerwinter) of 1944-45. At age four, young Co was in poor health, so he, his twin brother, Ferry, and older brother, Jos, were taken 85 kilometres east by bicycle to live in the countryside with different relatives. Mr. Hoedeman did not return to his family in Amsterdam until the country was liberated by Canadian troops in May 1945. As a youngster in peacetime, Mr. Hoedeman spent long hours with his grandfather and father at their tailor shops, doing simple jobs and playing with scissors and leftover fabrics. Those sewing chores served him well later as he designed puppets and built props. Uninterested in academics, Mr. Hoedeman left school at 15 and entered the film business as a junior animator in the 'trick-film' department of Multifilm, a multi-faceted movie studio that later grew into Cinecentrum. Here he learned stop-motion animation, where still objects were painstakingly moved infinitesimally and filmed a frame at a time; he used the technique in television commercials and movie title sequences, and as special effects in documentaries. Eager to explore his new trade, Mr. Hoedeman devoted his evenings and weekends to film and photography studies that continued through his obligatory two-year stint in the Dutch army where he was posted to a military film unit. But after returning to his old job, he became restless and dreamed of escaping the constraints of commercial work for the sort of experimental animation being produced in Canada by the NFB, whose films he had studied as a student. With his new wife, Dukke van der Werf, and a 35mm-reel of his animated clips, 25-year-old Mr. Hoedeman sailed to Montreal in November, 1965, to apply for a job at the NFB's sprawling, factorylike headquarters. He was hired within a week and eventually settled into the French-language animation department even though he barely spoke French. The newly formed French unit — which used music and sound effects rather than dialogue to better reach large audiences — attracted many immigrant filmmakers including Mr. Hoedeman's Dutch friend Paul Driessen, a cartoonist from Cinecentrum's puppet department. 'The French unit was full of inventive people who used imagery instead of language,' Mr. Driessen says. 'We never sought advice or connection with the English department. The French [animators] wanted to learn to do things their own way ... [we] were separate worlds.' It was a perfect place for Mr. Hoedeman, who developed new skills as he worked with different materials and camera technology. 'Co was one of the top people who went from one technique to another. He could improvise very well and was passionate about learning new things,' his old friend says. By the 1970s, the young couple had three children and after a few years in Hudson, Que., moved in 1974 to a rundown 100-acre farm near Alexandria, Ont., that nudged the Quebec border. Together they raised their son and two daughters, and tended a menagerie that included pigs, two horses and a cow, learning essential farm skills as the need arose. 'The farm was for fun,' recalls youngest daughter Anouk Hoedeman, now 55, who remembers her father as playful and a joker. 'But the chores started at 6 a.m.' She recalls how her father applied the same skill set on the farm as in the animation studio. 'He had patience and an innate ability to figure things out in almost an instinctive way. ... How to run the farm, the tractor, fix the baler.' 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After his Oscar win, invitations poured in from around the world to attend conferences, give workshops and judge international competitions. His travels included Czechoslovakia, China, Japan, the United States, Mexico and Venezuela as well as across Canada, where he taught master classes and worked with novice filmmakers. In 2003, Cinémathèque québécoise presented a retrospective of his films. After divorcing Ms. van der Werf in the 1980s, Mr. Hoedeman moved back to Montreal and later married artist Joyce Ryckman, who joined him as a writer and artistic consultant for most of the films he made after 1989, including his 2011 passion project 55 Socks. The 55 Socks film, set to a gentle poem about the Hongerwinter in the Netherlands, came at the end of a difficult three-year contract with private producers to turn his successful short films about Ludovic the teddy bear into a 26-episode television series. Convinced that Ludovic was losing his charm to crass commercial considerations, Mr. Hoedeman battled with scriptwriters, producers and broadcasters, giving up his director role early in the three-year process. By contrast, 55 Socks allowed him to work with a new media – black silhouettes inspired by a Dutch tradition of shadow play called schimmenspel. Mr. Hoedeman worked with the NFB for half a century, continuing his relationship with the agency as a freelancer and independent producer after being laid off in 2004. He made his final film, The Cardinal, in 2016, fronting all its costs himself. A cancer diagnosis the following year inspired him finally to retire. Chris Robinson, director of the Ottawa International Animation Festival, notes that 'Co's films exemplified his commitment to pushing the boundaries of animation, ... [balancing] themes that resonated with both children and adults, never shying away from complex topics.' 'His works ... invited viewers into seemingly whimsical worlds that, upon closer inspection, offered deep reflections on the human experience.' Mr. Hoedeman leaves his wife, Joyce; former wife, Ms. van der Werf, and their children, Nienke, Nathan and Anouk; stepdaughter, Jessica; five grandchildren, and five of his eight siblings. You can find more obituaries from The Globe and Mail here. To submit a memory about someone we have recently profiled on the Obituaries page, e-mail us at obit@


National Observer
06-06-2025
- National Observer
MOVIES: New from Wes Anderson, Al Pacino in an exorcism and an atypical shark tale
Ballerina may be the big film this week but not in here. It wasn't previewed where I am and seems to be riding on its connection with the very popular John Wick series. 'From the world of John Wick' has even been added to the official title. He, you might remember, is trying to stop working as a paid assassin. For some reason, the ballerina is trying to become one. It arrives a year late after a torturous production history, disastrous test screenings, a director change and re-shoots. Better bets might be two documentaries: Incandescence, about forest wildfires, extremely timely and free to watch on the NFB website and Fairy Creek about a fight to save an old growth forest from logging. After a festival run it's playing in a few theaters. 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