Annecy ’26: Chaplin, Keaton, Lloyd… and the Minions?

by Cláudio Alves

This year, I was lucky enough to attend the 50th edition of the Annecy International Animation Film Festival and Market. The festivities ended this past weekend, with Ervin Han and Raúl García’s The Violinist taking the prestigious Cristal prize for Best Film from the feature competition. Past winners include such titles as Arco, Memoir of a Snail, Flee, I Lost My Body, Coraline, and many other unforgettable pictures. But it wasn’t all fun and games and glory. While the festival was underway in the Alps, France was suffering through its worst heatwave in recorded history, and before it all ended, the tragic death of animator Luis de La Rosa shrouded the event in a sense of collective grief. Between good and bad, triumph and unexpected sorrow, there is much to discuss. 

No better place to start than at the beginning, with the slapstick extravaganza that had the honor of opening the festivities – Minions & Monsters, which comes to theaters this week, worldwide…

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Review: A cat faces the apocalypse in "Flow"

by Cláudio Alves

Is there a more cinematic animal than the cat? By all accounts, one of the first – if not the first – use of a closeup in film history featured a cat. Yes, dear reader, cat videos harken back to the 1900s, when George Albert Smith's The Sick Kitten proved a delightful diversion. More than a century later, the big screen has seen many felines, from MGM's Leo to Chris Marker's cat-forward experiments, going through a panoply of animated pusses in between. Yet, the seventh art continues its love affair with the cat, finding new ways to celebrate and elevate these natural-born movie stars. 

Just look at Flow, Latvian director Gints Zilbalodis's new film. It premiered on the Croisette before bowing at Annecy, where it won four prizes, including the Audience Award…

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Annecy 2024: A First Look at "The Wild Robot"

by Cláudio Alves

Photo by Marc Piasecki | © Getty Images for DreamWorks Animation

Paper airplanes fly through the air, zipping across the auditorium and above the audience. Some crash land on unsuspecting heads, while others sway wild into oblivion, lost in dark corners of the cinema. It's a merry sight, which only grows merrier when these crafts arrive at their intended destination – the stage – prompting applause from the crowd in good festival fashion. Within this hubbub of enthusiasm, a sense of community prevails, made more heartfelt by the presence of children among press folk, the families of filmmakers and animators excited to see how the world reacts to their work. Such was the scene at the Annecy Film Festival, as DreamWorks Animation came to celebrate its 30th anniversary and present The Wild Robot…

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