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2022EMMY NOMINEE The Survivor. Directed by Academy Award-winner Barry Levinson and based on a true story, HBO Original film The Survivor stars Ben Foster as Harry Haft, who, after being sent to Auschwitz, survives not only the unspeakable horrors of the camp, but the gladiatorial boxing spectacle he is forced to perform with his fellow prisoners for the
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mTQvf5. “Ahahayy!! Viva Mexico, cabrones!” With that battle cry, Academy Award-winner Guillermo del Toro announced Mexico as the Country of Honor at this year’s Annecy, France’s preeminent animation film festival. According to organizer Pixelatl, an association dedicated to the creation and promotion of Mexico’s multimedia content, more than 250 Mexican animators and producers will descend on Annecy with nine programs scheduled. “The Book of Life” director Jorge R. Gutiérrez, whose Netflix series “Maya and the Three” won four Emmys and an Annie, created the poster and title cards of the festival and will also be hosting a Master Class and screening of “The Book of Life.” Del Toro’s best animated feature Oscar for his “Pinocchio” this year could not be more fortuitous and timelier for the festival, Gutiérrez observes. Aside from a special screening of “Guillermo del Toro’s Pinocchio,” the maestro will also be presiding over a master class. Reflecting on the rise of Mexican animation on the international stage, Del Toro says “Particularly in stop motion, Mexico has been working its way into the medium stronger and stronger. My partner Rigo Mora and myself started experimenting with stop motion formally in the 1980’s and that jolted the interest of the community in my home town of Guadalajara, Mexico. A very strong contingent of stop motion animators came from that and a decade or so later, a few groups started in Mexico City and Monterrey etc. and eventually started getting recognized in festivals around the world.” He points out that Marcel Delgado, a Mexican from Coahuila, was present at the genesis of modern stop motion, creating “King Kong” alongside Willis O’Brien. “I think this medium is natural to us – and allows films to be done with relatively smaller resources,” he says. Today, a number of animation companies in Mexico have been successful theatrically, led by Anima Studios and the Huevocartoons franchise, founded in 2001 by the Riva Palacio family and Carlos Zepeda. “Mexican film is better represented by dozens of brilliant animators participating in short films or lending their talents to films like Spiderverse,’ Pinocchio’ and productions at DreamWorks, Sony, Disney,” Del Toro says, pointing out that talents like Carlos Carrera even won the Palme d’Or in Cannes with his short film, “El Heroe.” “We’re now more of a service industry but we’re growing into a force to reckon with internationally,” notes Jaime Jimenez, VP of content and original production, kids & family for Warner Bros. Discovery Latin America WBD LatAm. “We have many animators working abroad but we hope more of them return to give back and share their expertise,” he adds. Annecy Festival Poster 2023 WBD LatAm is also presenting Lucha Libre 2D animated series “Rey Mysterio,” a co-production with Mexican studios ¡Viva Calavera! and Mighty, and hit series “Villainous,” among other projects, at Annecy. With more people working abroad, “we now have the first generation of experienced animation artists who are teaching at our schools,” Gutiérrez observes. Leading the vanguard of upcoming original feature films made entirely in Mexico is the much-anticipated stop motion pic, “Frankelda and the Prince of Spooks” a co-production between Cinema Fantasma and Cartoon Network, a WBD brand. A spin-off from the popular series “Frankelda’s Book of Spooks,” a few minutes of the feature will be shown at Annecy’s Works in Progress sidebar, says Pixelatl CEO Jose Iñesta, as will the new take on DC’s Dark Knight, “Aztec Batman Clash of Empires,” a collaboration involving WB Animation, Particular Crowd, Mexico’s Anima Studios and “Book of Life” producer Chatrone. “The animation industry has grown tremendously in Mexico, especially during the past few years,” notes Anima Studios’ Jose Carlos Garcia de Letona, who will be participating at a panel in Annecy. “What really sets us apart is the wealth of Mexican folklore and mythology that we can exploit in our stories,” he says, adding that Anima Studios has produced 24 animated features so far and runs studios in Mexico City and the Canary Islands. “By shedding light on the untapped heritage of Mexico, we are uncovering hidden treasures that offer profound insights into our country’s history, identity and the contributions of its Indigenous peoples,” says Jacobo Salomón, producer of a Mexican-Brazilian-French co-production in development, “The Mark of the Jaguar” trilogy, which has been selected to participate in Meet the Producers – Gap Financing day at Annecy. Part one of the 2-D animated trilogy, “The Mark of the Jaguar The Awakening of Fire,” centers on Aztec warriorXilacatzin, whose dark mark on his body makes his people reject him. Said director Victor Mayorga “I chose this theme because there is very little known about the latest findings in archeology and anthropology about the culture of our Indigenous peoples, even in their fight against the Spanish colonizers.” Meanwhile, Gutiérrez hopes to make his upcoming Netflix animated feature about a scrappy masked luchador dog, “I, Chihuahua,” in Mexico, with comedian Gabriel “Fluffy” Iglesias as producer, co-writer and lead voice talent. He has also been developing an adult-targeted series and a family series, which he also wants to make in Mexico. The country has the infrastructure for “I, Chihuahua’s” above-average budget, but perhaps not the experience, although having some scenes of “Pinocchio” made there has “opened the doors for more major productions,” he notes. “Annecy giving our country a big recognition was something vital that has been pursued and earned for years now and I, for one, am very thankful,” says Del Toro.
Mexico’s massive presence as the country of honor at Annecy is no mean feat, taking organizer Pixelatl at least a year to put together the programs and secure the classic and recent short films to showcase. “We had to speak to the widows of some of these animation artists and get their works restored,” says Pixelatl founder-CEO Jose Iñesta. Mexican film institute, Imcine, helped in the recovery of at least 11 shorts, some dating back from the 1930s. For Annecy’s tribute to Mexico, Iñesta teamed up with seven renowned Mexican animation pros SofĂa Carrillo, Ana Cruz, LucĂa Cavalchini, Tania de LeĂłn Young, Lourdes VillagĂłmez, Christian Bermejo and Jordi Iñesta, to curate and organize the nine programs comprising 88 short films, 39 of which are directed by women and 29 produced by Imcine. While Imcine’s incentives program allots some funds to animation, they are small sums divvied up among live action, animation and other formats. Limited state support is one of the reasons why Pixelatl, an association dedicated to the creation and promotion of Mexico’s multimedia content, was born. According to Imcine, it has backed six animated features and 12 shorts in the past three years. Last year, it backed only one animated feature and five shorts while this year it has supported three features and three shorts. Private funding is just as scant. “The television networks are keener to invest in telenovelas than in animation,” observes Iñesta. Its annual festival in early September showcases Mexico’s animation, comic and video game industries, while offering training, recruitment and a market where screenings, panels and pitches are held. A host of deals on notable projects were forged at Pixelatl, including hit series “Frankelda’s Book of Spooks,” “Toontorial,” and “Villainous” that were picked up by Warner Bros. Discovery Kids & Family. JosĂ© Iñesta Credit Mau Olivares Paganoni “Some 12 years ago, when Pixelatl started, there were around three people working in animation in Mexico, now we have a proper animation industry, thanks to Pixelatl,” says Iñesta. It has become a key event for studio executives from the likes of Cartoon Network, Disney, etc. Among its many activities is Ideatoon, a call for pitch bibles of animated projects of which eight are selected from the multiple entries to participate in Pixelatl’s pitching sessions. Secuenciarte calls for graphic novels or comic books. First launched in 2014, it has led to the publication of 32 comic books, some selling out at a rapid clip. Chinelos is a call for shorts from both local and international animation students and another category for international entries. Winners will be given passes to participate in the Pixelatl Festival. Paal calls for illustrated books for children ages 5-7 that is open to Latin American residents from the ages of 15 upwards. The five shortlisted projects will participate in the festival’s pitching sessions from which a winner will be picked. Each year, Pixelatl chooses a creative partner who, inspired by the year’s manifesto, develops an animated promotional short film for the festival, from which all the art and graphic images are derived. This edition counts on Lucy Animation, an all-female animation outfit from Colombia, to be Pixelatl’s creative partner. Pixelatl’s manifesto this year is “Dare to Believe,” says Iñesta, who adds that socio-political events tend to inspire the manifesto. In the year Trump became president, its manifesto was “Diversity.” After the pandemic that forced them to go online for two years, the manifesto was “We Need Each Other,” he relates. It’s keeping Aula, its online platform, running. Launched during the pandemic, it has proven useful in broadening their reach. “What is Mexican animation? It’s a group of talented Mexicans who keep on telling stories despite the host of economic challenges they face,” Iñesta concludes. The 2023 Pixelatl Festival runs Sept. 5–9.
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