You will be redirected back to your article in seconds

France’s Annecy Intl. Animation Film Festival Joins ‘Los Amigos de La Liga’

The Annecy Intl. Animation Film Festival will be part of Amigos de la Liga (Friends of the League), a new partnership initiative set up by La Liga, the animation alliance created to promote the Ibero-American animation sector worldwide, comprising Spain’s Quirino Awards, Argentina’s Animation! and Mexico’s Pixelatl Festival.

The announcement was made at a panel which took place Dec. 4 at Ventana Sur’s Animation! under the title La Liga Presents: Ibero-American Animation Around The World.” Annecy Festival was already a strategic partner of Ventana Sur, the French festival participating in the selection of pitched Animation! projects.

As part of the new deal, Focus Animation!— Annecy’s pitching sessions linked to Ventana Sur’s Animation!— will be renamed as La Liga in Focus. Other new developments are under consideration, Cornillon revealed told Variety.

Conceived with the aim of analyzing the Ibero-American animation presence at international events and the global expansion of the sector, the panel shed light on the sector’s strengths and challenges.

Some of the conclusions drawn by participants and at the round table were that Latin American animation production is clearly increasing in quality, industry competitiveness and presence at international festivals. The sector needs, however, to strengthen a common legal framework of co-operation in the region. Animation is a complex sector that requires a huge co-operative effort and Ibero-America is a good location for this, due to the language, among other reasons.

Popular on Variety

Panelists at the event were Quirino Awards promoter José Luis Farias, Mexico’s Pixelatl director José Iñesta, Animation! co-ordinator Silvina Cornillon and Santiago de Chile’s MAI Chilemonos artistic director Erwin Gómez Viñales. The panel was moderated by animation expert and journalist Gerardo Michelin at Latam Cinema.


Five countries stand out in terms of the number of submitted animated works to Annecy during the last yeas: Brazil, Argentina, Mexico, Colombia and Chile.

According to figures provided by MIFA, Annecy’s market, 11 Latin American titles have been awarded at Annecy since 2009–taking in features, shorts, TV and VR. It’s remarkable that in the last three years, six works (55% out of 11) received kudos in Annecy-

Annecy submissions from Latin America represent 6% of the world total over the three last years- 548 works out of a total of 9,130. In terms of projects, selected pitches from Latin America stand as 11% of the total. In 2019, four pitched projects were Latin American, out of a total of 37.

“The number of projects and their quality are growing every year. This is also true in Ventana Sur selection,” Annecy MIFA head Véronique Encrenaz told Variety.

She added: “When we were working alongside Silvina, we began to discover projects of high visual quality and originality, with their own aesthetics, infrequent in other countries. There’s also a new kind of story, more contemporary or futuristic, less legends.”

Encrenaz also underlined the importance of screenplays. “Latin American animators should probably stick to strengthening writing and storyboarding if they want to excel at internatianal events.”

“There are two main elements,” Iñesta . A first is the growing number and size of studios in Latin America, which allows production muscle to create original content, co-produce, or provide services. The second is the vastness of the market in Latin America.

According to the Quirino Awards-backed White Paper, including Latin America, Spain and Portugal, the 23-countries region includes 867 animation production companies, 261 animation training centers, 26 animation associations and 92 animation events.


This year Ibermedia, the pan-regional audiovisual fund, allocated 25% of its development incentives to animation. In dollar terms, it’s an increase of 649% compared with 2018 figures– from $22,000 to $142,854.  Aggregating animation development and co-productions aids, that total rises to $342,854.

Ibermedia co-production-distribution co-ordinator Victor Sánchez told Variety that change in the Latin American animation industry is a reality. In addition to previous figures, animation projects have been valued higher by analysts than the average total of projects: 69.87 against 65.41 points in the case of development, and 71.87 against 65.86 in the case of co-production, in both cases out of a total of 100, Sánchez added.



Iñesta emphasized that Latino audiences are a natural, avid consumer of content and that producing close to the market helps to build audiences and to professionalize the industry, which is still very young in Latin America.

Farias pointed out: “The international audience is largely Latino— if we count all Spanish and Portuguese-speaking countries it’s a good piece of the cake, without forgetting the U.S. Latinx community, whose new generations are increasingly seeking to reaffirm their origins by consuming products closer to their culture and customs.”


Iñesta cited a comment made by Paramount Animation EVP Sandra Rabins –awarded at Pixelatl this year: “I care about local stories, Latin stories that we don’t know but we want to know in the U.S. and the world.

Cornillon emphasized that the identity of Latin American production lies in the type of stories and visual worlds offered by the projects: “A good balance between the indigenous and universal appeal; highly competitive production costs. The capacity of professionals has grown significantly in recent years. New generations of professionals are bolder and more ambitious in creating and live more globally connected,” she told Variety.


The challenges the region faces are the “lack of fiscal incentives that would allow large productions to stay in the region. Although some countries already have them. We also need different support mechanisms in different countries to be aligned, so that the Latin American studios can co-produce together,” Iñesta said.

“Latin American animation is like a family whose members are spread out over many countries, who are rarely able to meet, but are nevertheless closely connected. Hence the importance of the animation festivals held in the region,” said Michelin, adding that the obvious challenges now are the political issues in the region. There’s also an urgent need for a common legal frame in accordance with paradigm change in a global industry.

On Dec 6, La Liga will announce a project among this year’s Animation! pitched projects to be awarded with a prize consisting of an invitation to attend Tenerife’s Quirino Awards and Cuernavaca’s Pixelatl. Last year the first La Liga winner was Alfredo Soderguit and Alejo Schettini’s “Two Little Birds,” a co-production between Uruguay’s Palermo, Buenos Aires’ Can Can and Paris-based Autour de Minuit. Comedy series “Two Little Birds” is currently in an advanced production.

CREDIT: Can Can Club

More Film

  • Chosen Ones Artwork

    The Yellow Affair Picks Up Swedish YA Sci-Fi/Thriller ‘Chosen Ones’ (EXCLUSIVE)

    GÖTEBORG, Sweden — Scandi sales shingle The Yellow Affair has added to its Göteborg lineup the Swedish series “The Chosen Ones” (“Det Utvalda”), currently playing on Swedish pubcaster SVT’s streaming service SVT Play. The short form sci-fi thriller stars a strong Swedish female cast of model-turned actress Frida Gustavsson (“Swoon”), singer/actress Amy Deasismont (“Gösta”, “My [...]

  • A still from LANCE by Marina

    'Lance': Film Review

    Late in the film “Lance,” a documentary that depicts the ascent and the crash of disgraced cyclist Lance Armstrong, the subject recalls the disappearance of his lucrative sponsorships. These deals — with a massive market value and a perhaps more important intangible value of keeping him in the public eye as a figure of rectitude [...]

  • Palm Springs

    'Palm Springs' Breaks Sundance Record for Biggest Sale Ever -- By 69 Cents

    Andy Samberg’s “Palm Springs” has just broken the record for the biggest sale in the history of the Sundance film festival — by $0.69. A joint announcement on Monday from Hulu and indie distributor Neon confirmed the existential comedy was purchased for $17,500,000.69, in a sale brokered by UTA Independent Film Group. That figure exceeds [...]

  • The Truffle Hunters

    Sundance: Sony Pictures Classics Buys 'The Truffle Hunters'

    Sony Pictures Classics has acquired worldwide rights to “The Truffle Hunters” out of the Sundance Film Festival. The pact is for $1.5 million, according to an insider. The documentary follows a handful of men in Piedmont, Italy as the search for rare and expensive white Alba truffles. It’s a lifestyle that is off-the-grid, one without [...]

  • Saweetie62nd Annual Grammy Awards, Arrivals, Los

    When 'Birds of Prey' Came Calling, 'I Passed Out,' Says Saweetie

    “Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn),” the R-rated girl gang-driven comic book actioner starring Margot Robbie and directed by Cathy Yan, bows in theaters Feb. 7 — the same date its equally female-driven soundtrack drops. And the latter even has its own trailer.  The film’s playlist includes tracks by Megan [...]

  • The Evening Hour

    'The Evening Hour': Film Review

    A small town already down on its luck receives a few fresh kicks in “The Evening Hour.” Based on Carter Sickels’ 2012 novel, this second narrative feature from director Braden King is more plot-driven than his first, 2011’s “Here,” a leisurely and slight, if pleasant, road-trip romance. Indeed, there may be a little more content [...]

  • Ntare Guma Mbaho Mwine, Zainab Jah,

    'Farewell Amor': Film Review

    There are small, telling differences in the way each of the three long-separated main characters in “Farewell Amor” remembers the day of their reunion. Standing at JFK, awkwardly clutching a bunch of flowers to give to the wife and child he has not seen in 17 years, Walter (Ntare Guma Mbaho Mwine from “The Chi”), [...]

More From Our Brands

Access exclusive content