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A collection of mind-expanding films, inspiring artists, and insights into the animation process to fuel your creative practice.

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Monday Shorts

Make your Mondays a little more pleasant with a newly curated short film each week, plus our insights into why we love them.

A mysterious creature stands with outstretched arms under a glowing light

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GIRAF20 Awards

NewsNov 26, 2024

We’re proud to share the winners of this year’s jury and audience awards for GIRAF20!

dreamlike image of an island help up by a sliver of land. Surrounding it are small pieces of earth strung up by glowing organic-looking balloons. From Small Garden by Shunsuke Saito (2015)

Animation festivals sometimes get flack for leaning towards hand-drawn films over digital ones, and there’s definitely some truth to that. But if more of those CG films were easy on the eyes as Saito’s work, I think you’d see that balance shift pretty quickly.

bright magenta background, and an illustration of a grotesque multi-mouthed creature eating food ravenously. From Peter Folde's Hunger (1974)

In watching Hunger, it doesn’t take long to see that the software’s decisions on how to ‘tween aren’t exactly the same as what your average human animator would choose.

NO FREE SWIM THIS SATURDAY image, with a light green background and dark blue text

We're gearing up for our 40th anniversary reunion (event To be Posted!) and need the classroom for some preparations!

manila paper background, simple illustrated bunting along the top of the image, and a bunch of o, O and 0 characters with various other letters and colours sprinkled throughout the rest of hte space.

Rendered on a portable typewriter, you can see the film as Johnson’s daydreams manifesting through a dreary day job, the excitement of early aviation rendered in a few pieces of punctuation and some dabs of colour.

From Simon Gerbaud's saVer (2015) - image of a shoe cut in half.

It’s hypnotic in a way that’s hard to describe, like staring at a fire—there’s something in the pattern of movement that’s just inherently compelling.

Cut paper painted in pastels, an image of a man wearing thick glasses, a yellow and red checkered shirt and black slacks sits at a desk looking at a typewriter. He is holding his neck in pain from slouching. In the top left of the frame, there is a hand holding the handle of an umbrella.

unlike most cut-out animation, which tends to treat its canvas like a two-dimensional platform, Voltova is more than willing to push her camera angles and distort her perspectives; it makes for a much more dramatic and energetic piece of animation than paper cut-out usually allows.

digital illustration of a blue cat with red eyes pouncing on a black and yellow snake with red eyes and teeth

The CRT glow and chunky lines recall old Amiga art, and the constant morphing between keyframes gives the whole thing an eerie feeling—more of a ghost of technology past than an exercise in nostalgia.

Lori Damiano's film compresses a lot of wisdom into 15 minutes, on the difference between observation and experience, the burdens created by the past and the future, the need for appreciation of simple moments.

Black screen with white text that reads, "EVERYTHING"

It tells you the things the game will let you discover—it can even be useful in showing you the frame of mind the game is meant to be played in—but it's a different piece of art from the game itself.

Bright crayon-illustrated image of a yellow frog-like character at the bottom of the frame with a big open smile and many teeth. The background is bright teal and turquoise stripes coming from the character , and unevent block letters in the same yellow as the character read "BREAK FAST"

Dr. Breakfast isn't exactly normal, but it is straightforward, mixing a crisp, traditionally cartoony style, an easy-to-follow narrative and a sense of humour that's alternately manic and deadpan.

GIRAF19 Awards

NewsNov 25, 2023

We’re proud to share the winners of this year’s jury and audience prizes at GIRAF 19!

Calling all emerging filmmakers: What To Do When You Finish A Film is a resource meant for you whether your work was made in a class, on a kitchen table, or in a dark little studio! From Joanne Fisher's talk during GIRAF19

a point-of-view shot of someone's feet sticking out of the water. The colour palette is very muted. The text below it reads 
"OFFICIAL SELECTION 2012 SUNDANCE FILM FESTIVAL"

The pervasive sense of melancholy, the dream-like story structure, the dark, dry humour; all of them create a mood that's hard to describe and equally hard to forget. 

Image of a cute blue character wear ing a chef hat lifting a large yellow oven spatula into a pizza over in a small cabin.

In his words, it's "a lamentable tragedy mixed full of pleasant mirth," but the mirth is mostly in the contrast between Cross' golden age animation style and his willingness to follow through on a premise to its bitterest conclusion.

Pencil drawing o fa woman holding her face in her hands, her eyes are closed and she has long hair

Sijia Ke's film Pear is based on a true story. Maybe. It's based on a story, in any case — one that Ke was listening to on the radio, despite not speaking the language it was broadcast in.

Illustration of a bird-man wearing a blue-green suit holding a gun of some sort that looks like it's spewing radio waves (colours red, white and blue) into the sky. From One Year, One Film, One Second a Day by the Brothers McLeod

For an entire year, the McLeod's drew one second of animation each day, basing it on something they had seen, heard or read over the course of the day, with a little creative license for good measure.

Three characters are looking off-screen to the right. The leftmost character is a character with an elephant face, and elephant faces for arms. The middle scaracter looks lik ea furry being wearin gan owl mask. The third character has antlers, and three faces stacked on top of each other like a Totem pole

Anne Breymann's 2017 film Nachtstück is, in a word, weird. Not in the hand-wavy, dismissive way that word is often used, as in "that was weird, I don't get it." Nachtstück is weird in a deeper, more unsettling way, the way that horror writer H.P. Lovecraft articulated almost a century ago in his essay Supernatural Horror in Literature