Annecy Selects 17 Feature Films For 2015 Edition

Three features that will screen in competition at Annecy this year (l. to r.): "Miss Hokusai," "Aadam," and "Long Way North."

Three features that will screen in competition at Annecy this year (l. to r.): “Miss Hokusai,” “Aadam,” and “Long Way North.”

The Annecy International Animated Film Festival, which has already announced its shorts and TV competition lineup, has revealed its 2015 feature film selections.

Annecy received a record 73 feature film submissions—a testament to the thriving state of feature filmmaking internationally. Seventeen feature films were selected overall, eight of which will screen in competition and nine out of competition. The features, many of which are co-productions, originate from 14 different countries: Austria, Belgium, Canada, China, Colombia, Czech Republic, Denmark, France, Japan, Latvia, Luxembourg, Russia, Slovakia, Spain, and the United States.

COMPETITION SELECTIONS

  • Adama by Simon Rouby (France)
  • April and the Twisted World (Avril et le monde truqué) by Franck Ekinci, Christian Desmares (France)
  • aprilandtwistedworld

  • Long Way North by Rémi Chayé (Denmark, France)
  • Miss Hokusai by Keiichi Hara (Japan)
  • Mune by Alexandre Heboyan, Benoît Philippon (France)
  • Possessd (Pos eso) by Samuel Orti (Spain)
  • Sabogal by Juan José Lozano, Sergio Mejía Forero (Colombia)
  • The Case of Hana & Alice by Shunji Iwai (Japan)

OUT-OF-COMPETITION SELECTIONS

  • Banished by Diego Guerra (Colombia)
  • Dragon Nest: Warriors’ Dawn by Yuefeng Song (China)
  • Eden’s Edge by Gerhard Treml, Leo Calice (Austria, USA)
  • edensedge

  • Extraordinary Tales by Raúl Garcia (Belgium, Spain, USA, Luxembourg)
  • Little from the Fish Shop by Jan Balej (Czech Republic, Slovakia, France)
  • Mortadelo and Filemon: Mission Implausible (Mortadelo y Filemón contra Jimmy el Cachondo) by Javier Fesser (Spain)
  • Rocks in My Pockets by Signe Baumane (USA, Latvia)
  • Stand By Me Doraemon by Takashi Yamazaki, Yagi Ryuchi (Japan)
  • The Snow Queen 2 by Alexey Tsitsilin (Russia)


  • Marco_Sensei

    My only problem here is that over 8 films in competition, 4 are french and 2 Japanese, one Spanish, and one from Columbia… Those seem like good films to me but, well… 50% of the competition coming from the same country ?? It’s kind of looks like Overkill here. That’s not what I expect from an International Animation Festival. And I have to tell, I’m french and I have friends who worked on some of those selected films, so it pains me to say that… But It’s still doesn’t feel right. :(

    • Jakob

      Quality is quality, where it is produced shouldn’t matter.

    • Louise

      One aspect to consider is that French films might aim for Annecy more than films from other countries. They could even hold back a cinema release until after Annecy fest is over. For them there is a great benefit in being part of the festival because of additional media attention in France. If the film has already been released in French cinemas its ineligible for the competition.

      • Marco_Sensei

        Sad fact : None of the Annecy winners have done a great score in theater release in France… None… Not even the french ones. And some of the Non-french never showed up in theater despite of winning the Crystal. So there is no Great Benefit other than some media coverage before release, and that’s really not enough.

        Sorry for being so negative but I really would like to be proved wrong. If any of you got one example of a film that have been in Annecy and it gave it wing, I’m all ears.

        I Still question the selecting process of who is in competition and who is not. Ernest & Celestine was Out Of Competition the year it was at the Festival, and it seem so wrong at the time. :/

        • AmidAmidi

          When a film festival functions properly, its role is to reward films with artistic merit, not films that might be financially successful at the box office. Your argument that none of Annecy’s Cristal winners have done well at the box office is, therefore, not relevant to the discussion, since box office success isn’t the point of recognizing the films in the first place.

  • Beamish Kinowerks

    Really curious about Iwai’s CASE OF HANA & ALICE, which is a prequel to a live action film he made over a decade ago. He’s certainly not the first Japanese filmmaker to cross over from live action to animation (Suzuki Seijun made a LUPIN III flick and Oshima Nagisa’s BAND OF NINJA arguably counts), and I’m really excited to see what he’s made

  • Ravlic

    Oh yes, I’ve seen some bad French animated features, but some of the best animated films I’ve seen are also French. Having a lot of bad movies is normal when you produce a lot of movies in general and even the bad French features at least have decent production values, so you can actually gather people who know what they’re doing if you want to make a feature. I’m not going to share the trailer of our last animated feature. Suffice it to say it had a lot of rotoscoping, only one voice actor, bad cgi and a logo that I’m pretty sure was Papyrus font.

    I don’t mean to say France is some juggernaut of animation at the level of Japan or US, but currently you’re the only ones aside from them making anything good and I think that’d mean a lot to someone who’d want to make movies. Yes, the schools are pricey and the movies don’t pay off but that’s infinitely better than having no education and no movies to speak of. No other country in Europe regularly produces animated features and makes them look professional.
    Now, why France is the only one doing animation, I’m not sure. My country is small so financing is difficult, but I don’t see Germany or Britain making any strides in animation either. Maybe it’s tied to the comic book industry, or just the fact that you have lots of great movies and animators under your belt.

    • Joris

      I think the French have a long heritage in producing and embracing their own culture, and that includes animation. That’s why France operates a strongly subsidized cultural policy. I always have the feeling that at least 1 out of 3 European features seem to have their roots in France, as there just seems to be much bigger interest and support to get it through this first starting-up phase. Then they reach out to other countries for co-production and additional funding.
      Mind you, I’m not French (I live in Belgium), so perhaps my impression is wrong ;) . I would gladly hear Marco’s (or any French) opinion on this…