We speak to the directors behind “Daughter,” “Memorable,” “Kitbull,” “Sister,” and “Hair Love.”
Spider-Man, Nazis, Steve Jobs: this two-and-a-half-minute anijam has it all.
The director of Netflix’s “Klaus” tells Cartoon Brew why he made his groundbreaking 2d feature, despite initially disliking the story.
Shorter festival windows, easy access to digital production tools, and uninhibited explorations of sexuality are just some of the recent developments in the world of animated shorts.
The veteran director talks to us about “Primal,” his series-turned-feature, currently in the running for an Oscar.
The live-action director and producer of the tv special explain how they staged one of the most surreal scenes in the franchise’s history.
As the National Film Board of Canada moves to a new headquarter, its senior animation producers tell us what kinds of filmmakers they’re looking for.
Director Jérémy Clapin walks us through the making of his new feature “I Lost My Body.”
Bill Morrison is the latest comic artist whose artwork made someone else rich.
“Klaus” brings hand-drawn animation back — but it also pushes it forward. The film’s artists tell Cartoon Brew how they created the film’s unique look.
In his debut feature “The Tower,” Grorud draws on personal experience to tell a story of Palestinian refugees that spans five generations.
A director talks us through the ups and downs of making a low-budget cg animated feature.
“It’s really in vogue to evoke old things to roll your eyes at them and sneer at them, and we really don’t want to do that.”
In 2017, John Morena set out to make 52 shorts in a year. The animator talks to Cartoon Brew about the one-of-a-kind project that is “Area 52.”
Dozens of Latin American series have been optioned, and moved into development and production thanks to the Ideatoon competition.
Thurop Van Orman, creator of “The Marvelous Misadventures of Flapjack,” makes the most of his feature directorial debut.
“If you have an idea for a short that involves story, for God’s sake don’t do it in vr.”
Antín harnessed pre-Columbian iconography as the basis for the film’s character and production design.
The film screened last week in the Contrechamp Feature Film competition of the Annecy festival.
“Funan” opens today in Los Angeles.