Cartoon Forum 2025 - Press Review (Part 2) by CARTOON

Press Review Part 2

The First Special Insert by EAJ at Cartoon Forum

by Editorial Team —9 September 2025in Focus on, Highlights

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Welcome to the very ifrst special insert of the European Animation Journal, and what better way to kick things off than at Cartoon Forum! In this handy pocket edition, we dive into the heart of Europe’s top

event for TV animation projects.

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https://www.europeananimationjournal.com/2025/09/09/the-ﬁrst-special-insert-by-eaj-at-cartoon-forum/

event for TV animation projects.

https://www.europeananimationjournal.com/2025/09/09/the-ﬁrst-special-insert-by-eaj-at-cartoon-forum/

This new pocket edition highlights key highlights of Cartoon Forum event, organised by Cartoon. Among them, we can mention the Animation UK initiatives to bridge UK and European Animation; the special Bologna Children’s Book Fair delegation at the event; and the animation projects from Catalonia, promoted by ICEC Catalan Films

Among the projects selected, there is a growing focus on environmental awareness, diversity, and inclusion, themes that carry strong relevance for today’s younger audiences. Another signiifcant development is the increasing number of projects aimed at Young Adult viewers, relfecting animation’s expanding reach across demographics.

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Adding its own distinctive touch, the Journal has introduced a Transmedia Tip for every featured project. This new editorial element provides suggestions on how intellectual properties could extend beyond the screen, opening doors to new platforms and storytelling formats.

As Media Partners of Cartoon Forum, the European Animation Journal team is eager to see the projects presented and to follow their journey as they evolve into successful IPs across Europe and beyond.

As Media Partners of Cartoon Forum, the European Animation Journal team is eager to

The First Special Insert by EAJ at Cartoon Forum - The European Animation Journal

viewers,

demographics.

Ifyouwanttoreadthespecialinsert, click here.

As Media Partners of Cartoon Forum, the European Animation Journal team is eager to see the projects presented and to follow their journey as they evolve into successful IPs across Europe and beyond.

The team of EAJ will attend Cartoon Forum. If you plan to be there and wish to catch up with us, you can ifx a meeting by clicking here

See you soon in Toulouse!

Tags: European Animation Journal special insert

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[Cartoon Forum] The Unique Hub for European Animation

Annick Maes, General Director at CARTOON, guides us through this year’s edition, discusses trends and gives us an insight into upcoming projects.

by Editorial Team —10 September 2025in

, Focus on, Highlights

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The Cartoon Forum is neither a festival nor a traditional trade fair — it is a European co-production forum dedicated to TV and platform animation programmes. For three days, producers from across Europe pitch their projects to a concentrated gathering of broadcasters, investors, and potential partners.

In this relaxed yet highly professional setting, participants strengthen commercial ties, meet new contacts, and accelerate ifnancing deals, with one in three projects securing ifnancing within just 2 to 3 years of presentation. Annick Maes, General Director at CARTOON, guides us through this year’s edition, discusses trends, and gives us an insight into upcoming projects.

>>>> Read our Cartoon Forum Special Insert

CARTOON’s initiatives signiifcantly contribute to shaping the conversation within the European Animation Industry. How can Cartoon Forum open up to new possibilities?

Since its creation in 1990, the Cartoon Forumhas been the key event for pitching pre-selected TV animation projects. Here co-productions are ifnalised, pre-buys agreed, distribution deals negotiated, rights options discussed, and secondary rights licensed.

Over the years, 1,017 projects – with a combined budget of €3.69B – have secured ifnancing and gone into production or been broadcast worldwide. Nearly 40% of the projectspresented at Cartoon Forum achieves ifnancing and enters production.

Cartoon Forum plays a crucial role in structuring the European animation market by creating a strong network of transborder cooperation, rebuilding trust, and proving that the EU offers a wealth of highquality animation.

Annick Maes, General Director at CARTOON

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Annick Maes, General Director at CARTOON

What is the vision for the 2025 edition?

In recent years, the animation industry has faced signiifcant challenges due to the ongoing economic crisis, which has led to ifnancing diiffculties and a decrease in the number of projects being approved. Producers are increasingly in need of new leads, partners, and funding opportunities to address critical budget gaps. In 2025, CARTOON is

21/10/2025, 17:14

[Cartoon Forum] The Unique Hub for European Animation - The European Animation Journal

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responding with targeted initiatives aimed at supporting producers and meeting the current market needs.

The Fill the Gap platform provides an opportunity for producers who pitched at Cartoon Forum in the last three years and are still seeking ifnancing. The initiative is designed to connect these producers with potential partners, secure ifnal ifnancing, and expedite the production process by enhancing exposure and networking opportunities.

In the frame of the Animated UK Meets Europe initiative, three exciting UK animation projects will be presented in a dedicated session, complementing the main pitching programme. To emphasize the importance of cross-border collaboration, there will be a panel on the signiifcance of co-productions. The discussion will bring together leading European buyers and broadcasters to share insights and success stories, creating an opportunity to celebrate achievements and address any barriers as the focus shifts toward EU funding alliances.

>>>> Read the full interview in our Cartoon Forum Special Insert Tags: Cartoon Forum special insert Previous Post

Horizons Industry. Project Pool & Media Pool 2025. List of projects announced! Next Post

[Cartoon Forum] Animated UK Meets Europe: Rebuilding EU Creative Bridges Post-Brexit

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Fill the Gap platform

[Cartoon Forum] ICEC: New Projects from Catalonia

Each year, the Catalan region brings fresh ideas and innovative projects to the world of European animation. Cartoon Forum offers the perfect stage to showcase them to the market.

by Editorial Team —15 September 2025in Focus on, Highlights

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Each year, the Catalan region brings fresh ideas and innovative projects to the world of European animation. Cartoon Forum offers the perfect stage to showcase them to the market.

https://www.europeananimationjournal.com/2025/09/15/icec-new-projects-from-catalonia/

Below is what’s new from Catalan Producers at Cartoon Forum 2025.

ANTÓN PIÑÓN

Target: Preschool

Format: 52 x 7’ – 2D

Genre: Adventure/Comedy/Friendship

Producer: Imagic TV

Co-Producer: NHK Enterprises

Antón Piñón follows the endearing misadventures of a clumsy yet loving blue lemming who lives in a vibrant forest with his wise — and delightfully unpredictable — grandma Abuela, along with his 27 chaotic siblings. Antón’s best friends — Violeta, playful and full of giggles; Modesto, sporty and practical; Benito, thoughtful and cautious; and Beatriz, the brave adventurer — are always ready to join the fun. From dodging bath time to exploring the forest or tumbling into sticky, messy situations, Antón and his friends discover that the best part of any adventure is sharing it with family and friends, no matter how wonderfully chaotic life becomes.

ANTÓN PIÑÓN

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a clumsy yet loving blue lemming who lives in a vibrant forest with his wise — and delightfully unpredictable — grandma Abuela, along with his 27 chaotic siblings. Antón’s best friends — Violeta, playful and full of giggles; Modesto, sporty and practical; Benito, thoughtful and cautious; and Beatriz, the brave adventurer — are always ready to join the fun. From dodging bath time to exploring the forest or tumbling into sticky, messy situations, Antón and his friends discover that the best part of any adventure is sharing it with family and friends, no matter how wonderfully chaotic life becomes.

ANTÓN PIÑÓN

>>>> Read the article in our new EAJ’s issue.

NOME IS AN ISLAND

Target: Upper Pre-school

Format: 26 x 7’ – 2D

Genre: Educational/Friendship/Inclusion

Producer: To Blink Animation

21/10/2025, 17:09 [Cartoon Forum] ICEC: New Projects from Catalonia - The European Animation Journal

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Co-Producer: Imagic TV

NOME IS AN ISLAND

Nome is an Island is a series about empowering stories of children who are teased or bullied, but who discover strength and self-conifdence in the very traits they were once mocked for. Set by the sea and the beach, the series uses imagination and playful transformations to show characters becoming sea creatures—sharks, sea urchins, octopuses, seashells—or, like Nome, even an island. With each adventure, the show inspires young viewers to rise above negativity and embrace what makes them unique.

SAN MISTERIO

Target: Kids

Format: 26 x 11’ – Cut-out

Genre: Adventure/Comedy/Mystery

Producer: Mago Production

Co-Producer: Mistral Films Studio

San Misterio adapts the universe of the comic El enigma de los mensajes , created by Carlos Sallas, though it does not follow the original plot. The story centers on Luna, a girl who moves to a small mountain town full of secrets, adventures, and humour. Over the course of the series, she uncovers a hidden past connected to witches— essential ifgures of folklore reimagined from a contemporary perspective. With a relatable tone and universal themes such as female empowerment, connection to nature, and the discovery of family history, the series resonates widely. Its 2D tradigital animation further enriches the magical settings, where anything can happen.

SAN MISTERIO

Sallas, though it

the original plot. The story centers on Luna, a girl who moves to a small mountain town full of secrets, adventures, and humour. Over the course of the series, she uncovers a hidden past connected to witches— essential ifgures of folklore reimagined from a contemporary perspective. With a relatable tone and universal themes such as female empowerment, connection to nature, and the discovery of family history, the series resonates widely. Its 2D tradigital animation further enriches the magical settings, where anything can happen.

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LIMBO VILLE

[Cartoon Forum] ICEC: New Projects from Catalonia - The European Animation Journal

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Target: Kids

Format: 26 x 11’

Genre: Adventure/Comedy/Mystery

Producer: Mago Production

Co-Producer: Mistral Films Studio

LIMBO VILLE

Limbo Ville follows Alex, a 12-year-old girl who, after losing her two mothers, discovers that ghosts are real. With her eccentric godmother Mimi and Mimi’s partner Cuqui, she runs a real estate agency for spirits to avoid returning to the orphanage. Yet Alex’s true mission is personal: to ifnd out if her mothers have also become ghosts. Set in the strange city of Limbo Ville, the series blends comedy, mystery, and supernatural adventure, while exploring grief, resilience, and family. Aimed at kids, its humor and fantasy also appeal to older children and a broader audience.

ThisprojectisintheFilltheGapinitiative

>>>> Read the article in our new EAJ’s issue.

Tags: cartoonforum catalananimation catalanregion icec

[Cartoon Forum] Nurturing Creativity: Our Selected Preschool projects

[Cartoon Forum] Endeless Adventures: Our Selection of Upper School Projects

Editorial Team

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SAN MISTERIO

[Cartoon Forum] Movimenti Hits Italy with Two Animated Series for Young Audiences

From a moving tale of resilience to a whimsical fantasy world, Movimenti Production showcase once again its commitment to high quality storytelling that blends emotional depth with imaginative fun.

by Editorial Team —12 September 2025in Focus on, Highlights

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NEWSFOCUS ONREVIEWSEVENTSCOMING SOONLAWS & RULESTALENTS

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SCHOOLSBEYOND ANIMATIONWORLDWIDE

From a moving tale of resilience to a whimsical fantasy world, Italy’s leading independent animation studio Movimenti Production showcase once again its commitment to high quality storytelling that blends emotional depth with imaginative fun.

SuperHappyMagicForest

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After debuting on CBBC and BBC iPlayer last year, the quirky kids’ comedy series

Super Happy Magic Forest is making its way to Italian television. Presented at Romics, and after a preview of the ifrst 26 episodes on RaiPlay, the complete series (52×11’) will begin broadcasting on Rai Gulp starting September 8, with simultaneous availability on RaiPlay.

Based on Matty Long‘s popular book series, this animated show brings together young audiences and families through laughter and exciting fantasy adventures. Super Happy Magic Forest is a comedy-quest adventure series featuring ifve brave heroes: Hooifus the faun, Blossom the unicorn, Herbert the gnome, Twinkle the fairy and Trevor the mushroom. Brought together by a love of picnics and frolics, they battle villains and have a jolly good time.

>>>> Read our Cartoon Forum Special Insert

The series ifrst launched in the UK in October 2024, achieving a remarkable 171% increase compared to the slot average among kids aged 4 to 15 on CBBC, becoming the #3 brand on the channel over Christmas. Additionally, it has found success beyond the screen, with four CBBC web games and a Roblox platform game as part of BBC’s Wonder

Super Happy Magic Forest

Two Animated Series for Young Audiences - The European Animation Journal

European Animation Journal- 09/2025

Magic Forest is a comedy-quest adventure series featuring ifve brave heroes: Hooifus the faun, Blossom the unicorn, Herbert the gnome, Twinkle the fairy and Trevor the mushroom. Brought together by a love of picnics and frolics, they battle villains and have a jolly good time.

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>>>> Read our Cartoon Forum Special Insert

21/10/2025, 17:12 [Cartoon Forum] Movimenti Hits Italy with Two Animated Series for Young Audiences - The European Animation Journal

NEWSFOCUS ONREVIEWSEVENTSCOMING SOONLAWS & RULESTALENTS

SCHOOLSBEYOND ANIMATIONWORLDWIDE

Copperbeak–TalesfromtheFarm

Created by the team behind Mr Bean: The Animated Series, the show is produced by Tiger Aspect Kids & Family, with Movimenti Production, Monello, and Zodiak Kids & Family https://www.europeananimationjournal.com/2025/09/12/special-insert-movimenti-hits-italy-with-two-animated-series-for-young-audiences/ 2/7

Produced by Movimenti Production and Ideacinema, in collaboration with Rai Kids, Copperbeak – Tales from the Farm (39×7’) tells the heartwarming adventures of a goose chick who has a copper prosthesis instead of a beak. Recently arrived at the farm, he has already made some friends and will soon discover that what seems like an impediment can actually become a superpower.

The new mixed techniques pre-school series, based on the book Becco di Rame by Alberto Briganti, was produced with the support of MiC – Direzione Generale Cinema e Audiovisivo and will be available on Rai Kids.

– Tales from the Farm France (all part of Banijay Kids & Family). The show has also launched with Canal+ in France, ABC in Australia, and ZDF in Germany.

The national premiere of the series took place at the 55th Giffoni Film Festival during a special event for the 300 young jurors aged 3 and up. The young audience iflling the theatre wore caps branded with the logo of the new animated series and met Eva Angilè, the young star of the liveaction sequences that frame each episode.

The animation sequences are directed by Andrea Castellani, while Paolo Turro directed the live-action scenes featuring the little girl Ara, portrayed by Angilè.

>>>> Read the full article in our Cartoon Forum Special Insert

Tags: Cartoon Forum Copperbeak - Tales from the Farm Movimenti Production

Super Happy Magic Forest

Cartoon Forum Tributes 2025 Set To Recognise European Animation Latest Achievements

Post

[Cartoon Forum] Where Stories Take Shape Across Platforms: BolognaRagazzi CrossMedia Awards 2026

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Copperbeak

[Cartoon Forum] Animated UK Meets Europe: Rebuilding EU Creative Bridges Post-Brexit

Kate O’Connor, Executive Chair of Animation UK, talks about the return of the Animated UK Meets Europe initiative.

by Editorial Team —11 September 2025in Events, Highlights

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Kate O’Connor, Executive Chair of Animation UK, talks about the return of the Animated UK Meets Europe initiative. Together, we discussed how opportunities like this can be instrumental in strengthening European partnerships and showcasing the talent and creativity of the UK in European markets.

Animation UK is a collective voice for the animation industry in the UK, aiming to support businesses and celebrate UK excellence on the international stage. What does this partnership with Cartoon Forum mean for you?

For Animation UK, supported by BBC Children’s and Education, this partnership is an opportunity to shine a spotlight on the UK’s distinctive talent, storytelling, and creative excellence. While the UK producers can only participate in the Cartoon Forum as a minority co-production partner due to the post-Brexit framework, the event still offers a vital platform to share in-progress work, connect with European and international partners, and showcase the next generation of creators. Cartoon Forum enables us to reinforce the UK’s continued commitment to European collaboration.

>>>> Read our Cartoon Forum Special Insert

What are the challenges for UK animation in dealing with Europe after Brexit? What steps are you taking to overcome them?

Kate O’Connor, Executive Chair of Animation UK

22/10/2025,

[Cartoon Forum] Animated UK Meets Europe: Rebuilding EU Creative Bridges Post-Brexit - The European Animation Journal

European Animation Journal- 09/2025

minority co-production partner due to the post-Brexit framework, the event still offers a vital platform to share in-progress work, connect with European and international partners, and showcase the next generation of creators. Cartoon Forum enables us to reinforce the UK’s continued commitment to European collaboration.

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>>>> Read our Cartoon Forum Special Insert

What are the challenges for UK animation in dealing with Europe after Brexit? What steps are you taking to overcome them?

One major challenge has been the loss of access to Creative Europe MEDIA funding, a vital source of development ifnance for animated projects and co-productions. To address this gap, Animation UK continues to make the case for rejoining and replicating Creative Europe. We are active members of Animation in Europe and work closely with the BFI to shape new funding opportunities.

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Our recent pamphlet Blueprint for Sector Growth calls for an uplift in international coproduction funding and policy alignment with European frameworks, including IP retention and sustainability standards.

Although the UK rejoining Creative Europe was not recommended in recent Government announcements, there has been some progress, notably an increase to targeted co-production support via the UK Global Screen Fund from 2026 onwards.

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The UK may be outside the EU, but we remain ifrmly inside the European creative conversation.

Recently, Sky has moved away from producing original UK content. This shift adds to the growing crisis in the children television and the change of children’s viewing habits. What is the current state of UK animation?

The UK animation industry remains a world leader in creativity, storytelling and innovation and is increasingly recognised as a vital sector. Valued at £1.7 billion and employing 1320.000 people, the sector has the potential to double in size, boost exports and create regional jobs.

Currently we are in the midst of a perfect storm for children’s content with changing viewing habits, declining PSB investment, and market failure. This is a global situation, and one that is equally stark in the UK. Sky’s decision to exit UK-originated commissions is part of a broader retreat by broadcasters, leaving the BBC as the last major commissioner of UK children’s content, and now the number one commissioner of children’s content globally.

Children have shifted toward platforms like YouTube and TikTok, where discoverability and regulation are signiifcant concerns. They spend nearly three hours a day on screens, with 88% of users between 3 and 17year-olds using YouTube as their primary platform. But this shift has outpaced commissioning and funding models. Most digital platforms don’t commission UK content or support development pipelines. We’re advocating for metadata lfags for PSB content, algorithmic prioritisation, and a cross-platform to improve discoverability. We’re also exploring YouTube-ifrst animation formats, educational tie-ins, and distribution tax relief to help creators compete in this space.

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Amelia Fang, produced by CAKE Entertainment and DCM (Germany)

[Cartoon Forum] Animated UK Meets Europe: Rebuilding EU Creative Bridges Post-Brexit - The European Animation Journal

The European Animation Journal- 09/2025

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(Germany)

YouTube and TikTok, where discoverability and regulation are signiifcant concerns. They spend nearly three hours a day on screens, with 88% of users between 3 and 17year-olds using YouTube as their primary platform. But this shift has outpaced commissioning and funding models. Most digital platforms don’t commission UK content or support development pipelines. We’re advocating for metadata lfags for PSB content, algorithmic prioritisation, and a cross-platform to improve discoverability. We’re also exploring YouTube-ifrst animation formats, educational tie-ins, and distribution tax relief to help creators compete in this space.

22/10/2025, 10:15 [Cartoon Forum] Animated UK Meets Europe: Rebuilding EU Creative Bridges Post-Brexit - The European Animation Journal

https://www.europeananimationjournal.com/2025/09/11/special-insert-animated-uk-meets-europe-rebuilding-eu-creative-bridges-post-brexit/ 3/7

On a more practical level, Animation UK supports its members by providing access to experts to support investment readiness, advice on new business and digital ifrst strategies, helping producers understand new funding models. We’ve also called for the introduction of an Animation Development Fund and a platform-agnostic Content Investment Fund to support creators navigating this complex environment.

>>>> Read the full interview in our Cartoon Forum Special Insert

Tags: Animation UK

Editorial Team

Riga IFF: Spotlight on Baltic Animation  21 OCTOBER 2025

From Belgium to the World – Smurfing Peyo’s Legacy  17 OCTOBER 2025

‘Migali’ Spins a New Web at Moon-Keys  15 OCTOBER 2025

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[Cartoon Forum] The Unique Hub for European Animation Next Post

[Cartoon Forum] The Bologna Children’s Book Fair on the Move: Bridging Creativity

[Cartoon Forum] The Bologna Children’s Book Fair on the Move: Bridging Creativity

By attending Cartoon Forum, the Bologna Children’s Book Fair reaiffrms its status as a unique opportunity to take IP beyond the pages of a book and the screen.

by Editorial Team —11

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By attending Cartoon Forum, the Bologna Children’s Book Fair reaiffrms its status as a unique opportunity to take IP beyond the pages of a book and the screen. We discussed it with Elena Pasoli, Director at the Bologna Children’s Book Fair.

How does BCBF’s partnership with Cartoon Forum align with the fair’s evolving vision?

The BCBF, along with the Bologna Licensing Trade Fair/Kids and BolognaBookPlus, continues to evolve, increasingly focusing on initiatives that create connections among the key players in content creation for children, teenagers, and young adults.

the

In line with it, Cartoon Forum serves as an ideal bridge between our fair and the European animation sector. It fosters the development of relationships that can be translated into new projects, resulting in a more diverse offering for our audience and opening up new creative and commercial possibilities. Thanks to a naturally formed partnership motivated by this shared interest, BCBF is proud to lead a delegation of seven Italian publishers to Toulouse, in collaboration with ICE. This initiative promotes an exchange between Italian publishing and European representatives of the audiovisual industry, reinforcing the fair’s fundamental role as a bridge between cultures and traditions.

Elena Pasoli, Director at

Bologna Children’s Book Fair

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bridge between our fair and the European animation sector. It fosters the development of relationships that can be translated into new projects, resulting in a more diverse offering for our audience and opening up new creative and commercial possibilities. Thanks to a naturally formed partnership motivated by this shared interest, BCBF is proud to lead a delegation of seven Italian publishers to Toulouse, in collaboration with ICE. This initiative promotes an exchange between Italian publishing and European representatives of the audiovisual industry, reinforcing the fair’s fundamental role as a bridge between cultures and traditions.

Elena Pasoli, Director at the Bologna Children’s Book Fair

>>>> Read our Cartoon Forum Special Insert

BCBF’s involvement in the Cartoon Forum marks a signiifcant opportunity to promote the TV/Film Rights Centre. How does it facilitate collaboration between the publishing, audiovisual, licensing, and gaming industries?

21/10/2025, 17:14 [Cartoon Forum] The Bologna Children's Book Fair on the Move: Bridging Creativity - The European Animation Journal

The TV/Film Rights Centre, established in 2024, serves as an ideal meeting point between the publishing and audiovisual industries on an international scale. With a dedicated matchmaking service, we are attracting producers who attend the BCBF seeking https://www.europeananimationjournal.com/2025/09/11/special-insert-the-bologna-childrens-book-fair-on-the-move-bridging-creativity/ 2/7

innovative stories and characters. Networking opportunities for audiovisual professionals also extend to the licensing sector, which has been part of the fair for 18 years, as well as to gaming, with the Games Business Centre launched in 2025 in collaboration with the Frankfurter Buchmesse. Bologna stands out as a unique opportunity to take IPs beyond the pages of a book and screens, a journey that began several years ago with the establishment of the BolognaRagazzi CrossMedia Award. This annual prize is awarded to the best projects developed from children’s and young adult books that have been successfully expanded to other platforms, and also recognises stories that originate from different media and are successfully adapted into print.

For the 2026 edition, we plan to offer an even richer programme, including pitch sessions for audiovisual producers who wish to present their IPs, and the enhancement of the portfolio review format to facilitate encounters between animation studios and emerging illustration talent.

Toulouse serves as the ifrst stop of the Grand Tour, the autumn journey where the BCBF showcases its best initiatives to a global audience, strengthening the Fair’s relationships.

Following its preview at GamesCom in Cologne and its ifrst stop in Toulouse, the fourth edition of our Grand Tour – made possible by the support and collaboration of ICE and MAECI – will next pass through the Frankfurter Buchmesse. Here, the BCBF will showcase a selection of the best in international illustration. The tour will continue to the China Shanghai International Children’s Book Fair, co-organized by BolognaFiere, which provides an annual opportunity to highlight one of the world’s most dynamic publishing markets, and then make its way to the Feria Internacional del Libro de Guadalajara, a key event for the entire Latin American and Spanish-speaking publishing industry.

Lastly, it will arrive at the Spielwarenmesse, the world’s most signiifcant international toy fair held annually in Nuremberg, and the Festival International de la Bande Dessinée d’Angoulême, one of the most prestigious comic book events globally. This will be a valuable opportunity to promote the Comics Corner, a business area created by BCBF in 2022 due to the steady growth of the comics sector. The tour will conclude in New York,

The BCBF delegation at Cartoon Forum 2024

The BCBF delegation at Cartoon Forum 2024

The tour will continue to the China Shanghai International Children’s Book Fair, co-organized by BolognaFiere, which provides an annual opportunity to highlight one of the world’s most dynamic publishing markets, and then make its way to the Feria Internacional del Libro de Guadalajara, a key event for the entire Latin American and Spanish-speaking publishing industry.

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21/10/2025, 17:14 [Cartoon Forum] The Bologna Children's Book Fair on the Move: Bridging Creativity - The European Animation Journal

where BCBF will host an exhibition of children’s books that explore the themes of the United Nations’ 17 Goals.

https://www.europeananimationjournal.com/2025/09/11/special-insert-the-bologna-childrens-book-fair-on-the-move-bridging-creativity/ 3/7

>>>> Read the full interview in our Cartoon Forum Special Insert

Tags: BCBF Bologna Children’s Book Fair

[Cartoon Forum] Animated UK Meets

Europe: Rebuilding EU Creative Bridges Post-Brexit

Editorial Team

Cartoon Forum Tributes 2025 Set To Recognise European Animation Latest Achievements

FOCUS ON COMING SOON EVENTS

From Belgium to the World – Smurfing Peyo’s Legacy

 17 OCTOBER 2025

‘Migali’ Spins a New Web at Moon-Keys

 15 OCTOBER 2025

Mipcom Cannes 2025 Attracts Over 10 600 Delegates

 15 OCTOBER 2025

HIGHLIGHTS HIGHLIGHTS EVENTS

Rainbow’s Winx Club

Revival Is A Global Smash-

Moon-Keys International Content Tunes Up Line-Up

Call for Entries for the CEE Animation Workshop 2026

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[Cartoon Forum] Where Stories Take Shape Across Platforms: BolognaRagazzi CrossMedia Awards 2026

22/10/2025, 10:32 [Cartoon Forum] Where Stories Take Shape Across Platforms: BolognaRagazzi

This prestigious recognition established in collaboration with the Mamamò Association and presented annually at the Bologna Children’s Book Fair since 2021, honours exceptional narrative projects for children across various formats, including books, animation, podcasts, video games, apps, and immersive media.

22/10/2025, 10:32 [Cartoon Forum] Where Stories

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From the immersive universe of Star Papa (Book Gorae, 2025) to the creative digital playground of Atelier de création Fonfon (Fonfon, 2023), and the elegant balance of print and app in I Love English 5–8 (Bayard Jeunesse, 2025), the BolognaRagazzi CrossMedia Award keeps celebrating the art of storytelling beyond the page for the sixth consecutive year.

>>>> Read our Cartoon Forum Special Insert

The award is judged by an International Jury and consists of two main categories. The CrossMedia Project acknowledges outstanding publishing projects that have successfully expanded across books, television, cinema, games, mobile devices, or smart speakers, as well as stories initially created in other media that have been transformed into exceptional printed works. The Digital Reading Experience

Take Shape Across Platforms: BolognaRagazzi CrossMedia Awards 2026 - The European Animation Journal

CrossMedia Awards 2026 - The European Animation Journal

European Animation Journal- 09/2025

22/10/2025, 10:32 [Cartoon Forum] Where Stories Take Shape Across Platforms: BolognaRagazzi CrossMedia Awards 2026 - The European Animation Journal

Starting in 2026, there will be a third Special Category that highlights projects promoting Gender Equality and Environmental Sustainability, bridging both main categories.

Submissions for the 2026 edition are now open, with a deadline of January 31, 2026 Creators, illustrators, authors, producers, publishers, and studios are encouraged to submit their cross-media narratives and contribute to shape the future of storytelling.

More information online at https://www.bolognachildrensbookfair.com/en/ or via e-mail at bolognaragazzicrossmediaward@bolognaifere.it

>>>> Read the full interview in our Cartoon Forum Special Insert Tags: Bologna Children’s Book Fair Mamamò Association

[Cartoon Forum] Movimenti Hits Italy with Two Animated Series for Young Audiences

Editorial Team recognises excellence of mobile apps, platforms, content libraries or digital editorial series offering an outstanding digital reading experience.

[Cartoon Forum] Meet the Italian Delegation

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[Cartoon Forum] Meet the Italian Delegation

For the second year, the BCBF partnered with CARTOON to strengthen the connection between books and screen media and invited a delegation of Italian publishers to explore business opportunities at Cartoon Forum.

Editorial Team —12 September 2025in Focus on, Highlights

22/10/2025, 10:39

NEWSFOCUS ONREVIEWSEVENTSCOMING SOONLAWS & RULESTALENTS

SCHOOLSBEYOND ANIMATIONWORLDWIDE

Theo Collier, Rights Director of Feltrinelli Group

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After studying French and Italian literature at Cambridge University, Theo spent eight years working as an agent and Contracts Director at The Wylie Agency in London. Since 2011, he has been serving as the Rights Director of the Feltrinelli Group, one of the leading independent publishing companies in Italy, renowned worldwide.

This is the ifrst time that I have attended the Cartoon Forum and so I am very much looking forward to a new experience. I have handled iflm and television rights for authors and publishers for more than twenty years, and am eager to broaden my experience into the world of animations. Feltrinelli has an active catalogue of over 4,000 titles, including a publishing line devoted to Comics and Graphic Novels, which I hopewillbringinterestandinspirationtoproducersattending.

Giovanni Ferrara, Editorial Director at Coconino Press

Giovanni holds a degree in Contemporary History and has completed a master’s programme in creative writing. He began his career as an editor at Fandango, an independent iflm production and publishing group, and now serves as the Editorial Director of Coconino Press, one of Italy’s leading publishers of comics and graphic novels. He is also an author and a screenwriter, working on the animated iflm currently in development.

Theo Collier, Rights Director of Feltrinelli Group

[Cartoon Forum] Meet the Italian Delegation - The European Animation Journal

experience. I have handled iflm and television rights for authors and publishers for more than twenty years, and am eager to broaden my experience into the world of animations. Feltrinelli has an active catalogue of over 4,000 titles, including a publishing line devoted to Comics and Graphic Novels, which I hopewillbringinterestandinspirationtoproducersattending.

Giovanni Ferrara, Editorial Director at Coconino Press

22/10/2025, 10:39

[Cartoon Forum] Meet the Italian Delegation - The European Animation Journal

in our catalogue could lead to exciting collaborations between the worlds of graphic novelsandanimation.ParticipatingintheCartoonForumwillbeavaluableopportunityto bringthesetwoformsofvisualstorytellingtogether.

SCHOOLSBEYOND ANIMATIONWORLDWIDE

>>>> Read our Cartoon Forum Special Insert

Throughout its history, Coconino Press has been the leading publisher working to grow the graphic novel d’auteur genre in Italy. In an era when interest in animated stories is growing, we believe the vast collection of stories, artwork, and voices

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Roberta Ferrari, Head of Editorial at Rizzoli and Fabbri Ragazzi

Roberta has worked in publishing since 2006. She began her career as an editor for Italian ifction and non-ifction but shifted her focus to children’s publishing in 2012. In 2019, she became the Head of the Editorial Staff at Rizzoli and Fabbri Ragazzi, two historical publishing companies that are now part of the Mondadori Group.

We’ve always explored the worlds of animation and visual storytelling with curiosity, recognising the magic that emerges when words and images intertwine. Over the years, some of our most surprising and successful publishing adventures have grown from these encounters. Our presence at Cartoon Forum relfects a genuine desire to discover fresh ideas, explore new storytelling paths, and be inspired. We’re here to listen to stories, collaborate with their creators, and bringthemtoasecondlifeinchildren’sbooks.

Paola Corsini, Licensing and Dramatic Rights Specialist at Editrice Il Castoro

Paola is Licensing and Dramatic Rights Specialist with extensive experience in publishing, audiovisual, entertainment and licensing. Expert in IP development and

secondary rights management, she has built her professional career in different companies, both Italian and international. In the publishing ifeld, she has worked for a long time with Giunti Editore and, currently, with Editrice Il Castoro and Pelledoca Editore, both on NEWSFOCUS

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Theo Collier, Rights Director of Feltrinelli Group

Giovanni Ferrara, Editorial Director at Coconino Press

Roberta Ferrari, Head of Editorial at Rizzoli and Fabbri Ragazzi

Paola

Corsini, Licensing and Dramatic Rights Specialist at Editrice Il Castoro

SCHOOLSBEYOND ANIMATIONWORLDWIDE

the IP scouting front for the acquisition of licenses, and on the sale of iflm and television rights of books. She founded HAB, the ifrst Italian agency fully dedicated to book-to-screen IPs and rights.

Cartoon Forum is one of the most interesting, lively events to attend. It delivers a wide anddeepoverviewofwhat’snewinanimationproductionmarketinavibrantatmosphere. Anunmissableopportunity.

Lorenzo Rulfo, General Manager at Book On a Tree

Lorenzo is the Managing Director and CFO of the creative agency Book on a Tree, which he co-founded. Over the years, he has negotiated agreements worth over £3 million with international publishers and producers, and has supported numerous authors and companies in the complex ifeld of rights management.

Book on a Tree focuses on three things: listening to stories, nurturing them with passion, and sharing that passion with others. Cartoon Forum is the perfect stage to connectwithoutstandingproducersandtalents,andtobringdreamstoriestolife.

>>>> Read our Cartoon Forum Special Insert

Cristina Petit, Director at Pulce Edizioni

22/10/2025, 10:39

Cristina holds a degree in Language Studies and has over twenty years of teaching experience. She currently runs Pulce Edizioni, a publishing house dedicated to child development. In addition to her publishing work, she has written and illustrated more than 100 books, receiving numerous awards, and her works have been translated into multiple languages.

[Cartoon Forum] Meet the Italian Delegation - The European Animation Journal

NEWSFOCUS ONREVIEWSEVENTSCOMING SOONLAWS & RULESTALENTS

SCHOOLSBEYOND ANIMATIONWORLDWIDE

get to know each other is a great opportunity we shouldn’t take for granted. We hope to bringbackfreshideasthatalignwiththeopportunitieswewanttoexploreasapublishing house.

We aim to create connections through in-person interactions. Meeting people face to face fosters understanding and the potential for new ideas to emerge. Organisingsomethingwherehumanbeingscanmeetand

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Simona Scuri, Foreign Rights Manager at Edizioni San Paolo

Writer, book curator, folk dancer, event organizer, show presenter, actress and singer, she recorded music, fairy tales and audiobooks. Simona serves as Foreign Rights Manager at Edizioni San Paolo, on leading publishing company in religious studies and children’s literature.

Foreign Rights

San Paolo publishes approximately 300 new titles each year, so why not introduce them at Cartoon Forum? Our stories convey important values such as friendship, respect, sharing, love, patience, and trust—qualities that can be transformed into iflms, cartoons, or series. I am also eager to learn more about the industry professionals and the behind-the-scenes aspects of this ifeld, as it employs a different language than that of printedmedia.

Tags: BCBF cartoonforum

Lorenzo Rulfo, General Manager at Book On a Tree

Cristina Petit, Director at Pulce Edizioni

Simona Scuri,

Manager at Edizioni San Paolo

[Cartoon Forum] Nurturing Creativity: Our Selected Preschool projects

Our selection of Preschool Projects for this edition of Cartoon Forum. For each project, also our Transmedia Tips!

by Editorial Team —15 September 2025in Events, Highlights

21/10/2025, 17:10 [Cartoon Forum] Nurturing Creativity: Our Selected Preschool projects - The European Animation Journal

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Our selection of Preschool Projects for this edition of Cartoon Forum. For each project, also our Transmedia Tips!

Nurturing Creativity – Preschool projects

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FANCYPANTS

Animation / Format: 2D Computer / 52x 7’

Genre: Adventure, Comedy, Educational

Producers: JAM Media (IR)

Transmedia Tip: Music, Publishing, Plush, Educational Toys, Gaming

Fancypants is the animated preschool show that celebrates dressing up and the magic of imagination. Siblings Nancy (6) and Leo (4) dive into their dress-up box, giggling into wild costumes: a jellyifsh and a postie, a chicken and a teacher—why not? Once dressed, they WHOOSH into fantastical worlds: deserts, jungles, even a giant baby’s cot! In each adventure, they solve funny problems, invent rules, and adapt with curiosity and laughter—building empathy, creativity, and conifdence one costume at a time.

>>>> Read our selected projects in the new issue of EAJ

FAIRYTALE FRIENDS

Animation / Format: 2D Computer / 17 X 6’

FANCYPANTS

European Animation Journal- 09/2025

dressed, they WHOOSH into fantastical worlds: deserts, jungles, even a giant baby’s cot! In each adventure, they solve funny problems, invent rules, and adapt with curiosity and laughter—building empathy, creativity, and conifdence one costume at a time.

2/2

>>>> Read our selected projects in the new issue of EAJ

FAIRYTALE FRIENDS

17:10

Animation / Format: 2D Computer / 17 X 6’

Genre: Comedy, Educational, Friendship

Producers: Urrebuk (NL)

TransmediaTip: Publishing, Gaming, Educational Toys

Fairytale & Friends is a visual fairytale series that celebrates play, imagination, and friendship. With no spoken dialogue, but enhanced through expressive animation and musical narration, the show follows three inseparable companions in a vibrant fairytale https://www.europeananimationjournal.com/2025/09/15/special-insert-nurturing-creativity-our-selected-preschool-projects/ 2/7

FAIRYTALE FRIENDS

world: The Wolf, Little Red Riding Hood, and Tom Thumb. Guided by a Giant and an Owl, they embark on everyday adventures that often turn into charming chaos. While most stories occur in a whimsical fairytale forest, the real world sometimes appears, transforming familiar challenges into playful discoveries. Each episode begins with a simple, relatable childhood moment.

HI HOOPOE!

Animation / Format: 2D Computer / 52 X 7’

Genre: Adventure, Comedy, Diversity, Educational, Friendship, Musical

Producers: Animalps Productions (FR), Pulpy Productions (IT)

Transmedia Tip: Publishing, Toys, Gaming

Hi Hoopoe! tells the story of a small bird with a topknot. Each morning, he leaps from the Giant Tree, dives through the sea of clouds, and lands on the ground. Hoopoe is a tiny orange bird, funny and endearing, with a topknot that moves up and down. He can become a beloved character for preschoolers, an imaginary friend. Hi Hoopoe! has the potential to develop into a strong IP. Its charming artwork supports future expansions, which could include feature iflms. Starting with 52 episodes, the story naturally leads to many adventures inspired by nature’s endless surprises.

OH WOW!

21/10/2025, 17:10

Animation / Format: 3D Computer / 52 X 7’

Genre: Comedy, Educational, Friendship

Producers: Autour de Minuit (FR)

Transmedia Tip: Publishing, Educational Toys, Arts & Craft, Gaming

Oh Wow! follows 4-year-old Oliver and his best friend, Zelie the mouse, as they turn everyday moments into big, funny adventures. When their playful ideas cause

[Cartoon Forum] Nurturing Creativity: Our Selected Preschool projects - The European Animation Journal

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>>>> Read our selected projects in the new issue of EAJ

HI HOOPOE!

21/10/2025,

[Cartoon Forum] Nurturing Creativity: Our Selected Preschool projects - The European Animation Journal

[Cartoon Forum] Endeless Adventures: Our Selection of Upper School Projects

Our selection of Upper Preschool and Bridge Projects for this edition of Cartoon Forum. For each project, also our Transmedia Tips!

by Editorial Team —15 September 2025in Events, Highlights

21/10/2025, 17:09 [Cartoon

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Our selection of Upper Preschool and Bridge Projects for this edition of Cartoon Forum. For each project, also our Transmedia Tips!

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3 CAPTAINS

Animation / Format: 2D

Computer, Drawing, Painting / 26 x 8’

Genre: Action, Comedy, Diversity

Producers: Studio FILM BILDER (GE)

Transmedia Tip: Publishing, Gaming

The “3 Captains” are playful animals who dream of being pirates. But who gets to be in charge—Captain Pig, Captain Rabbit, or Captain Croc? To survive kidnappings, capers, and treasure hunts, they must join forces. Pirate life brings wild anarchy, but how does this ift with values like tolerance, solidarity, or the teamwork that parents and schools expect? This clash sparks the funniest entanglements. With her hit Animanimals , Julia Ocker has proven that her sharp designs and witty stories win children worldwide. 3 Captains , her second major series, promises to be even funnier, wilder, and wonderfully scruffy.

>>>> Read our selected projects in the new issue of EAJ

ACTION RABBITS

- Europa -

Animation / Format: 3D Computer, 52 x 11’30’’

Genre: Action, Adventure, Comedy Rescue Show

3 CAPTAINS

Forum] Endeless Adventures: Our Selection of Upper School Projects - The European Animation Journal

treasure hunts, they must join forces. Pirate life brings wild anarchy, but how does this ift with values like tolerance, solidarity, or the teamwork that parents and schools expect? This clash sparks the funniest entanglements. With her hit Animanimals , Julia Ocker has proven that her sharp designs and witty stories win children worldwide. 3 Captains , her second major series, promises to be even funnier, wilder, and wonderfully scruffy.

>>>> Read our selected projects in the new issue of EAJ

ACTION RABBITS

Animation / Format: 3D Computer, 52 x 11’30’’

Genre: Action, Adventure, Comedy Rescue Show

Producers: Blue Spirit Productions (FR), Atomic Cartoons (CA)

TransmediaTip: Toys, Gaming

21/10/2025, 17:09 [Cartoon Forum] Endeless Adventures: Our Selection of Upper School Projects - The European Animation Journal

Bunny’s best friends, Dutch, Harley, Rush, and Mash, are quick to leap into action on Hoppity Island. With their impressive skills

and technology, this talented team is always ready to save the day!

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CHOCOCAT

& ME

Animation / Format: 2D Computer, 52 x 11’

Genre: Comedy, Friendship, Inclusion

Producers: Somewhere Animation (FR) – Mediawan Kids and Family

Transmedia Tip: Other Publishing as Activity and Illustrated, Gaming, Toy

Chococat & Me is the animated adaptation of the comic book series created by Alexandre Arlène and Fabien Öckto Lambert, with four volumes already published. The show follows Louie, a boy who joins the whimsical Feline District, where all inhabitants are cats. Alongside his best friend Chococat, he sparks hilarious adventures that blend humour and imagination.

COCO

Animation / Format: 2D Computer Drawing / 52 x 7’

Genre: Adventure, Educational, Friendship, Nature Protection

Producers: Blue Light Pictures (CZ), Phanta Animation (NL)

TransmediaTip: Other Publishing Products, Educational Toys

COCO explores everyday adventures, big emotions, and the joy of learning through experience. At its centre is Coco—a curious, newly hatched little bird discovering the world step by step, with friends who bring humour, warmth, and surprises along the way. The series is inspired by Loes Riphagen’s acclaimed picture books, combining hand-crafted charm with storytelling rooted in nature. In every episode, Coco and friends discover that even the smallest moments can become the biggest adventures. The project offers a fresh and heartfelt voice to preschool animation.

GNOMES

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ACTION RABBITS

CHOCOCAT & ME

COCO

The European Animation Journal- 09/2025

and surprises along the way. The series is inspired by Loes Riphagen’s acclaimed picture books, combining hand-crafted charm with storytelling rooted in nature. In every episode, Coco and friends discover that even the smallest moments can become the biggest adventures. The project offers a fresh and heartfelt voice to preschool animation.

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GNOMES

21/10/2025, 17:09 [Cartoon Forum] Endeless Adventures: Our Selection of Upper School Projects - The European Animation Journal

Animation / Format: 3D Computer / 26 x 11’

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Genre: Adventure, Friendship, Sustainability

Producers: De Argonauten (BE), VRT-Ketnet (BE)

TransmediaTip: Publishing, Educational Toys

Gnomes follows the adventures of Doetzen and Linus, two twin gnome children who learn the ways of gnome life through trial and error. Their parents, David and Lisa – whom you may remember from the 1980s series David the Gnome – teach them everything a gnome needs to know, but believe that children learn more when they experience it themselves. The young gnomes explore the do’s and don’ts of life in the forest until they know it like the back of their hand. Everything they need, they can ifnd or make there. But above all, the young gnomes learn to coexist in harmony with each other and the forest.

>>>> Read our selected projects in the

HOLLY AND LUNA GO WOOF!

Animation / Format: 3D Computer / 52 x 11’

new issue of EAJ

Genre: Adventure, Comedy, Friendship

Producers: MITS Prod (BE), PGS Studios (FR)

TransmediaTip: Gaming, Toys, Activity Books

After Holly wishes for a dog under a shooting star, she and her big sister, Luna, wake up to an unexpected twist: every time someone says the word “dog,” they both transform—Holly into a Papillon, and Luna into a Bobtail. Between school, secrets, and squirrel-fueled chaos, the sisters bicker, bond, and stumble into one magical mess after another.

21/10/2025, 17:09 [Cartoon Forum] Endeless Adventures: Our Selection of Upper School Projects - The European Animation Journal

The series is a comedy about sisterhood and identity. With fast-paced storytelling, quirky characters, and a world built for laughter, the series

celebrates big emotions in small moments—and reminds kids that being different isn’t just okay… it’s woof-tastic.

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JAM & RE

Animation / Format: 3D Computer / 52 x 7’

Genre: Educational, Fantasy, Musical, Adventure, Friendship, Inclusion

Producers: The Hive Studio (GR), Telescope Animation (GE)

Transmedia Tip: Music products, Publishing,

GNOMES

HOLLY AND LUNA GO WOOF!

21/10/2025, 17:09 [Cartoon Forum] Endeless Adventures: Our Selection of Upper School Projects - The European Animation Journal

celebrates big emotions in small moments—and reminds kids that being different isn’t just okay… it’s woof-tastic.

JAM & RE

Animation / Format: 3D Computer / 52 x 7’

Genre: Educational, Fantasy, Musical, Adventure, Friendship, Inclusion

Producers: The Hive Studio (GR), Telescope Animation (GE)

Transmedia Tip: Music products, Publishing, Educational Toys, Gaming

Jam & Re is an animated preschool series in development by The Hive Studio and Telescope Animation. Set in the Kingdom of Sol, the show follows the beloved musical duo Jam the jester and his groovy sidekick Re, who demonstrate that music is mightier than the sword through rhythm, fun, and friendship.

LITTLE CAESAR

Animation / Format: 2D Computer Drawing / 25 x 5’

Genre: Disability, Educational, Sustainability

Producers: Immortal Films (IR)

TransmediaTip: Publishing, Activity Books, Gaming

Little Caesar celebrates the beauty of being different. Following a lfuffy lamb’s heartfelt quest for belonging among a forest of rescued misifts, this project shows that fresh voices can address big themes with wit, warmth, and visual lfair. Each episode will blend diversity, environmental awareness, and social inclusion into amusing adventures that resonate with every child who has ever felt like the odd one out. In a landscape eager for genuine storytelling, Little Caesar offers what families desire: entertainment with heart, humour with purpose, and heroes who demonstrate that being different is fabulous.

21/10/2025, 17:09 [Cartoon Forum] Endeless Adventures: Our Selection of Upper School Projects - The European Animation Journal

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MEOW CLIQUE

Animation / Format: 2D Computer / 52 x 11’

Genre: Comedy, Diversity, Friendship

Producers: Letko (PL), Studio Filmów Rysunkowych (PL)

TransmediaTip: Comics

In the charming (and a bit paw-litically complicated) border town of Cieszyn, an undercover detective squad is on the prowl… and they’re the cat’s whiskers! Meet Meow Clique, a purr-fectly coordinated gang of clever cats who, alongside the ever-confused oiffcer Valerie Koczy and the no-nonsense Commissioner Louis Prank, claw their way through the town’s most whisker-raising mysteries.

MORT AND MILLIE

JAM & RE

LITTLE CAESAR

MEOW CLIQUE

TransmediaTip: Comics

MORT AND MILLIE

Animation / Format: 2D Computer / 52 x 7’

Genre: Adventure, Comedy, Friendship, Nature, Life-Cycles

Producers: GS Animation / Grupa Smacznego (PL), Sphere Media (CA), Flickerpix (UK)

TransmediaTip: Graphic Novel, Gaming

Mort and Millie is a preschool animated series that follows the hilarious adventures of Mort, an excitable and softhearted rookie Grim Sweeper, and his sidekick, Millie, a fearless and matter-of-fact millipede, as they clean up dead creatures and help fulifl their last wishes.

ROC & LOLA

Animation / Format: 3D Computer Drawing, 26 x 7’

Genre: Adventure, Comedy, Diversity, Educational, Fantasy, Inclusion, Sustainability

Producers: Primal Shape (IT)

21/10/2025, 17:09 [Cartoon Forum] Endeless Adventures: Our Selection of Upper School Projects - The European Animation Journal

TransmediaTip: Publishing, Gaming, Educational Toys

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Despite their differences, Roc the Hedgehog and Lola the giraffe-shaped Balloon are best friends. They meet at the forest’s edge every day to play and explore, and each adventure not only brings them closer together but also teaches them about the wonders of nature, fostering a deep respect for the environment and its inhabitants.

SAM & WATSON

Animation / Format: 2D Computer, 78 x 7’

Genre: Comedy, Friendship

Producers: Piano Sano Films (FR)

TransmediaTip: Publishing, including Comics, Gaming

Sam & Watson is sharp, funny, and delightfully offbeat. Born from the little quirks of everyday life, its stories whisk our heroes into wild and unpredictable adventures. With a stand-up’s sense of wit, the show treats kids as clever partners in comedy, celebrating their boundless imagination. It’s a true co-viewing experience where imagination rules and nothing is too small to become epic.

>>>> Read our selected projects in the new issue of EAJ

SISSI & CAESAR

Animation / Format: Stop Montion, 26 x 7’

Genre: Adventure

MEOW CLIQUE

MORT AND MILLIE

ROC & LOLA

SAM & WATSON

SAM & WATSON unpredictable adventures. With a stand-up’s sense of wit, the show treats kids as clever partners in comedy, celebrating their boundless imagination. It’s a true co-viewing experience where imagination rules and nothing is too small to become epic.

>>>> Read our selected projects in the new issue of EAJ

SISSI & CAESAR

Animation / Format: Stop Montion, 26 x 7’

Genre: Adventure

Producers: Pangur Animation (SP), Tres Tercios (CL)

TransmediaTip: Plush, Gaming, Art & Craft

21/10/2025, 17:09 [Cartoon Forum] Endeless Adventures: Our Selection of

Rainbow penguins Sissi and César travel the world on a special mission: to protect nature’s colours and lfavours from the dreaded chromatic crisis. This threat endangers landscapes, ecosystems, and all who depend on them. Energetic Sissi uses boundless imagination to ifnd creative solutions, while rational César relies on knowledge and https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-endeless-adventures-our-selection-of-upper-school-projects/ 7/13

method. Together, they blend creativity and wisdom to overcome every challenge. From coral reefs to autumn forests, each mission brings discovery. As César explores unique lfavours and Sissi collects natural treasures, they demonstrate to young viewers the importance of biodiversity, culture, and friendship in caring for our planet.

THE ZZLI BROTHERS

Animation / Format: 2D Computer, TV

Special 30’

Genre: Adventure, Drama, Friendship, Political

Producers: XBO Films (FR)

TransmediaTip: Educational Products

Anna is a 10-year-old girl who lives alone in a cabin in the middle of the forest. She dreams of adventures from reading so much. Every day, she watches out for her friend, the bat, who delivers the mail. That evening, the bat asked Anna for a favour: could she take in an old bear friend, accompanied by his two brothers? They’ve come a long way and are exhausted. Over the days, the bear brothers and the little girl form a happy little family in the growing cabin. But the other animals take a dim view: bears are not liked in the village.

VET ACADEMY

Animation / Format: 3D Computer, 52 x 11’

Genre: Adventure, Comedy

Producers: Superprod Animation (FR), Red Monk Studio (IT)

TransmediaTip: Toys, Plushes, Gaming, Comics

Welcome to the Harmony Islands, an archipelago of exceptional landscapes and wildlife! Five children – Miko, Sun, Darri, Amanda and Noa – are selected to join the prestigious Vet Academy , a school dedicated to animal rescue and welfare. They are trained by their

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SISSI & CAESAR

THE ZZLI BROTHERS

Upper School Projects - The European Animation Journal

21/10/2025, 17:09 [Cartoon Forum] Endeless Adventures: Our Selection of Upper School Projects - The European Animation Journal

teacher Mia, who has designed the V-suits. These are animal-print suits that give them exceptional abilities! This V-Team will have to learn to work together to face poachers, collectors and natural disasters. Their mission: to protect, comfort and care for all animals!

ZEBRACAT

Animation / Format: 2D and 3D Computer, TV Special 26’

Genre: Comedy, Diversity, Friendship

Producers: VlinVlin (BE), Little Monster (CH)

TransmediaTip: Publishing, including Comics, Plush

Zebracat is a TV special and series for younger children about the adventures of two friends who live together in a caravan on an island in the middle of the great ocean. The island, with its unusual inhabitants, is their entire world. Every day, Ms. Sun rises to work, while Mr. Moon comes home to sleep. Then Zebracat and Pebble come out to play. The style is classic Ted Sieger—poetic, whimsical, and funny. There are no villains, just answers to life’s big philosophical questions. What will we have for breakfast? Why is Mr. Mollusc so narky? What will we do today?

>>>> Read our selected projects in the new issue of EAJ

Tags: BridgeProjects cartoonforum UpperPreschoolprojects

[Cartoon Forum] ICEC: New Projects from Catalonia

[Cartoon Forum] In the Name of Action and Fun: Our Selected Kids Projects

Editorial Team

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-endeless-adventures-our-selection-of-upper-school-projects/ 9/13

VET ACADEMY

ZEBRACAT

[Cartoon Forum] In the Name of Action and Fun: Our Selected Kids Projects

Our selection for the kids target is made of projects full of comedy, adventure, and several gaming and comics development opportunities! by Editorial Team —15 September 2025in Events, Highlights

17:09 [Cartoon

SHARESVIEWS

Our selection for the kids target is made of projects full of comedy, adventure, and several gaming and comics development opportunities!

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-in-the-name-of-action-and-fun-our-selected-kids-projects/ 1/12

ANIMALIES

Animation / Format: 2D and 3D Computer / 26 x 13’

Genre: Adventure, Friendship, Inclusion

Producers: Bionaut (CZ)

TransmediaTip: Comics, Gaming, Card Games

ANIMALIES

Animalies is a kids’ camp show about a group of friends who experience exciting adventures. Disability is acknowledged, but it is not the main challenge for either the characters or the series. The six friends all know each other from a club run by Richard, who teaches them camp skills. Now that summer has ifnally arrived, the kids can’t wait to go to the “Animalies” camp. But once they get there, things turn out to be more complicated than expected—not because of their physical disabilities, but because they are typical preteens! The series delivers its message through humor and exaggeration, with a balance between sensitivity and lightness.

BRO QUEST

Animation / Format: 3D Computer / 52 x 7’

Genre: Adventure, Comedy, Sci-Fi

Producers: Revelator Studio (IR)

21/10/2025,

Forum] In the Name of Action and Fun: Our Selected Kids Projects - The European Animation Journal

ifnally arrived, the kids can’t wait to go to the “Animalies” camp. But once they get there, things turn out to be more complicated than expected—not because of their physical disabilities, but because they are typical preteens! The series delivers its message through humor and exaggeration, with a balance between sensitivity and lightness.

BRO QUEST

Animation / Format: 3D Computer / 52 x 7’

Genre: Adventure, Comedy, Sci-Fi

Producers: Revelator Studio (IR)

TransmediaTip: Comics, Gaming

Bro Quest is for kids who love action platformer games. It’s about Rory, a tough-as-nails 10-year-old motormouth, and his deeply emotional rubber-badger buddy, Booch, who must navigate the absurd, hilarious, and often character-forging trials of a high-stakes video game they don’t know they’re in. This sprawling world of loot, combo moves, boss battles,

21/10/2025, 17:09 [Cartoon Forum] In the Name of Action and Fun: Our Selected Kids Projects - The European Animation Journal

eccentric NPCs, and the ever-present threat of running out of respawns might seem a little bonkers, but to Rory and Booch, it’s just another Tuesday.

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-in-the-name-of-action-and-fun-our-selected-kids-projects/ 2/12

>>> Read our selection of kids’ projects in the new issue of EAJ.

CREATURE COMBAT

Animation / Format: 2D Computer / 26 x 11’

Genre: Comedy, Educational, Science, Wildlife

Producers: Nice Ninja (DK)

Transmedia Tip: Comics, Card Games, Educational Science Toys

Is the wombat, with its square poops, or the poisonous funnel-web spider the coolest animal? Does the deep-sea toadifsh, with its giant teeth, take the prize—or is it the Mexican walking ifsh, which can regenerate almost any part of its body? And who wins when it comes to tapeworms that gnaw into our intestines versus the loa-loa parasite that crawls around inside our eyes? In Creature Combat , biologist Zoey and nature photographer Oliver compete to ifnd the coolest animal of the day.

FROSTHEART, THE SEVEN HEARTS OF DARKNESS

Animation / Format: 2D Computer / 26 x 22’

Genre: Adventure

Producers: La Chouette Compagnie (FR)

TransmediaTip: Comics, Gaming, Card Games and Board Games

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-in-the-name-of-action-and-fun-our-selected-kids-projects/ 3/12

BRO QUEST

CREATURE COMBAT

Animation / Format: 2D Computer / 26 x 22’

Genre: Adventure

09/2025

Producers: La Chouette Compagnie (FR)

TransmediaTip: Comics, Gaming, Card Games and Board Games

21/10/2025, 17:09 [Cartoon Forum] In the Name of Action and Fun: Our Selected Kids Projects - The European Animation Journal

For some time now, the peaceful stretches of the Snow Sea have been roiled by troubling tales. It seems that certain Leviathans, those venerable guardians of nature, have taken to attacking convoys and villages—for no apparent reason. Ash, a true protector of https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-in-the-name-of-action-and-fun-our-selected-kids-projects/ 3/12

Leviathans and his best friend Lunah, a young sleigh captain, decide to investigate these strange events. What they discover will lead them on an incredible journey, taking them to all four corners of the continent as they uncover the deepest, darkest secrets of the Snow Sea, notably that of the Seven Hearts of Darkness.

OLGA

Animation / Format: 2D Computer / 52 x 11’

Genre: Comedy, Inclusion

Producers: Fabrique Fantastique (BE), apartment11 (CA)

TransmediaTip: Activity Books, Educational Toys

Olga is a quirky 10-year-old girl. She is a brilliant, socially awkward scientist and lover of all animals. When she discovers Meh, a strange, slimy alien creature with a chaotic curiosity about humans, Olga embarks on a hilarious and adventurous quest to learn everything she can about Meh and, along the way, about herself and human nature

PEPPER

Animation / Format: 2D Computer / 52 x 11’

Genre: Action, Comedy, Diversity, Fantasy, Friendship

Producers: Millimages (FR), L’incroyable Studio (FR)

TransmediaTip: Comics, Gaming

21/10/2025, 17:09 [Cartoon Forum] In the Name of Action and Fun: Our Selected Kids Projects - The European Animation Journal

What if our dreams became reality? That’s precisely what Pepper experiences every day. Each morning when she wakes up, one element of her dreams literally appears in real life! This bizarre phenomenon sets off a chain reaction

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-in-the-name-of-action-and-fun-our-selected-kids-projects/ 4/12 PEPPER of chaos. Luckily, Pepper has a mysterious dream stone that may hold the key to reversing the enchantment. Now, she must ifgure out how to activate it before things spiral out of control.

PIKKY & RHINO

Animation / Format: 2D Computer / 78 x 7’

Genre: Adventure, Comedy, Friendship

Producers: Monello Productions (FR)

TransmediaTip: Comics

Pikky & Rhino is a lively comedy series that celebrates the unlikely yet heartwarming friendship between a big, gentle rhino and a tiny, talkative oxpecker bird. Inspired

FROSTHEART, THE SEVEN HEARTS OF DARKNESS

OLGA

21/10/2025, 17:09

of chaos. Luckily, Pepper has a mysterious dream stone that may hold the key to reversing the enchantment. Now, she must ifgure out how to activate it before things spiral out of control.

PIKKY & RHINO

Animation / Format: 2D Computer / 78 x 7’

Genre: Adventure, Comedy, Friendship

Producers: Monello Productions (FR)

TransmediaTip: Comics

Pikky & Rhino is a lively comedy series that celebrates the unlikely yet heartwarming friendship between a big, gentle rhino and a tiny, talkative oxpecker bird. Inspired by the real-life symbiotic relationship between these two animals, the series transforms their natural bond into a vibrant, humorous narrative iflled with charm, wit, and emotional depth.

PROUT

Animation / Format: Stop Motion / 52 x 7’

Genre: Comedy, Educational, Sustainability

Producers: Wajnbrosse Productions (BE), Mediawan Kids and Family (FR), ARTEM (FR)

TransmediaTip: Gaming, Educational Toys

Every day, the little Prouts—the inhabitants of the planet PROUT, a neighbour of planet Earth—are threatened by waste dumped onto their planet by lfying garbage trucks from Earth. Forced to deal with this pollution, the little Prouts—who are inventive, resourceful, curious, intelligent, and full of energy—try to repair and transform these broken objects, play with them, and then send them back to Earth, leading to a comical situation. Humorous but not didactic, the series raises children’s awareness of the need to recycle and respect all ecosystems, and, by extension, respect each other.

21/10/2025, 17:09 [Cartoon Forum] In the Name of Action and Fun: Our Selected Kids Projects - The European Animation Journal

SUPERCAT IS A DOG

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-in-the-name-of-action-and-fun-our-selected-kids-projects/ 5/12

Animation / Format: 2D Computer / 52 x 11’

Genre: Action, Adventure, Comedy

Producers: Les Armateurs (FR)

TransmediaTip: Comics, Gaming, Board Game

Krocket City is a place where cats and dogs live together in peace. Supercat works overtime to battle WOOF, a shadowy organization ruled with an iron paw by the formidable DoomShadow, a cunning dog determined to return power to the canines. When a clumsy hound named Doug accidentally knocks Mac (a.k.a. Supercat) unconscious, Supercat is forced to train him to take his place during his recovery. But the question remains: can Doug and Mac overcome their differences and succeed in their mission?

>>> Read our selection of kids’ projects in the new issue of EAJ.

Animation / Format: 2D Computer / 26 x 22’

PIKKY & RHINO

SUPERCAT IS A DOG

clumsy hound named Doug accidentally knocks Mac (a.k.a. Supercat) unconscious, Supercat is forced to train him to take his place during his recovery. But the question remains: can Doug and Mac overcome their differences and succeed in their mission?

>>> Read our selection of kids’ projects in the new issue of EAJ.

TEMTEM

Animation / Format: 2D Computer / 26 x 22’

Genre: Action, Comedy, Friendship

Producers: Marla Studios – Kiss a Frog (FR), Somewhere Animation (FR) – Mediawan Kids and Family

TransmediaTip: Publishing, Toys, Trading Cards, Board Games

TemTem brings the popular creature-collection video game universe to animation, following heroes from diverse cultures who must unite with their loyal TemTems to face thrilling battles and discover that their differences make them stronger. Mixing humour, depth, and dynamic storytelling, the series goes beyond homage to reinvent the genre. The TV series is commissioned by Super RTL, and distributed worldwide by Mediawan Kids & Family.

21/10/2025, 17:09 [Cartoon Forum] In the Name of Action and Fun: Our Selected Kids Projects - The European Animation Journal

THE NIMBUS

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-in-the-name-of-action-and-fun-our-selected-kids-projects/ 6/12

Animation / Format: 2D Computer, Live Action / 26 x 7’

Genre: Adventure, Friendship, Sustainability

Producers: Special Touch Studios (FR)

Transmedia Tip: “Green” and Educational Toys, Nonifction Books, Experiences

A vibrant, poetic series where each tale unveils nature’s hidden threats and the power to heal them through cooperation, resilience, and imagination. Deep in an ancient forest, unseen by humans, live the Nimbus— mysterious guardians with extraordinary gifts. One morning, high in the canopy, curious Litzia teaches young Noisette the secrets of pollination. But when Noisette, chasing a butterlfy, unleashes a mercury-born creature of pollution, the river darkens and life falters. To save their home, the Nimbus must unite and restore balance.

VAMPIRETTE & ME

Animation / Format: 2D Computer / 52 x 11’

Genre: Adventure, Comedy

Producers: Bayard Jeunesse Production (FR)

Transmedia Tip: Board Games, Card Games, Halloween-inspired products and experiences

Follows the silly and spooky daily life of Vampirette and Emma, two friends as different as they are inseparable. Vampirette is sunny and whimsical, Emma is weird and thoughtful, and, moreover, she is the only human in a school populated by vampires and other fantastical creatures. Set in the quirky world of the Nosferatu Manor, where gross is good and cute is taboo, the series offers a hilarious role reversal on everyday norms. Between failed spells, monster school rules, and surprisingly sweet friendships, Vampirette & Me delivers a refreshing mix of laughs, frights, and emotional depth.

TEMTEM

THE NIMBUS

VAMPIRETTE & ME

VAMPIRETTE & ME

21/10/2025, 17:09 [Cartoon Forum] In the Name of Action and Fun: Our Selected Kids Projects - The European Animation Journal

WIZZOS

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-in-the-name-of-action-and-fun-our-selected-kids-projects/ 7/12

Animation / Format: 2D Computer / 26 x 11’

Genre: Comedy, Fantasy, Friendship

Producers: Boulder Media (IR)

Transmedia Tip: Comics, Gaming, Card Games, Board Games

Set in Spelzburg, a fairytale town brimming with magic, the show follows twin brothers Hexley and Spellbert—the only inhabitants born without magic, though they don’t know it. Their single father, Wizwig, who also happens to be the town’s mayor, hides the truth by setting them up as Spelzburg’s oiffcial “pet ifnders.” Alongside their feisty cat, Whizkers (who is secretly their grandmother, trapped in feline form), the boys take on missing-pet cases that spiral into wild adventures—because returning magical creatures to their owners is a lot easier said than done! At its heart, Wizzos is a story about family in all its odd shapes, and about discovering fun and belonging in a world where you don’t quite ift.

Tags: cartoonforum kidsprojects

[Cartoon Forum] Endeless Adventures: Our Selection of Upper School Projects

Editorial Team

[Cartoon Forum] Comic Worthy Tales: Our Selected Tweens Projects

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-in-the-name-of-action-and-fun-our-selected-kids-projects/ 8/12

WIZZOS

[Cartoon Forum] Comic Worthy Tales: Our Selected Tweens Projects

Friendship, science ifction, and inner growth are among the key themes of the Tweens and Teens projects we have selected for our readers.

Editorial Team —15 September 2025in Events, Highlights

21/10/2025, 17:08

Friendship, science ifction, and inner growth are among the key themes of the Tweens and Teens projects we have selected for our readers.

ALFIE’S ALRIGHT!

SHARES 6 VIEWS

Animation / Format: 2D Computer / 26 x 11’

Genre: Comedy, Diversity, Folklore, Friendship, Gender, Inclusion, Sustainability

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-comic-worthy-tales-our-selected-tweens-projects/ 1/7

Producers: Animation Studio Iceland (IS)

TransmediaTip: Comics

A funny and outrageous episodic adventure about being the new kid in a strange new world! A young elf moves to the city with her newfound family and must ifgure out how to make friends, keep her elf-y nature a secret, and understand what all these strange humans are up to.

ATOMIC

Animation / Format: 2D Computer Drawing / 12 x 22’

Genre: Action, Educational, Sci-Fi

Producers: Studio Zmei (BG)

TransmediaTip: Comics, Digital Toys, Trading Cards

Atomic is an action series that seamlessly blends sci-if with educational storytelling. It follows a teenage girl named Willow, who’s determined to help her overworked engineer father—an old-school action hero—by taking on his heroic duty of protecting the city. With the support of her friends, Willow must defend the Eastern European–inspired Hope City from mutants, robots, and aliens—all while uncovering secrets from her father’s past, exploring the wonders of science, and navigating the challenges of everyday teenage life.

ALFIE’S ALRIGHT!

[Cartoon Forum] Comic Worthy Tales: Our Selected Tweens Projects - The European Animation Journal

TransmediaTip: Comics, Digital Toys, Trading Cards

>>> Read our selection of projects in the new issue of EAJ.

21/10/2025, 17:08

CAP KRAPOOL

[Cartoon Forum] Comic Worthy Tales: Our Selected Tweens Projects - The European Animation Journal

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-comic-worthy-tales-our-selected-tweens-projects/ 2/7

Animation / Format: 3D Computer / 13 x 22’

Genre: Action, Adventure, Comedy

Producers: Slam Créations (FR)

TransmediaTip: Comics, Gaming

In the heart of the Caribbean, the bold Captain Papool Krapool commands an eccentric crew aboard a most unusual ship: The Sea Slipper. He is joined by his 15year-old daughter, Saïné, whom he has raised alone, and by his older daughter, Akissa, who recently returned after leaving the family soon after Saïné’s birth, following the mysterious disappearance of their mother, Lehoona. One day, Akissa stumbles upon one of the ifve gems from her mother’s iconic necklace—a sign that Lehoona might still be alive. From then on, the sisters embark on a quest to ifnd the remaining gems, which perhaps uncover the truth behind their mother’s disappearance.

LYON – PLAGUE LAB

Animation / Format: 3D Computer Cout-out / 52 x 11’

Genre: Adventure, Friendship, Survival-Horror Comedy

Producers: Cartobaleno (IT), Vismanimation (IT), WGF (IT)

TransmediaTip: Comics, Gaming, Board Games

Lyon – Plague Lab is a darkly comic animated series inspired by gamer and creator Ettore Canu, known as Lyon. Three teens—Lyon, Anna, and Cico—are trapped in an underground lab by a mad scientist and must face grotesque mutant monsters symbolizing adolescent fears and insecurities. Their only refuge, a service elevator, becomes the base for a perilous ascent toward freedom. Each encounter represents the inner struggles of growing up, teaching the protagonists that only by facing their fears, supporting one another, and persevering, they can ifnd the strength to survive and truly mature

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-comic-worthy-tales-our-selected-tweens-projects/ 3/7

CAP KRAPOOL

LYON – PLAGUE LAB

[Cartoon Forum] Redefining Stories and Formats: Our Selected Young Adults Projects

Projects targeting Young Adults have signiifcantly increased at this edition of the Cartoon Forum, and they share a common trait: storytelling innovation.

by Editorial Team —15 September 2025in Events, Highlights

17:07 [Cartoon

Projects targeting Young Adults have signiifcantly increased at this edition of the Cartoon Forum, and they share a common trait: storytelling innovation. 2142

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-redeﬁning-stories-and-formats-our-selected-young-adults-projects/ 1/10

Animation / Format: 3D Computer / 8 x 45’

Genre: Action, Sci-Fi

Producers: The World of 2142 (SRB), Hampa Studio (ES)

TransmediaTip: Graphic Novel, Gaming

2142 is an animated series set in a futuristic, dystopian crypto world. The story unfolds in a society split between the digitally controlled Upper World and the chaotic, forgotten Lower World. In this divided society, a young girl named Sola embarks on a quest to discover her identity after accidentally assuming someone else’s digital identity and uncovering a mysterious code within her. As the world begins to unravel under the weight of the myth of Satoshi—an entity that might be a god or merely a program—Sola must decide whether to lfee, submit, or embrace a role she was never meant for, but one only she can fulifll.

CLOUT CHASERS

Animation / Format: 2D Computer Drawing / 10 x 11’

Genre: Comedy, Drama, Friendship

2142

21/10/2025,

Forum] Redeﬁning Stories and Formats: Our Selected Young Adults Projects - The European Animation Journal

a young girl named Sola embarks on a quest to discover her identity after accidentally assuming someone else’s digital identity and uncovering a mysterious code within her. As the world begins to unravel under the weight of the myth of Satoshi—an entity that might be a god or merely a program—Sola must decide whether to lfee, submit, or embrace a role she was never meant for, but one only she can fulifll.

CLOUT CHASERS

Animation / Format: 2D Computer Drawing / 10 x 11’

Genre: Comedy, Drama, Friendship

Producers: Turning Green Productions (BA)

TransmediaTip: Graphic Novel

After tasting their ifrst crumb of internet fame, KJ, Lucas, and Buckley decide they’d much rather make money from viral videos than a traditional 9-to-5 job. These three unemployed 20-somethings must do their best to forge their own path in the world of online

21/10/2025, 17:07 [Cartoon Forum] Redeﬁning Stories and Formats: Our Selected Young Adults Projects - The European Animation Journal

CLOUT CHASERS

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-redeﬁning-stories-and-formats-our-selected-young-adults-projects/ 2/10

content, shaping inlfuence and internet culture. This is the main premise of Clout Chasers: to get popular—no matter what! While often satirizing online content creation, inlfuencers, and internet trends in a tongue-in-cheek manner, Clout Chasers celebrates the cutting-edge creativity and trailblazing culture that young people have established through the internet.

>>>> Read our selected projects in the new issue of EAJ

FUNESTOPOLE CIRCUS

Animation / Format: 2D Computer / 10 x 15’

Genre: Action, Comedy, Sci-Fi

Producers: Werlen Ipsum (FR)

Transmedia Tip: Graphic Novel, Gaming, Board Game

FUNESTOPOLE CIRCUS

A 2D Western-Shonen comedy series where two allied bounty hunters will stop at nothing to escape a mad world ruled by absurd laws. Funestopole is a mining city at the bottom of a deep crater. The only way to escape this hell is to board a train reserved for Funestopolitan oligarchs. Two inhabitants of the slums, Pigro, a nonchalant hunter, and Ania, a ifery trainer, become unlikely allies through the force of fate, to become the best hunters in the city to secure their train ticket. Both dream of leaving the city, but only one will succeed, because after all, no rules apply in Funestopole.

LOLA, PORCO & PACO

Animation / Format: 2D Computer, Cut-out / 12 x 8’

Genre: Comedy, Folklore, Friendship, Political

Producers: Undodez Producións (ES)

Transmedia Tip: Publishing

Lola, Porco e Paco blends everyday humour with social satire in a Galician village at Finisterre, following three contrasting characters: Paco, an easy-going thirty-something; Porco, his best friend—a literal pig; and Lola, Paco’s sharp, restless ex. Their simple rural routines clash with the contradictions they absorb from screens, causing them to become

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-redeﬁning-stories-and-formats-our-selected-young-adults-projects/ 3/10

21/10/2025, 17:07 [Cartoon Forum] Redeﬁning Stories and Formats: Our Selected Young Adults Projects - The European Animation Journal

LOLA, PORCO & PACO

Producers: L’Incroyable Studio (FR)

Transmedia Tip: Graphic Novel

conspiracy theorists and feminists, activists and slackers, with their opinions shifting as quickly as the wind. Conceived as short, stand-alone 2D animated episodes for digital platforms, the series has support from AGADIC and Televisión de Galicia.

THE AMBUSH

Animation / Format: 2D Computer / 10 x 22’

Genre: Comedy, Political, Society

Deep in the jungle, Jackie Woodson ifghts to keep her seat as mayor of La Crosse. Challenged by her opponents and by the circumstances that brought her to the mayor’s chair, Jackie will do anything to hold on to power and take revenge on those who have hurt her or stand in her way.

WELCOME BACK CLARA

Animation / Format: 2D Computer / 20 x 4’

Genre: Family, Sisterhood

Producers: Les Valseurs (FR)

Transmedia Tip: Graphic Novel, Social Media Vlog

At 26, Clara moves back in with her mother, where her younger sister Rachel – and her cat – are already living. The family loves each other ifercely, laughs at everything, and argues about anything, from the most trivial matters to the latest headlines.

But there’s one subject no one addresses: their father’s illness and death from a few years ago. As Clara gradually comes to terms with her own

21/10/2025, 17:07 [Cartoon Forum] Redeﬁning Stories and Formats: Our Selected Young Adults Projects - The European Animation Journal

depression, the family’s hectic daily life begins to reveal the wounds of a loss they’ve never truly confronted.

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-redeﬁning-stories-and-formats-our-selected-young-adults-projects/ 4/10 WELCOME TO HAPPYCRACY

>>>> Read our selected projects in the new issue of EAJ

WELCOME TO HAPPYCRACY

Animation / Format: Stop Motion, Puppets / 10 x 5’

Genre: Comedy, Documentary, Well-being

Producers: Manégann Films (FR), XBO iflms (FR)

Transmedia Tip: Publishing, Vlog Social Media

THE AMBUSH

depression, the family’s hectic daily life begins to reveal the wounds of a loss they’ve never truly confronted.

>>>> Read our selected projects in the new issue of EAJ

WELCOME TO HAPPYCRACY

Animation / Format: Stop Motion, Puppets / 10 x 5’

Genre: Comedy, Documentary, Well-being

Producers: Manégann Films (FR), XBO iflms (FR)

Transmedia Tip: Publishing, Vlog Social Media

Welcome to Happycracy explores the many contradictions of humans in a constant quest for happiness. Each episode focuses on a different company that promises to make consumers happy. A microphone is handed out to customers and business managers: those who buy and those who sell wellness services. Everyone speaks out, until contradictions emerge and the situation spirals out of control. The dialogues are extracts from documentary interviews. They are embodied in stop-motion puppets. The puppets express themselves in front of the camera and will sometimes be placed in various situations.

YOJIMBOT

Animation / Format: 2D Computer / 10 x 26’

Genre: Action, Adventure, Friendship

Producers: Passion Paris Prodcution (FR)

Transmedia Tip: Publishing, Gaming, Board Game

The protagonist of the series is Hiro, a resilient but naive teenager who has spent his life in what he believes is an underground compound built to protect him from a past nuclear disaster on a remote Japanese island. When his father is killed while trying to escape, Hiro forms an unlikely alliance with four obsolete samurai-themed entertainment robots who become his protectors and new family. Hiro’s talent for bonding with technology is 21/10/2025,

21/10/2025, 17:07 [Cartoon Forum] Redeﬁning Stories and Formats: Our Selected Young Adults Projects - The European Animation Journal

only the beginning. With his companions at his side, he embarks on a perilous quest to uncover his family’s secrets and confront the mysterious entity ruling the island.

https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-redeﬁning-stories-and-formats-our-selected-young-adults-projects/ 5/10

Tags: animation cartoonforum youngadultsprojects Previous Post [Cartoon Forum] Comic Worthy Tales: Our Selected Tweens Projects Next Post [Cartoon Forum] Tales to Share: Our Selection of Family Projects

WELCOME TO HAPPYCRACY

YOJIMBOT

SCHOOLSBEYOND ANIMATIONWORLDWIDE

[Cartoon Forum] Tales to Share: Our Selection of Family Projects

Book-based projects can be enjoyed by all audiences and shared as family viewing experiences. Here is our selection from Cartoon Forum 2025 of projects targeting families.

by Editorial Team —15 September 2025in Events, Highlights

21/10/2025, 17:06

[Cartoon Forum] Tales to Share: Our Selection of Family Projects - The European Animation Journal

NEWSFOCUS ONREVIEWSEVENTSCOMING SOONLAWS & RULESTALENTS

SCHOOLSBEYOND ANIMATIONWORLDWIDE

Book-based projects can be enjoyed by all audiences and shared as family viewing experiences. Here is our selection from Cartoon Forum 2025 of projects targeting families. A TRIP WITH A DRIP

0 SHARES 4 VIEWS

Animation / Format: 2D Computer, Drawing / TV Special 30’

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Genre: Adventure, Disability, Friendship, Dramedy

Producers: gretels gold (D)

TransmediaTip: Puzzles and family games

In this TV special, Josephine Mark’s unique and touching graphic novel comes to life. Rabbit suffers from a serious illness and awaits treatment at the forest clinic. Wolf appears and is nearly shot by a hunter, but when Rabbit accidentally saves the predator’s life, the “wolf codex” compels Wolf to return the favor. A hilarious adventure full of fun, wisdom, and emotion unfolds.

>>> Read our selected projects in the new issue of EAJ.

MURPHY’S LORE

Animation / Format: 2D Computer / 8 x 22’

Genre: Adventure, Comedy, Folklore, Family

Producers: Adventurverse Studios (IR)

Transmedia Tip: Family Games as Cards or Board Games

Murphy’s Lore follows the Murphy family, whose campervan trip around Ireland is interrupted by ifgures

A TRIP WITH A DRIP

forest clinic. Wolf appears and is nearly shot by a hunter, but when Rabbit accidentally saves the predator’s life, the “wolf codex” compels Wolf to return the favor. A hilarious adventure full of fun, wisdom, and emotion unfolds.

>>> Read our selected projects in the new issue of EAJ.

MURPHY’S LORE

21/10/2025, 17:06

Animation / Format: 2D Computer / 8 x 22’

Genre: Adventure, Comedy, Folklore, Family

Producers: Adventurverse Studios (IR)

Transmedia Tip: Family Games as Cards or Board Games

Murphy’s Lore follows the Murphy family, whose campervan trip around Ireland is interrupted by ifgures and creatures from Irish folklore. The story centers on girl-crazy Eoin and magic-loving Katie, taken on this “boring” holiday by their dad Barry, who’s trying to reconnect after their big divorce. Also, along for the https://www.europeananimationjournal.com/2025/09/15/cartoon-forum-tales-to-share-our-selection-of-family-projects/ 2/8

[Cartoon Forum] Tales to Share: Our Selection of Family Projects - The European Animation Journal

NEWSFOCUS ONREVIEWSEVENTSCOMING SOONLAWS & RULESTALENTS

MURPHY’S LORE

ride are their awkward friend Darragh and eccentric Grandmother Mary. When Mary gives Katie an old folklore book, the family stumbles upon mythical beings—soon ifnding these are the cause and solution to their problems.

SCHOOLSBEYOND ANIMATIONWORLDWIDE

THIS MOOSE BELONGS TO ME

Animation / Format: 2D and 3D Computer, Painting / TV Special 22’

Genre: Adventure, Comedy, Friendship

Producers: Sixteen South (IR), Creative Conspiracy (BE)

TransmediaTip: Publishing

A witty and thought-provoking story about whether any of us ever really own anything, from the adaptation of the international picture book sensation, Oliver Jeffers.

Wilfred owned a moose. He hadn’t always owned a moose. The moose came to him a while ago, and he knew, just knew , that it was meant to be his. He thought he would call him Marcel. Most of the time Marcel is very obedient, abiding by the many rules of How to Be a Good Pet. But imagine Wilfred’s surprise when one dark day, while deep in the woods, someone else claims the moose as their own…

>>> Read our selected projects in the new issue of EAJ.

UGLY NEKO CAFE

Animation / Format: 2D and 3D Compute, Drawing, Puppets, Cut-Out / 30 x 5’

Genre: Comedy, Well-being

Producers: Martenitsa Productions (FR)

TransmediaTip: Comics, Family Games

Ugly Neko Café is a sitcom adapted from a French webtoon by Lucy Vallin. In the heart of Kyoto, The Pet Center is packed with animal cafés, each cuter than the last. Yet, on the top lfoor, the Ugly Neko Café surprises customers with cats that are anything but pretty— clumsy, stinky, clingy, cranky, and allergy-inducing. Even the most dedicated cat-lovers

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THIS MOOSE BELONGS TO ME

NEWSFOCUS ONREVIEWSEVENTSCOMING SOONLAWS & RULESTALENTS

want to run. With no customers and business struggling, the café faces bankruptcy—unless someone walks in and takes the unpaid waitress job.

SCHOOLSBEYOND ANIMATIONWORLDWIDE

Tags: animation cartoonforum familyprojects

Previous Post [Cartoon Forum] Redeifning Stories and Formats: Our Selected Young Adults Projects Next Post Trailer for the 49th edition of CINANIMA

Editorial Team

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UGLY NEKO CAFE

POLL: Should UK-led projects be let back into Cartoon Forum’s core program?

By Ryan Tuchow

May 2, 2025

As we wrap up the week, Kidscreen wants to know if you think the UK’s eligibility to participate fully in Cartoon Forum should be reinstated.

While British buyers, co-pro partners and participants are still permitted to attend the event as as they traditionally have, UK-based companies have not been eligible to serve as lead producers on project submissions for the last five years because the country’s government withdrew from the Creative Europe MEDIA funding program in 2020 as part of Brexit. The UK Screen Alliance has been lobbying the government to rejoin (which would restore its previous status with Cartoon Forum), but to no avail so far.

Meanwhile, as a workaround, Cartoon Forum established an Animated UK Meets Europe showcase in 2023 to give a handful of UK-led projects a separate presentation opportunity. Five concepts were featured that first year, but the initiative wasn’t run in 2024. And it’s back this year, but with only two projects in the lineup.

Share your thoughts with us: Should Cartoon Forum do more to make the UK a bigger part of the event? Or is it already a crowded enough event without the UK?

Image courtesy of Ryan Tuchow

23/10/2025, 19:49

POLL: Producers make

Kidscreen readers overwhelmingly voted yes to UK-led projects being eligible to pitch again, citing talent pool access and co-production opportunities as key reasons.

By Ryan Tuchow

23/10/2025, 19:49

May 7, 2025

With four months to go until Cartoon Forum 2025, Kidscreen asked producers in a poll last week whether the event should let UK-led projects back into the main pitching stream. And the answer was a resounding yes (90%). Select and

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Very few voted no (6.5%), and even fewer (3.2%) are in favor of the event’s current approach of running a separate Animated UK Meets Europe showcase.

But change is never easy, and Britain’s government would need to rejoin the EU’s Creative MEDIA funding program—which it pulled out of in 2021 as part of Brexit—in order for Cartoon Forum to be able to reinstate it as a fully participating country. The UK Screen Alliance is lobbying for this membership renewal, but in the meantime, poll respondents expressed frustration about the UK’s arms-length status at a time when the industry is desperate for more partnerships, co-productions and financing. Here are some of their comments:

“We desperately want to be let back in. The absence of UK producers and projects at Cartoon Forum is a disaster—just think of all the alliances and beautiful collaborative work that could have been made in the five years since we had to leave.”

“Most productions that originate in the UK will need to be co-produced by colleagues all around the world, and especially in Europe. It’s a win-win for everyone.”

“We love Cartoon Forum, and we love being part of the European animation community. No one in the creative industries voted for Brexit, and we are suffering from it. Also, UK-EU co-productions are alive and well—the only difference is we cannot access MEDIA funding.”

“The UK has an amazing history of animation creation and excluding them restricts the rich tapestry of work and unique view from the country. They also have less and less opportunities to develop and pitch animation projects in general, due to the poorly funded industry within the country itself.”

“[The] UK offers great animation talent and production companies that are fantastic to collaborate with.”

23/10/2025, 19:49

Kidscreen » Archive » POLL: Producers make it clear they want the UK back in Cartoon Forum

Select and listen

“It is such an interconnected industry that relies on collaboration creatively, practically and financially. It’s detrimental to have one of the biggest players excluded from this, for all concerned. And as a UK-based creative, it’s a real shame to be cut off from our neighbors who we work with so well.”

“ Most productions that originate in the UK will need to be co-produced by colleagues all around the world, a nd especially in Europe. It’s a win-win for everyone. Plus, we aren’t allowed into the European MEDIA fund, s o there’s still an incentive to partner and share 50% or more with our European neighbors. Finally, with the B BC, we are excellent partners for projects coming the other way (originated in Europe), and there’s very l ittle incentive for UK producers to attend Cartoon Forum as things stand, making relationships even harder t o forge.”

https://kidscreen.com/2025/05/07/poll-producers-make-it-clear-they-want-the-uk-back-in-cartoon-forum/ 2/3

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Cartoon Forum 2025 : comment “Animated UK Meets Europe” renforce les partenariats européens et britanniques

Le Cartoon Forum 2025 à Toulouse accueillera pour la deuxième fois l’initiative “UK Meets Europe”, offrant aux projets britanniques une plateforme pour la coproduction et la distribution, afin de renforcer les partenariats transfrontaliers dans l’industrie de l’animation.

Collaboration entre Animation UK et Cartoon, l’association européenne du film d’animation, l'initiative "Animated UK Meets Europe" fait son grand retour. Avant 2012, le Cartoon Forum se tenait chaque année dans un pays différent. Mais après la crise bancaire de 2008, cette organisation est devenue trop lourde et coûteuse. Toulouse et la région Occitanie ont alors proposé d’accueillir durablement l’événement, stabilisant ainsi le modèle du festival. “Pour autant, nous avons voulu conserver une dimension européenne forte”, indique Annick Maes, directrice générale depuis 2020 de Cartoon, qui organise le

https://ecran-total.fr/2025/09/04/cartoon-forum-2025-comment-animated-uk-meets-europe-renforce-les-partenariats-europeens-et-britanniques/ 1/4

(2021-2027), mis en place par l’Union européenne afin de soutenir les industries cinématographiques et audiovisuelles européennes. “Il fallait trouver une autre manière de maintenir leur présence, raconte Annick Maes. En 2023, nous avons donc créé l’initiative Animated UK Meets Europe, qui permet de mettre en avant une sélection de projets britanniques et de favoriser les échanges avec le reste de l’Europe.”

Des liens cruciaux pour le secteur

Cette année, trois projets, choisis par la BBC et S4C, diffuseur public et seule chaîne de télévision en langue galloise, seront présentés sous forme de courts pitchs le mercredi

17 septembre après-midi. Ces projets sont actuellement à la recherche de partenaires européens pour la coproduction et la distribution. L’événement vise à mettre en lumière des talents inspirants et à encourager de nouvelles collaborations créatives en Europe. Un

Cartoon Talk consacré à la coproduction européenne, avec la participation de France

Télévisions, de la BBC et de la chaîne finlandaise Yle, viendra compléter le programme pour souligner la force des partenariats transfrontaliers.

Le jeudi 18 septembre après-midi, une session de rencontres sera organisée. Plus de 400 rendez-vous individuels ont déjà été planifiés afin que les producteurs britanniques puissent rencontrer des partenaires européens, des éditeurs ou de nouveaux acteurs du secteur. “Cela permet d’obtenir des résultats concrets beaucoup plus rapidement, confirme la directrice générale de Car toon. Il s’agit aussi de favoriser la distribution. Le Royaume-Uni a toujours été un acheteur important de contenus européens, et inversement. Maintenir ces liens est crucial pour l’avenir du secteur.”

Article rédigé par: Partager sur

https://ecran-total.fr/2025/09/04/cartoon-forum-2025-comment-animated-uk-meets-europe-renforce-les-partenariats-europeens-et-britanniques/ 2/4

ANIMATED UK MEETS EUROPE AT CARTOON FORUM: KATE O’CONNOR ON THE FUTURE OF UKEU CREATIVE RELATIONS

INDUSTRY NEWS | 11 SEPTEMBER 2025

ANIMATED UK MEETS EUROPE AT CARTOON FORUM: KATE O’CONNOR ON THE FUTURE OF UKEU CREATIVE RELATIONS

INDUSTRY NEWS | 11 SEPTEMBER 2025

Kate O’Connor, Executive Chair of Animation UK, recently spoke to The European Animation Journal about rebuilding creative bridges with Europe and the role of UK producers in today’s shifting landscape.

26/09/2025, 12:25

https://www.animationuk.org/news/animated-uk-meets-europe-at-cartoon-forum-kate-oconnor-on-the-future-of-uk-eu-creative-relations/ 1/4

In the interview, Kate reﬂects on the return of the AnimatedUKMeetsEurope initiative at Cartoon Forum, highlighting why this platform is central to ensuring that the UK’s creative voice remains strong across European markets.

Post-Brexit realities have reshaped the way UK producers can participate, with funding decisions now limiting involvement to minority co-production partnerships. Yet Kate underlines that Cartoon Forum remains a vital space, not only for showcasing UK work but also for setting an example for future generations on overcoming structural challenges, such as the loss of access to Creative Europe MEDIA funding.

She also references Animation UK’s BlueprintforSectorGrowth, which makes the proposal for closer alignment with European policy frameworks to strengthen long-term collaboration.

�� Read the full interview here to explore Animation UK’s case for the UK animation industry re-joining Creative Europe.

Animated UK meets Europe at Cartoon Forum: Kate O’Connor on the Future of UK-EU Creative Relations | Animation UK

23/10/2025, 19:49

Could the UK return to Cartoon Forum?

Three British projects are being highlighted at this year's pitchfest. Producers and broadcasters hope that's just the beginning.

By Ryan Tuchow

September 17, 2025

Cartoon Forum’s Animated UK Meets Europe initiative, which spotlights projects from Britain, is taking place this afternoon. And for UK producers and broadcasters, the value of this initiative can’t be overstated.

23/10/2025, 19:49

Kidscreen » Archive » Could the UK return to Cartoon Forum?

like a lifeline,” said Animation UK chair Kate O’Connor in a speech during today’s Cartoon Forum lunch.

Since the UK withdrew from the Creative Europe MEDIA funding program in 2020, British companies haven’t been eligible to be lead producers on Cartoon Forum project submissions. The region’s industry has been lobbying for the government to rejoin so that its struggling producers can once again access this unique opportunity to get projects to market. But so far, no dice.

BBC Children’s and S4C are backing the three projects that were presented today during the special session a t 4:30 p.m. (local time) in the Blue Room:

To bridge the gap, the Animated UK Meets Europe initiative makes an exception and allows a handful of UKborn projects the chance to pique interest at the event. When it was established in 2023, the UK “grabbed it Select and listen

Amelia Fang – CAKE Entertainment (UK), DCM (Germany)

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Let’s Play in Tiger Bay – Hoho Entertainment and Bumpybox (UK)

The Adventures of Robin Robin – Aardman Animations (UK)

This second iteration of the event is a great opportunity for these projects, which can all travel globally, says O’Connor. “Let’s not make this a two-night stand,” she said, advocating directly to Cartoon Forum’s organizers. “Let’s make this a permanent relationship.”

BBC Children’s and S4C are backing the three projects that were presented today during the special session at 4:30 p.m. (local time) in the Blue Room:

Amelia Fang – CAKE Entertainment (UK), DCM (Germany)

Let’s Play in Tiger Bay – Hoho Entertainment and Bumpybox (UK)

The Adventures of Robin Robin – Aardman Animations (UK)

23/10/2025, 19:49

“ The UK Meets EU initiative adds another layer of value by spotlighting UK talent and fostering stronger r elationships between UK and European studios,” says the BBC’s director of children and education Patricia H idalgo. “This is particularly important in today’s challenging market, where investment in children’s content h as decreased significantly across Europe.”

S elect and listen

The opportunity could not have come at a better time for some UK talent. Last month, industry union Bectu estimated that half of the UK’s TV workforce was unemployed. And trade organization Pact noted that the number of UK kids commissions (live-action and animated) remained flat in 2024 compared with the year before.

I nternational producers from Europe and beyond also win by having the UK at Cartoon Forum, she points out, s ince that means there’s more resource-sharing, more learning about business models, and a greater push overall to make sure high-quality animation gets made.

https://kidscreen.com/2025/09/17/could-the-uk-return-to-cartoon-forum/

“ For the independent UK producers we work with, Cartoon Forum offers a unique chance to meet potential p artners, pitch their ideas on a global stage, and gain access to markets and funding opportunities that might o therwise be out of reach,” adds Hidalgo.

U K producers can still co-produce with partners in other territories to qualify for Cartoon Forum and benefit f rom mutual tax credits, notes Helen Howell, joint managing director of London-based Hoho Entertainment. B ut losing Cartoon Forum is still a big hole to fill when it comes to reaching the industry. “It’s a wonderful o pportunity to pitch our show in front of the all-important decision-makers within the children’s broadcast c ommunity,” she says.

H oho’s 2D/CG-animated series Let’s Play in Tiger Bay (pictured at top) has the opportunity to connect with the w ider industry now, and that’s a chance not a lot of UK producers are getting this year. S4C in Wales is the a nchor broadcaster for the series in the UK, and Hoho is looking to bring in additional broadcasters, cop roducers and investors. Budgeted at roughly US$3.5 million, the series is based on a collection of Toddler Time books by Katie Saunders that have sold roughly 750,000 copies around the world in 16 languages.

Hoho’s 52 x seven-minute preschool series is all about encouraging children to get together and play. And in a way, that’s also what the Animated UK initiative is doing: Encouraging talent from the UK and the rest of the world to play together.

Kate O’Connor, executive chair of Animation UK, who advocated for Animated UK Meets Europe to be a permanent part of Cartoon Forum today. Image by Ryan Tuchow.

Kidscreen » Archive » Could the UK return to Cartoon Forum?

opportunity to pitch our show in front of the all-important decision-makers within the children’s broadcast community,” she says.

Hoho’s 2D/CG-animated series Let’s Play in Tiger Bay (pictured at top) has the opportunity to connect with the wider industry now, and that’s a chance not a lot of UK producers are getting this year. S4C in Wales is the anchor broadcaster for the series in the UK, and Hoho is looking to bring in additional broadcasters, coproducers and investors. Budgeted at roughly US$3.5 million, the series is based on a collection of Toddler Time books by Katie Saunders that have sold roughly 750,000 copies around the world in 16 languages.

H oho’s 52 x seven-minute preschool series is all about encouraging children to get together and play. And in a w ay, that’s also what the Animated UK initiative is doing: Encouraging talent from the UK and the rest of the w orld to play together.

B ut according to a Kidscreen poll conducted in May, the industry wants the UK back at Cartoon Forum in a m ore fulsome way.

T he truth is that UK producers would benefit from regaining their former position at Cartoon Forum, says H idalgo. The BBC is the biggest commissioner of children’s content in the UK, and its presence at the event t his year is a good start to improving market conditions. She hopes that it sparks more UK pitches, p artnerships and co-productions. “Ultimately, we’d like Cartoon Forum to remain a space where bold, i nnovative ideas can flourish—where risk-taking is celebrated, and where UK animation continues to be a v ital part of the European and global industry.”

S elect and listen

https://kidscreen.com/2025/09/17/could-the-uk-return-to-cartoon-forum/ 3/3

FROM BRITAIN TO EUROPE: ANIMATION UK BUILDS BRIDGES AT CARTOON FORUM

MEMBER NEWS | 23 SEPTEMBER 2025

FROM BRITAIN TO EUROPE: ANIMATION UK BUILDS BRIDGES AT CARTOON FORUM

MEMBER NEWS | 23 SEPTEMBER 2025

Animation UK was proud to return to Cartoon Forum last week, with Executive Chair Kate O’Connor championing the Animated UK Meets Europe initiative and advocating for a lasting role for British creativity in European markets.

https://www.animationuk.org/news/from-britain-to-europe-animation-uk-builds-bridges-at-cartoon-forum/

The AnimatedUKMeetsEurope programme is a vital platform for reinforcing cross-border collaboration, and an instrumental means by which to showcase British talent and foster collaboration with European partners.

“Europe is a vital partner for the UK animation sector. This initiative shines a spotlight on our distinctive talent and creative excellence, while reinforcing our commitment to long-term collaboration.”

Kate O’Connor, Executive Chair of Animation UK

Britain to Europe: Animation UK Builds Bridges at Cartoon Forum | Animation UK

spotlight on our distinctive talent and creative excellence, while reinforcing our commitment to long-term collaboration.”

Kate O’Connor, Executive Chair of Animation UK

29/09/2025, 10:51

https://www.animationuk.org/news/from-britain-to-europe-animation-uk-builds-bridges-at-cartoon-forum/

Although the UK’s withdrawal from Creative Europe MEDIA prevents British producers from leading projects directly into Cartoon Forum, this dedicated platform is an essential bridge, ensuring UK stories, talent, and partnerships continue to ﬂourish on the international stage.

This year, three UK-led projects were highlighted during a dedicated session, supported by BBC Children’s and S4C: AmeliaFang (CAKE Entertainment, UK, with DCM, Germany), Let’s PlayinTigerBay (Hoho Entertainment and Bumpybox, UK), and The Adventures of Robin Robin (Aardman Animations, UK).

‘Let’s Play in Tiger Bay’

‘Robin Robin’

From Britain to Europe: Animation UK Builds Bridges at Cartoon Forum | Animation UK

29/09/2025, 10:51

From Britain to Europe: Animation UK Builds Bridges at Cartoon Forum | Animation UK

The programme also featured a roundtable led by Vanessa Chapman, with representatives from the BBC, YLE, and France Télévisions. The discussions emphasised the increasing importance of co-productions as a key strategy for securing funding and fostering creative exchange.

“The UK Meets EU initiative adds another layer of value by spotlighting UK talent and fostering stronger relationships between UK and European studios.”

PatriciaHidalgo,DirectorofBBCChildren’sandEducation

Animation UK is grateful to our partners BBC Children’s and Education and S4C for their support, and to all the producers, broadcasters, and creatives who contributed to making this a strong showcase for UK animation.

The success of this year’s programme signals a positive step toward strengthening UK animation’s role in creative Europe in a post-Brexit landscape.

https://www.animationuk.org/news/from-britain-to-europe-animation-uk-builds-bridges-at-cartoon-forum/ 4/6

‘Amelia Fang’

“We campaign hard to rejoin Creative Europe and talk to our government representatives often” Industry Report: Animation

Kate O’Connor • Executive chair, Animation UK

by DAVIDE ABBATESCIANNI

Our chat covered how collaboration with Cartoon has strengthened the UK’s European partnerships and showcased the strength of the country’s talent in continental markets

This year’s Cartoon Forum, running in Toulouse from 15-18 September, once again sets the stage for international collaboration in animation. Among the highlights is the return of Animated UK Meets Europe, an initiative that has quickly become a focal point for bridging UK and European talent. As discussions on coproductions gain renewed momentum, Animation UK’s executive chair, Kate O’Connor, shares some insights into the challenges, opportunities and outlook for the sector.

Cineuropa: How has the “Animated UK Meets Europe” initiative evolved since its inception, and what makes this year’s edition particularly significant for fostering UK-European co-productions?

25/09/2025, 12:30

Kate O’Connor: In 2023, the Animated UK Meets Europe initiative provided a focal point for collaboration between UK producers and their European counterparts. Born of the need to rebuild bridges following Brexit, the initiative was originally a pilot session at Cartoon Forum, supported by a range of broadcasters and new pitches. It aimed to ensure that UK voices could still be heard in the European market, even though the UK’s formal participation was restricted. This year’s edition is particularly significant because it takes place at a moment of renewed optimism: the new British government has put creative industries at the heart of its growth

Kate O’Connor • Executive chair, Animation UK - Industry Report: Animation - Cineuropa

agenda, new tax reliefs and targeted funding are in place, and the bilateral memorandum of understanding between the BFI/British Film Commission and Film France/the CNC signals a commitment to deeper ties. In this climate, Animated UK Meets Europe is not simply a showcase, but also a bridge for future co-productions.

Could you explain the criteria used by BBC Children’s and S4C to select the three showcased projects this year, and what qualities made them stand out for international co-production potential?

section menu

https://cineuropa.org/en/dossierinterview/1437/483812/ 1/3

The three projects showcased this year were carefully chosen by BBC Children’s and S4C, with the latter selection originally part of a pitching competition organised by AUK and C21. The approach focused on three main criteria: editorial distinctiveness, international resonance and co-production viability. Editorial distinctiveness means that each project had a clear and original voice. International resonance is about universality: themes and characters that could travel, connect with young audiences across languages and cultures, and spark interest from broadcasters beyond the UK. Finally, co-production viability meant that projects had to be at a stage where European partners could meaningfully join, with flexible budgets and creative openness.

The selected projects stood out not only for their creativity, but also for their adaptability, showcasing of humour, emotional depth or strong character design. Crucially, they are presented with realistic pathways to financing and production that make them credible candidates for minority or majority European co-partners.

In your view, what are the key factors that make a UK-European co-production successful, both creatively and commercially, in today’s animation landscape? Today, successful co-productions depend on three interlinked factors: creative chemistry, financial structure and trust. Creative chemistry involves both partners feeling that their cultural identity and editorial input are

selection originally part of a pitching competition organised by AUK and C21. The approach focused on three main criteria: editorial distinctiveness, international resonance and co-production viability. Editorial distinctiveness means that each project had a clear and original voice. International resonance is about universality: themes and characters that could travel, connect with young audiences across languages and cultures, and spark interest from broadcasters beyond the UK. Finally, co-production viability meant that projects had to be at a stage where European partners could meaningfully join, with flexible budgets and creative openness.

In your view, what are the key factors that make a UK-European co-production successful, both creatively and commercially, in today’s animation landscape?

Today, successful co-productions depend on three interlinked factors: creative chemistry, financial structure and trust. Creative chemistry involves both partners feeling that their cultural identity and editorial input are respected. Financial structuring includes deals that balance public service broadcaster investment, tax reliefs and private equity or distributor advances. Trust is the foundation: partners must be confident in each other’s capacity to deliver, creatively and operationally, in a highly competitive global marketplace.

How does this initiative help UK producers and creatives gain visibility and credibility in European markets, particularly for emerging talent?

One of the initiative’s most powerful impacts for us has been visibility. For emerging UK producers, Cartoon Forum is not just about pitching; it is about being seen alongside European peers. Sharing a stage under the Animated UK Meets Europe banner signals to commissioners and investors that UK projects are open to partnerships, serious about international collaboration, and backed by broadcasters of repute. Credibility comes not only from the endorsement of the BBC and S4C, but also from the act of being curated.

With major broadcasters like the BBC, YLE and France Télévisions involved in the Cartoon Talk panel, what insights do you hope producers will take away with them about building strong co-production relationships?

The involvement of major broadcasters such as the BBC, YLE and France Télévisions in the Cartoon panel chaired by Vanessa Chapman makes this year’s edition especially valuable. Producers will hear directly from decision makers about what they seek in co-production partners: early communication, shared creative ambition, clarity around editorial influence and robust production planning. The panel is also expected to shed light on how broadcasters balance cultural mandates with international collaboration, insights that are vital for producers navigating increasingly complex financing landscapes.

What are the biggest challenges that UK animation studios face when seeking European partners, and how does “Animated UK Meets Europe” help overcome them?

The challenges facing UK studios in pursuing European partners are real. Reduced funding and commissioning opportunities have to be balanced with the lingering anxieties about editorial control and the division of rights.

Animated UK Meets Europe helps by creating a safe, brokered space where UK and European producers can meet, explore ideas and understand each other’s constraints. The initiative also acts as a confidence signal: projects showcased here come with institutional backing and are positioned as serious opportunities, not speculative pitches.

Beyond Cartoon Forum, how do you see the initiative shaping the future of UK animation on the international stage?

Beyond Cartoon Forum 2025, the potential of Animated UK Meets Europe is considerable. We campaign hard to rejoin Creative Europe and talk to our government representatives often. Looking forward, we would love to embed Animated UK Meets Europe as an annual fixture, widening participation to include more regional UK studios, fostering training and mentoring opportunities, and aligning with bilateral agreements and funding streams. A huge thanks to Annick [Maes] and the team at Cartoon Forum for this opportunity.

https://cineuropa.org/en/dossierinterview/1437/483812/ 2/3

La animación del Reino Unido regresa a Cartoon

Forum 2025 de la mano de

la iniciativa Animated UK Meets Europe

Por Marco Sánchez Sequera - 30 abril, 2025

CARTOON ha anunciado el regreso de la iniciativa ‘Animated UK Meets Europe’ en el Cartoon Forum de este año, que se celebrará entre el 15 y el 18 de septiembre en la ciudad francesa de Toulouse. Esta colaboración entre CARTOON y Animation UK, con el apoyo de BBC Children’s and Education, busca fortalecer la colaboración europea y mostrar el talento y la creatividad de la industria de la animación en el Reino Unido.

17/10/2025, 15:19 La animación del Reino Unido regresa a Cartoon Forum 2025 de la mano de la iniciativa Animated UK Meets

Esta sesión especial tendrá lugar la tarde del miércoles 17 de septiembre, como complemento del programa oficial de presentaciones del foro europeo de coproducción de series de animación, y presentará dos nuevos proyectos británicos de animación que buscan socios europeos en materia de coproducción y distribución.

También se ofrecerá una charla de CARTOON sobre la importancia de las coproducciones. Moderado por Vanessa Chapman, el encuentro reunirá a compradores y broadcasters europeos para compartir perspectivas y casos de éxito.

Sobre Animated UK Meets Europe

«BBC Children’s and Education regresa al Cartoon Forum para apoyar a esta importante industria y consolidar el éxito del anterior panel de Animation UK. Presentaremos la creatividad local junto con la mejor de Europa, colaborando con Animation UK y Cartoon Forum para apoyar y promover la industria de la animación a nivel mundial», asegura Patricia Hidalgo, directora de Infantil y Educación de la BBC.

«Cartoon Forum es una de las plataformas más importantes para que los productores de animación conecten con compradores y commissioners internacionales. Nos entusiasma regresar con la iniciativa ‘Animated UK Meets Europe’, que promueve el potencial creativo y comercial de la colaboración entre el Reino Unido y la UE», apunta Kate O’Connor, presidenta ejecutiva de Animation UK. «En un momento en el que las colaboraciones transfronterizas son más valiosas que nunca, animamos encarecidamente a los participantes del Reino Unido a asistir al Cartoon Forum, forjar nuevas conexiones y explorar todas las oportunidades que este foro único ofrece.»

Tarde de networking

El jueves 18 de septiembre, CARTOON organizará una tarde de networking con sesiones de matchmaking para todos los profesionales de la animación que deseen reunirse con otros participantes, incluida la delegación del Reino Unido, con el fin de ampliar su red de contactos y debatir sobre oportunidades de negocio

https://www.audiovisual451.com/la-animacion-del-reino-unido-regresa-a-cartoon-forum-2025-de-la-mano-de-la-iniciativa-animated-uk-meets-europe/

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Para ello, es necesario marcar la casilla ‘Matchmaking’ al registrarse. Según las preferencias de los participantes, CARTOON les enviará una lista de reuniones

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Sobre Animated UK Meets Europe

Tarde de networking

Para ello, es necesario marcar la casilla ‘Matchmaking’ al registrarse. Según las preferencias de los participantes, CARTOON les enviará una lista de reuniones programadas con las empresas de su interés. Cada reunión tendrá una duración máxima de 20 minutos.

Marco Sánchez Sequera

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https://www.audiovisual451.com/la-animacion-del-reino-unido-regresa-a-cartoon-forum-2025-de-la-mano-de-la-iniciativa-animated-uk-meets-europe/

“ANIMATED

UK MEETS EUROPE” RETURNS TO CARTOON FORUM

“ANIMATED

INDUSTRY NEWS | 30 APRIL 2025

UK MEETS EUROPE” RETURNS TO CARTOON FORUM

INDUSTRY NEWS | 30 APRIL 2025

Animation UK, in collaboration with CARTOON and with the support of BBC Children’s and Education, is delighted to announce the return of the “Animated UK Meets Europe” initiative at Cartoon Forum 2025.

09/09/2025, 17:12

“Animated UK Meets Europe” returns to Cartoon Forum | UK Screen Alliance

This collaboration has been instrumental in reinforcing European partnerships and showcasing the strength of UK talent and creativity in European markets. We are thrilled to be back in Toulouse to support UK producers and foster new co-production opportunities across Europe.

https://www.ukscreenalliance.co.uk/news/animated-uk-meets-europe-returns-to-cartoon-forum/ 1/4

About the initiative

The special session will take place on the afternoon of Wednesday 17 September, showcasing two exciting new UK animation projects currently seeking European coproduction and distribution partners. This curated event complements the oﬃcial programme of European project pitches and aims to spotlight emerging talent and encourage new creative alliances.

https://www.ukscreenalliance.co.uk/news/animated-uk-meets-europe-returns-to-cartoon-forum/ 1/4

To further highlight the power of cross-border collaboration, a panel discussion on the importance of co-productions will also take place. Chaired by Vanessa Chapman, the session will bring together leading European voices to share insights and successful case studies and will include Sarah Muller from the BBC.

Cartoon Forum is one of the most important platforms for animation producers to connect with international buyers and commissioners. We’re thrilled to return with the ‘Animated UK Meets Europe’ initiative, which champions the creative and commercial potential of UK–EU collaboration. At a time when cross-border partnerships are more valuable than ever, we strongly encourage UK participants to attend Cartoon Forum, forge new connections, and explore all the opportunities this unique forum has to offer.

Kate O’Connor, Executive Chair of Animation UK

BBC Children’s and Education is returning to Cartoon Forum supporting this important industry and building on the success of the previous UK Animation panel. We’re showcasing homegrown creativity alongside Europe’s best, collaborating with UK Animation and Cartoon Forum to support and elevate the animation industry globally.

PatriciaHidalgo,DirectorofBBCChildren’sandEducation

Networking opportunity

09/09/2025, 17:12

“Animated UK Meets Europe” returns to Cartoon Forum | UK Screen Alliance

CARTOON will host its renowned Networking Afternoon on Thursday 18 September, offering targeted matchmaking sessions for animation professionals. All registered participants—including the UK delegation—can beneﬁt from curated one-to-one meetings to build new partnerships and develop business opportunities. Animation UK invites all UK animation professionals to join us at Cartoon Forum 2025 and be part of a growing and vibrant community of European collaborators.

https://www.ukscreenalliance.co.uk/news/animated-uk-meets-europe-returns-to-cartoon-forum/ 2/4

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Cartoon Forum brings back Animated UK Meets Europe initiative in 2025

French pitching event Cartoon Forum is bringing back the Animated UK Meets Europe initiative, in collaboration with industry body Animation UK, for a second year.

The initiative, with support from BBC Children’s and Education, was launched in 2023 as a way to allow UK producers to pitch at Cartoon Forum after Brexit.

Before 2021, UK production companies participated annually at the event alongside their colleagues across Europe, but since the UK’s withdrawal from the EU are no longer permitted to pitch projects. UK delegates are allowed to attend, though, as viewing participants, buyers or coproduction partners on projects led by producers from countries that are participating in Creative Europe’s Media programme.

The Animated UK Meets Europe initiative, however, allows a limited number of UK producers to pitch projects that have a UK broadcast partner attached, with the aim of securing a European partner. Five projects were pitched in 2023 but only two will be pitched in 2025. The initiative did not run in 2024.

Cartoon Forum is a pitching and coproduction forum for animated TV projects that takes place in Toulouse every September. For three days, producers have the opportunity to pitch their projects in front of potential partners.

Kate O’Connor, executive chair of Animation UK, said: “Cartoon Forum is one of the most important platforms for animation producers to connect with international buyers and commissioners. We’re thrilled to return with the Animated UK Meets Europe initiative, which champions the creative and commercial potential of UK–EU collaboration.

“At a time when cross-border partnerships are more valuable than ever, we strongly encourage UK participants to attend Cartoon Forum, forge new connections and explore all the opportunities this unique forum has to offer.”

Patricia Hidalgo, director of BBC Children’s and Education, added: “BBC Children’s and Education is returning to Cartoon Forum supporting this important industry and building on the success of the previous UK Animation panel. We’re showcasing homegrown creativity alongside Europe’s best, collaborating with Animation UK and Cartoon Forum to support and elevate the animation industry globally.”

https://www.c21media.net/news/cartoon-forum-brings-back-animated-uk-meets-europe-initiative-in-2025/

Kate O’Connor

Al Cartoon Forum tornano gli inglesi con ANIMATED UK MEETS EUROPE

Di Monica Tasciotti 23 Agosto 2025

Se il Regno Unito è purtroppo ancora fuori dall’Unione Europea, gli organizzatori del prossimo Cartoon Forum, a Tolosa dal 15 al 18 settembre prossimi, convinti che sostenere anche i produttori al di là della Manica sia fondamentale nel rafforzamento dei partenariati europei e per promuovere nuove opportunità di coproduzione in tutta Europa, hanno annunciato il ritorno, per la seconda volta, dell’iniziativa “Animated UK Meets Europe”.

Una sessione speciale che si terrà nel pomeriggio di mercoledì 17 settembre e presenterà tre nuovi progetti di animazione del Regno Unito, selezionati dalla BBC e da S4C (emittente pubblica e unico canale televisivo in lingua gallese) attualmente alla ricerca di partner europei per la coproduzione e la distribuzione. “BBC Children’s and Education torna al Cartoon Forum per sostenere questo importante settore e consolidare il successo del precedente panel sull’animazione nel Regno Unito. Presenteremo la creatività locale insieme al meglio d’Europa, collaborando con UK Animation e Cartoon Forum per supportare e valorizzare l’industria dell’animazione a livello globale”, ha dichiarato Patricia Hidalgo, Direttrice BBC Children’s and Education, a lungo attiva in Italia prima in Walt Disney e poi alla Turner

Sarà inoltre rinnovata l’iniziativa di co-sviluppo EBU per la produzione di almeno un progetto selezionato da parte dei membri dell’EBU, dei quali fa parte anche la Rai. Il progetto vincitore sarà annunciato dall’EBU entro la ifne dell’anno.

Prosegue così l’impegno di lunga data della rete EBU nei confronti della programmazione televisiva animata e rilfettendo l’attuale priorità di coinvolgere il pubblico giovane nei territori membri.

Fra il numero record di 75 progetti che verranno presentati, tre quelli italiani che partecipano ai pitch.

Lyon–PlagueLab è una serie animata basata sui libri bestseller di Lyon (pseudonimo di Ettore Canu) un videogiocatore e creatore di contenuti il cui canale YouTube vanta oltre cinque milioni di iscritti e milioni di visualizzazioni. Un progetto

26/09/2025, 12:16 Al Cartoon Forum tornano gli inglesi con ANIMATED UK MEETS EUROPE - Cinema & Video International

https://www.cinemaevideo.it/cartoon-forum-animated-uk-meets-europe 1/2

proposto da Cartobaleno e Vismanimazione con la regia di Andrea Castellani e la graifca di Mattia Francesco Laviosa. Roc e Lola, due compagni improbabili, sono invece i protagonisti di un progetto per bambini upper pre-school della torinese Primal Shape cofondata da Andrea Giro, animatore dei personaggi principali per iflm di grande successo come Cattivissimo me 3 e Pets – Vita da animali, che sarà anche il regista della serie.

Inifne, dalla milanese Good Karma, fondata nel 2022 dalla produttrice Caterina Vacchi, ex Atlantyca (Geronimo Stilton) la serie in 2D LafamigliaMartin coprodotta con la casa madre francese Samka di cui Good Karma è parte. A questi si aggiungono i progetti di iniziativa straniera coprodotti da società italiane, come VetAcademy della francese Superprod Animation insieme alla sussidiaria Red Monk Studio di Milano. Una serie cosiddetta “bridge” (5-7 anni) in 3D su una scuola

26/09/2025, 12:16

Al Cartoon Forum tornano gli inglesi con ANIMATED UK MEETS EUROPE - Cinema & Video International

proposto da Cartobaleno e Vismanimazione con la regia di Andrea Castellani e la graifca di Mattia Francesco Laviosa.

Roc e Lola, due compagni improbabili, sono invece i protagonisti di un progetto per bambini upper pre-school della torinese Primal Shape cofondata da Andrea Giro, animatore dei personaggi principali per iflm di grande successo come Cattivissimo me 3 e Pets – Vita da animali, che sarà anche il regista della serie.

Cartoon Forum inoltre quest’anno offrirà un’opportunità di networking dopo i pitch. Giovedì 18 settembre si terranno delle sessioni di matchmaking. Un’occasione per incontrare nuovi acquirenti e partner ifnanziari.

FESTIVALS & EVENTSTOP STORIES

Animated U.K. Showcase at Cartoon Forum Spotlights Whimsical New Tales and the Return of ‘Robin Robin’

By Animation

Magazine July 3, 2025

By Animation Magazine July 3, 2025

This year, the Animated UK Meets Europe initiative returns to Cartoon Forum in Toulouse (September 15-18) with three promising animated series selected by the BBC and S4C, to be pitched during a special session. These projects are currently seeking European co-production and distribution partners. The curated event aims to spotlight inspiring talent and foster new creative European collaborations.

To further emphasize the strength of cross-border partnerships, a Cartoon Talk, entitled “Funding The Future: Unlocking the Power of Co-Productions in Animation,” will illustrate the importance of PSB leadership and focus on case studies to highlight successful collaborations. Moderated by Vanessa Chapman, the session will feature prominent European broadcasters and buyers.

A matchmaking session to introduce prospective partners to the U.K. delegation will be organized on Thursday, September 18 during Cartoon Forum.

The selected projects are:

https://www.animationmagazine.net/2025/07/animated-u-k-showcase-at-cartoon-forum-spotlights-whimsical-new-tales-and-the-return-of-robin-robin/ 1/3

11/08/2025, 12:19

AmeliaFang

2D animation | 52 x 11’ | Children (6-9)

Produced by CAKE Entertainment (U.K.) & DCM (Germany)

AmeliaFang

2D animation | 52 x 11’ | Children (6-9)

Produced by CAKE Entertainment (U.K.) & DCM (Germany)

Synopsis: Set in an unusual world full of eccentric characters, the series follows the wonderfully funny adventures of a young vampire with a big heart, Amelia Fang, and her diverse gang of friends. Here, there are always wrongs that need righting, mysteries that need solving and creatures who need rescuing — but whatever the adventure, Amelia and her pals always manage to save the day in their own uniquely quirky way! Based on the books written and illustrated by Laura Ellen Anderson.

AmeliaFang

2D animation | 52 x 11’ | Children (6-9)

Produced by CAKE Entertainment (U.K.) & DCM (Germany)

Synopsis: Set in an unusual world full of eccentric characters, the series follows the wonderfully funny adventures of a young vampire with a big heart, Amelia Fang, and her diverse gang of friends.

Animated U.K. Showcase at Cartoon Forum Spotlights Whimsical New Tales and the Return of 'Robin Robin' | Animation Magazine

Let’sPlayinTigerBay

3D & 2D animation | 52 x 7′ | Preschool (2-4)

Produced by Hoho Entertainment & Bumpybox (U.K.)

exciting backdrop for the series. Tiger Bay is a place of rich cultural heritage where diversity is celebrated, and its broad socio-economic mix is relfected in the homes of the children. Every episode is a different playdate and each playdate location has a different feel depending on whose house the children are at. Based on the Toddler Time books illustrated by Katie Saunders.

Synopsis: Aimed at young preschoolers, Let’sPlayinTigerBay features a diverse group of friends who love to play. The series is set in Tiger Bay, Europe’s largest waterfront development and a visually https://www.animationmagazine.net/2025/07/animated-u-k-showcase-at-cartoon-forum-spotlights-whimsical-new-tales-and-the-return-of-robin-robin/ 2/3

Animated U.K. Showcase at Cartoon Forum Spotlights Whimsical New Tales and the Return of 'Robin Robin' | Animation Magazine

11/08/2025, 12:19 Animated U.K. Showcase at Cartoon Forum Spotlights Whimsical New Tales and the Return of 'Robin Robin' Animation Magazine

Let’sPlayinTigerBay

3D & 2D animation | 52 x 7′ | Preschool (2-4)

Produced by Hoho Entertainment & Bumpybox (U.K.)

Synopsis: Aimed at young preschoolers, features a diverse group of friends who love to play. The series is set in Tiger Bay, Europe’s largest waterfront development and a visually https://www.animationmagazine.net/2025/07/animated-u-k-showcase-at-cartoon-forum-spotlights-whimsical-new-tales-and-the-return-of-robin-robin/ 2/3

The Adventures of Robin Robin 3D animation | 52 x 7′ | Preschool (3-5)

Produced by Aardman (U.K.)

About the project: This series continues the adventures of Robin, a plucky if clumsy little bird raised by a family of burglar-mice who was introduced in the half-hour Christmas special Robin Robin (Aardman/Netlfix), created and directed by Dan Ojari and Mikey Please.

The Adventures of Robin Robin 3D animation | 52 x 7′ | Preschool (3-5)

Produced by Aardman (U.K.)

The Adventures of Robin Robin 3D animation | 52 x 7′ | Preschool (3-5) Produced by Aardman (U.K.)

TRANSLATOR

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Animated

UK Meets Europe regresa a Cartoon Forum 2025 con tres proyectos destacados

- julio 16, 2025

11/08/2025, 12:40

Animated UK Meets Europe regresa a Cartoon Forum 2025 con tres proyectos destacados

La iniciativa Animated UK Meets Europe vuelve con fuerza al Cartoon Forum 2025, consolidándose como un espacio clave para fomentar colaboraciones en la industria de la animación europea. En esta edición, la BBC y S4C, la única cadena de televisión pública en lengua galesa, han seleccionado tres proyectos prometedores que serán presentados en una sesión especial la tarde del miércoles 17 de septiembre. Estas propuestas, que buscan socios europeos para coproducción y distribución, destacan por su creatividad y potencial para captar audiencias jóvenes.

detalles:

Amelia Fang

Proyectos que iluminan el talento europeo

Formato: Animación 2D | 52 episodios de 11 minutos | Público: 6-9 años

Deze site gebruikt cookies van Google om services te leveren en verkeer te analyseren. Je IPadres en user-agent worden met Google gedeeld, samen met prestatie- en beveiligingsstatistieken om servicekwaliteit te garanderen, gebruiksstatistieken te genereren, misbruik te detecteren en maatregelen te treffen.

Productores: CAKE Entertainment (Reino Unido) y DCM (Alemania)

Los tres proyectos seleccionados reﬂejan la diversidad y calidad de la animación británica, con un enfoque en historias innovadoras dirigidas a niños y preescolares. A continuación, te presentamos los

MEER INFORMATIEIK SNAP HET

Esta serie combina humor y aventuras con personajes carismáticos, prometiendo conquistar a su audiencia con un universo único y vibrante.

https://www.tegustamuchoelcine.com/2025/07/animated-uk-meets-europe-regresa.html

Vamos a jugar en Tiger Bay

Formato: Animación 2D y 3D | 52 episodios de 7 minutos | Público: 2-4 años

Productores: Hoho Entertainment & Bumpybox (Reino Unido)

Diseñada para preescolares, esta propuesta educativa y colorida busca estimular la imaginación de los más pequeños a través de historias dinámicas.

Las aventuras de Robin Robin

Formato: Animación 3D | 52 episodios de 7 minutos | Público: 3-5 años

Productores: Aardman Animations (Reino Unido)

Con el sello de calidad de Aardman, esta serie ofrece narrativas entrañables que capturan el corazón de los niños y sus familias.

11/08/2025, 12:40 Animated UK Meets Europe regresa a Cartoon Forum 2025 con tres proyectos destacados

detalles:

Amelia Fang

Formato: Animación 2D | 52 episodios de 11 minutos | Público: 6-9 años

Productores: CAKE Entertainment (Reino Unido) y DCM (Alemania)

Esta serie combina humor y aventuras con personajes carismáticos, prometiendo conquistar a su audiencia con un universo único y vibrante.

Vamos a jugar en Tiger Bay

Formato: Animación 2D y 3D | 52 episodios de 7 minutos | Público: 2-4 años

Productores: Hoho Entertainment & Bumpybox (Reino Unido)

Diseñada para preescolares, esta propuesta educativa y colorida busca estimular la imaginación de los más pequeños a través de historias dinámicas.

Las aventuras de Robin Robin

Formato: Animación 3D | 52 episodios de 7 minutos | Público: 3-5 años

Productores: Aardman Animations (Reino Unido)

Con el sello de calidad de Aardman, esta serie ofrece narrativas entrañables que capturan el corazón de los niños y sus familias.

Un impulso a las coproducciones transfronterizas

Con el objetivo de promover alianzas estratégicas, Cartoon Forum 2025 incluirá un Cartoon Talk titulado "Financiar el futuro: desarrollar el potencial de las coproducciones en la animación"

Moderada por la reconocida Vanessa Chapman, esta sesión reunirá a destacados difusores y compradores europeos, quienes compartirán experiencias exitosas de colaboraciones internacionales.

El evento destacará el papel crucial de las cadenas públicas en el desarrollo de proyectos animados innovadores.

Oportunidades de networking

El jueves 18 de septiembre, los asistentes tendrán la oportunidad de participar en una sesión de matchmaking con la delegación británica. Este encuentro permitirá a productores, distribuidores y otros profesionales del sector establecer contactos directos y explorar posibilidades de colaboración en un entorno dinámico y creativo.

Cartoon Forum 2025

MEER INFORMATIEIK SNAP HET

https://www.tegustamuchoelcine.com/2025/07/animated-uk-meets-europe-regresa.html 2/6

CARTOON FORUM 2025 | DISCOVER THE PROJECTS OF THE INITIATIVE „ANIMATED UK MEETS EUROPE“

Following the announcement of the return of the „Animated UK Meets Europe“ Initiative, we are delighted to unveil the three projects selected by the BBC and S4C, a public broadcaster and only Welsh language television channel, to be pitched during this special session. These exciting new projects will be presented on the afternoon of Wednesday 17 September.

These projects are currently seeking European co-production and distribution partners. The curated event aims to spotlight inspiring talent and foster new creative European collaborations.

To further emphasise the strength of cross-border partnerships, a Cartoon Talk, entitled „Funding The Future: Unlocking the Power of Co-Productions in Animation“, will illustrate the importance of PSB leadership and focus on case studies to highlight successful collaborations. Moderated by Vanessa Chapman, the session will feature prominent European broadcasters and buyers.

https://indac.org/blog/discover-the-projects-of-the-initiative-animated-uk-meets-europe/ 1/10

11/08/2025, 11:44

Here are the selected projects!

Amelia Fang 2D animation | 52×11’ | Children (6-9)Produced by CAKE Entertainment (UK) & DCM (Germany)

Amelia Fang

2D animation | 52×11’ | Children (6-9)Produced by CAKE

Entertainment (UK) & DCM (Germany)

Amelia Fang

11/08/2025, 11:44 CARTOON FORUM 2025 | DISCOVER THE PROJECTS OF THE INITIATIVE „ANIMATED UK MEETS EUROPE“ - INDAC

Let’s Play in Tiger Bay 3D & 2D animation | 52×7′ | Pre-school (2-4)Produced by Hoho Entertainment & Bumpybox (UK)

The Adventures of Robin Robin 3D animation | 52×7′ | Preschool (3-5)Produced by Aardman Animations (UK)

Let’s Play in Tiger Bay

2D animation | 52×11’ | Children

(6-9)Produced by CAKE Entertainment (UK) & DCM (Germany)

3D & 2D animation | 52×7′ |

https://indac.org/blog/discover-the-projects-of-the-initiative-animated-uk-meets-europe/ 2/10

Ready to meet the UK delegation?

A matchmaking session will be organised on Thursday 18 September where you’ll be able to meet the delegation and discuss various topics with them.

https://indac.org/blog/discover-the-projects-of-the-initiative-animated-uk-meets-europe/ 2/10

We hope to see you in Cartoon Forum!

Best regards, Annick MAES and the CARTOON Team

Let’s Play in Tiger Bay 3D & 2D animation | 52×7 Pre-school (2-4)Produced

Hoho Entertainment Bumpybox (UK)

Best regards,

MAES and the CARTOON Team

https://indac.org/blog/discover-the-projects-of-the-initiative-animated-uk-meets-europe/

Annick

C21 UK animation pitch winner presented to buyers at Cartoon Forum

Let’s Play in Tiger Bay is based on Katie Saunders’ Toddler Time books

CARTOON FORUM: The winner of C21’s UK Animation Digital Pitch in 2022, Let’s Play in Tiger Bay, is being presented to buyers as part of the Animated UK Meets Europe initiative at Cartoon Forum in Toulouse on Wednesday.

Let’s Play in Tiger Bay, formerly titled Toddler Time, is a 52×7’ 2D and 3D animated preschool series from Hoho Entertainment and Bumpybox.

The series was the winner of C21’s UK Animation Digital Pitch in 2022, through which it received a £30,000 marketing package to support development and presales.

It has now been selected by UK pubcaster the BBC and Welsh-language pubcaster S4C as one of three projects to be pitched at Cartoon Forum’s Animated UK Meets Europe initiative, which allows UK producers to pitch at Cartoon Forum post-Brexit.

S4C has committed to the project as the anchor broadcaster, while Sweden’s SVT has provided a letter of intent, a UK music publisher is also on board and Creative Wales has expressed interest in supporting the series.

Set in Tiger Bay in Wales, the series is based on Katie Saunders’ Toddler Time books and features a diverse group of friends who love to play, with a focus on helping children build social skills.

According to Hoho Entertainment: “Tiger Bay is a place of rich cultural heritage where diversity is celebrated, and its broad socio-economic mix is reﬂected in the homes of the children.”

Helen Howells, joint MD of Hoho Entertainment, highlights the importance of play in the series, after entrepreneur and children’s welfare campaigner Paul Lindley recently called for a National Play Strategy in England.

Presenting his case to the UK’s Culture, Media and Sport select committee, Lindley said: “There are huge economic beneﬁts to our country if children’s opportunity to play reverted to levels that previous generations enjoyed – from increased productivity, reduced healthcare costs, better attainment at school to lowered inequalities of opportunity across children, childhoods and communities.”

The other two projects being pitched via Animated UK Meets Europe on Wednesday

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The other two projects being pitched via Animated UK Meets Europe on Wednesday are: Amelia Fang (52×11’), a 2D animated series for six-to nine-year-olds produced by Cake Entertainment in the UK and DCM in Germany; and The Adventures of Robin Robin (52×7’), a 3D animated preschool series produced by Wallace & Gromit prodco Aardman Animations.

Karolina Kaminska 17-09-2025 ©C21Media

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08/08/2025, 15:15

Cartoon Forum unveils three UK showcase projects

C artoon Forum unveils three UK s howcase projects

Selected by the BBC and S4C, kids series concepts from Aardman, CAKE and Hoho Entertainment have made the cut to represent Britain at the annual pitchfest.

By Sadhana Bharanidharan

July 3, 2025

S elected by the BBC and S4C, kids series concepts from Aardman, CAKE and Hoho Entertainment have made t he cut to represent Britain at the annual pitchfest.

Cartoon Forum has pulled back the curtain on not two, but three UK projects that will be showcased at this year’s event in Toulouse, running from September 15 to 18.

B y Sadhana Bharanidharan July 3, 2025

Cartoon Forum has pulled back the curtain on not two, but three UK projects that will be showcased at this year’s event in Toulouse, running from September 15 to 18.

Britain’s BBC and Welsh pubcaster S4C are backing these selections for the “Animated UK Meets Europe” p resentation, which is returning to the pitchfest after taking a hiatus in 2024. And there seems to have been a l ast-minute addition, since it was previously reported that only two UK-led projects would be in the mix this year.

F irst up is a CG-animated preschool concept called The Adventures of Robin Robin (52 x seven minutes, p ictured above) from Bristol’s Aardman Animations. Based on the studio’s Oscar-nominated Netflix short film

08/08/2025, 15:07

Britain’s BBC and Welsh pubcaster S4C are backing these selections for the “Animated UK Meets Europe” presentation, which is returning to the pitchfest after taking a hiatus in 2024. And there seems to have been a last-minute addition, since it was previously reported that only two UK-led projects would be in the mix this year.

Kidscreen » Archive » Cartoon Forum unveils three UK showcase projects

https://kidscreen.com/2025/07/03/cartoon-forum-unveils-three-uk-showcase-projects/?utm_source=newsletter&utm_medium=email&utm_campaign=cartoon-fo… 1/3 Robin Robin (2021), this sitcom follows the family life of a curious little bird, her four mouse siblings and their single dad.

First up is a CG-animated preschool concept called The Adventures of Robin Robin (52 x seven minutes, pictured above) from Bristol’s Aardman Animations. Based on the studio’s Oscar-nominated Netflix short film

https://kidscreen.com/2025/07/03/cartoon-forum-unveils-three-uk

Kidscreen » Archive » Cartoon Forum unveils three UK showcase projects

08/08/2025, 15:07

Robin Robin (2021), this sitcom follows the family life of a curious little bird, her four mouse siblings and their single dad.

Play

Let’s Play in Tiger Bay

Also targeting the preschool set is a book adaptation of Katie Saunders’ Toddler Time books called Let’s Play in Tiger Bay (52 x seven minutes), which revolves around a group of children who learn lessons about friendship and social skills during playdates. London-based Hoho Entertainment is producing this CG/2D toon with Welsh studio Bumpybox.

08/08/2025, 15:07

» Archive » Cartoon Forum unveils three UK showcase projects

Select and listen

https://kidscreen.com/2025/07/03/cartoon-forum-unveils-three-uk-showcase-projects/?utm_source=newsletter&utm_medium=email&utm_campaign=cartoon-fo… 2/3

https://kidscreen.com/2025/07/03/cartoon-forum-unveils-three-uk 2/3

And last but not least is Amelia Fang , CAKE’s 2D-animated co-pro with DCM in Germany that was first announced in 2022. Geared toward a slightly older audience of six to nines, this 52 x 11-minute series stems from a middle-grade book series about a young vampire in a world called Nocturnia.

Amelia Fang

Let’s

in Tiger Bay

Amelia Fang

And last but not least is Amelia Fang , CAKE’s 2D-animated co-pro with DCM in Germany that was first announced in 2022 . Geared toward a slightly older audience of six to nines, this 52 x 11-minute series stems from a middle-grade book series about a young vampire in a world called Nocturnia.

Designed to bring a limited number of UK-led projects back into the mix after Brexit, the “Animated UK Meets Europe” initiative’s first edition in 2023 showcased a slightly larger lineup of five titles, including BBC-backed toons like Duck & Frog (Sun & Moon Studios) and The Wolf b jorns (BBC Kids & Fam i ly Pro duc tions).

In a recent Kidscreen survey, the industry expressed overwhelming support for bringing the UK back into Cartoon Forum’s main pitching stream, which will feature 75 main entries originating from the EU this year. Only 3.2% of respondents were in favor of continuing the “Animated UK Meets Europe” showcase in its current form.

Select and listen

https://kidscreen.com/2025/07/03/cartoon-forum-unveils-three-uk-showcase-projects/?utm_source=newsletter&utm_medium=email&utm_campaign=cartoon-fo… 3/3

Cartoon Forum reveals three successful Animated UK Meets Europe project pitches

French pitching event Cartoon Forum has unveiled the three projects to be pitched under this year’s Animated UK Meets Europe initiative.

In collaboration with industry body Animation UK, the Animated UK Meets Europe initiative provides a way to allow UK producers to pitch at Cartoon Forum post-Brexit.

The Animated UK Meets Europe initiative was ﬁrst launched in 2023 to allow a limited number of UK producers to pitch projects that have a UK broadcast partner attached, with the aim of securing European coproduction and distribution partners.

At the 2025 edition of Cartoon Forum, three projects selected by UK pubcaster the BBC and Welsh-language pubcaster S4C will be pitched via the initiative.

The ﬁrst project is Amelia Fang (52×11’), a 2D animated series for six-to nine-year-olds produced by Cake Entertainment in the UK and DCM in Germany.

The second project, Let’s Play in Tiger Bay, is a 52×7’ 2D and 3D preschool series from Hoho Entertainment and Bumpybox, which are both UK-based.

The third project is The Adventures of Robin Robin (52×7’), a 3D animated preschool series produced by Wallace & Gromit prodco Aardman Animations.

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The Adventures of Robin Robin is produced by Wallace & Gromit prodco Aardman Animations

25/09/2025, 12:19

EXCLUSIVE: The spin-off of Oscar-nominated Aardman animation Robin Robin is in the works at the BBC, with BBC kids boss Patricia Hidalgo seeking co-pro partners at this week’s Cartoon Forum.

HOME/INTERNATIONAL/NEWS

BBC Lands Aardman’s ‘Robin Robin’ Spin-Off, But The Search For A “British Simpsons” Goes On

Starring Richard E. Grant and Gillian Anderson, Netflix’s Robin Robin was Academy Awardnominated in 2021 for Best Animated Short and followed a young robin who seeks to prove her worth to her adoptive mice family by stealing a shiny star from a human’s house. Directors Dan Ojari and Mikey Please have previously spoken about their desire to make a spin-off and the BBC will be introducing The Adventures of Robin Robin at Cartoon Forum in Toulouse, France, where it is searching for co-pro partners as costs spiral in the world of kids animation. The CGI spin-off is a 52 x 7-min episode series and is targeted at three-to-five year olds along with their parents.

By Max Goldbart

September 15, 2025 1:00am

25/09/2025, 12:19

Where is our “British Simpsons”?

The Simpsons DISNEY

25/09/2025, 12:19

BBC Taking 'The Adventures Of Robin Robin' To Cartoon Forum

When Hidalgo launched Ignite, she said she wanted to find a UK equivalent of The Simpsons, with “roast beef instead of turkey” eaten around the family table.

But nearly four years on, Hidalgo, who spent 15 years working for Disney, said she still hasn’t found what she’s looking for.

“I see pitches every year but it’s just not there,” she added. “It’s a really hard one to crack because you don’t just want to do a copy, you want to do something that is original. I wish we had something but unfortunately I have nothing.”

https://deadline.com/2025/09/bbc-adventures-of-robin-robin-british-simpsons-patricia-hidalgo-1236527498/ 4/12

She remains optimistic, however, and said the quality of pitches she receives on a day-to-day basis are fantastic, “things that you would think are for Netflix or Disney+.”

She is also enthused by being able to spend the week at Cartoon Forum. British animation was virtually excluded from the event after Brexit due to the UK’s withdrawal from the Creative Europe MEDIA program but a special Animated UK Meets Europe initiative, which is sponsored by the BBC, was launched in 2023 for projects seeking co-pro funding like The Adventures of Robin Robin. Hidalgo said she is almost solo this year, however, with rivals like Sky not attending as “they are not investing as much and so don’t have anything to bring.”

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Accueil Animation Cartoon Forum 2025 : dix so...

Animation International Production annick.maes@cartoonmedia.eu

Il y a 22 heures

Cartoon Forum 2025 : dix sociétés finalistes pour les Cartoon Tributes

Dix sociétés européennes sont finalistes des Car toon Forum Tributes 2025, qui récompensent diffuseurs, distributeurs et producteurs de séries d’animation.

Cartoon Forum Cartoon forum tributes Creative Conspiracy

Les Cartoon Tributes 2025 visent à distinguer les acteurs clés de l’animation européenne au cours de l’année écoulée. Dix sociétés issues de sept pays sont nominées dans trois catégories : Diffuseur, Investisseur/Distributeur et Producteur de l’année. Les lauréats seront choisis par les professionnels présents au Car toon Forum, forum de coproduction de séries d’animation, qui se tiendra du 15 au 18 septembre à Toulouse, en Occitanie.

Dans la catégorie Diffuseur, la Danish Broadcasting Corporation (DR), Radio Televisión Española (RTVE) et TF1 concourent pour la qualité et la diversité de leur programmation animée. DR, principal groupe médiatique public danois, a renforcé son engagement en faveur de l’animation nordique avec des programmes tels que FredagsTamTam, et a présenté au Car toon Forum des séries comme Ormhildur the Brave ou Goat Girl. RTVE,

https://ecran-total.fr/2025/09/03/cartoon-forum-2025-dix-societes-ﬁnalistes-pour-les-cartoon-forum-tributes/

Présence française

diffuseur public espagnol, valorise la coproduction internationale avec des programmes tels que Samuel ou I, Elvis Riboldi, tandis que TF1 diffuse sur Tfou des séries comme Pfffirates Académie et Ernest & Rebecca, consolidant sa présence dans le marché jeunesse français.

annick.maes@cartoonmedia.eu

Présence française

Pour la catégorie Investisseur-Distributeur, Liquid Rock Entertainment (Espagne), Mediatoon Distribution (France) et Meta Media Entertainment (Royaume-Uni) sont en lice.

Pour la catégorie Investisseur-Distributeur, Liquid Rock Entertainment (Espagne), Mediatoon Distribution (France) et Meta Media Entertainment (Royaume-Uni) sont en lice. Ces sociétés se distinguent par leur capacité à financer et distribuer des programmes animés pour la télévision et les plateformes numériques, tout en accompagnant la coproduction. Liquid Rock propose des séries telles que The Secrets Explorers et Superthings. Rivals of Kaboom. Mediatoon Distribution, filiale de Media Productions, gère un catalogue de plus de 10.000 demi-heures d’animation, incluant Cédric, SamSam et La Famille Blaireau-Renard. Meta Media Entertainment, basée à Londres, distribue plus de 30 séries internationales dont Lena’s Farm, Apple Hills et Rookie Robot

Ces sociétés se distinguent par leur capacité à financer et distribuer des programmes animés pour la télévision et les plateformes numériques, tout en accompagnant la coproduction. Liquid Rock propose des séries telles que The Secrets Explorers et Superthings. Rivals of Kaboom. Mediatoon Distribution, filiale de Media Productions, gère un catalogue de plus de 10.000 demi-heures d’animation, incluant Cédric, SamSam et La Famille Blaireau-Renard. Meta Media Entertainment, basée à Londres, distribue plus de 30 séries internationales dont Lena’s Farm, Apple Hills et Rookie Robot

Dans la catégorie Producteur de l’année, Creative Conspiracy (Belgique), Grupa Smacznego / GS Animation (Pologne), Silex Films (France) et Studio Film Bilder (Allemagne) présentent leurs projets les plus récents. Creative Conspiracy propose Terry and Olivia et coproduit This Moose Belongs to Me. Grupa Smacznego développe des séries pour les préscolaires telles que Mort and Millie et Under the Floor. Silex Films présente Au Secours, destiné aux jeunes adultes, tandis que Studio Film Bilder propose 3 Captains, poursuivant sa tradition d’animations au design original.

Outre les remises de prix, le Cartoon Forum 2025 met en avant 75 séries issues de 20 pays, représentant 396 heures d’animation pour un budget total de 339,53 M€.

L’événement combine sessions de pitch, networking et initiatives comme Fill the Gap, permettant aux anciens producteurs de compléter le financement de leurs projets, ainsi que Animated UK Meets Europe, visant à renforcer les collaborations entre producteurs européens et britanniques.

Outre les remises de prix, le Cartoon Forum 2025 met en avant 75 séries issues de 20 pays, représentant 396 heures d’animation pour un budget total de 339,53 M€. L’événement combine sessions de pitch, networking et initiatives comme Fill the Gap, permettant aux anciens producteurs de compléter le financement de leurs projets, ainsi que Animated UK Meets Europe, visant à renforcer les collaborations entre producteurs européens et britanniques.

L'an dernier, Arte (France-Allemagne) avait remporté le titre de diffuseur de l'année, tandis que ZDF Studios (Allemagne) celui d'investisseur/distributeur. Cartoon Saloon (Irlande) était lauréat en tant que producteur de l'année.

https://ecran-total.fr/2025/09/03/cartoon-forum-2025-dix-societes-ﬁnalistes-pour-les-cartoon-forum-tributes/

https://ecran-total.fr/2025/09/03/cartoon-forum-2025-dix-societes-ﬁnalistes-pour-les-cartoon-forum-tributes/ 2/4

France -

AWARDSTOP STORIES

Cartoon Forum Tributes Announce European Animation Nominees for 2025

By Mercedes Milligan September 3, 2025

Ten companies from seven countries are in the running for the Cartoon Forum Tributes, which celebrate the dedication and creativity of key players in the European animation industry over the previous year. The awards are broken down into three categories — Broadcaster, Investor/Distributor and Producer of the Year — whose winners will be voted by the professionals attending Cartoon Forum, the European co production forum for animated series to be held on September 15-18 in Toulouse, France.

Danish Broadcasting Corporation (DR) and Radio Televisión Española (RTVE) — Denmark’s and Spain’s public broadcasters, respectively — were nominated for Broadcaster of the Year together with France’s leading private free-to-air channel, TF1

09/09/2025, 17:21

Cartoon Forum Tributes Announce European Animation Nominees for 2025 | Animation Magazine

https://www.animationmagazine.net/2025/09/cartoon-forum-tributes-announce-european-animation-nominees-for-2025/

Animation features prominently in the catalogs of the three ifnalists in the Investor/Distributor of the Year category: Spain’s Liquid Rock Entertainment, France’s Mediatoon Distribution and the U.K.’s Meta Media Entertainment.

The Producer of the Year category will be contested between Belgium’s Creative Conspiracy, Poland’s Grupa Smacznego / GS Animation, France’s Silex Films and Germany’s Studio Film Bilder.

All nominees have a close relationship with Cartoon Forum, in which they have participated both to pitch their projects and to discover the next generation of European animated series.

- USA -

Besides pitching sessions and networking activities, this year’s Cartoon Forum event will also feature Fill the Gap, a new initiative offering former Cartoon Forum pitching producers a chance EN

The Producer of the Year category will be contested between Belgium’s Creative Conspiracy, Poland’s Grupa Smacznego / GS Animation, France’s Silex Films and Germany’s Studio Film Bilder.

All nominees have a close relationship with Cartoon Forum, in which they have participated both to pitch their projects and to discover the next generation of European animated series.

Besides pitching sessions and networking activities, this year’s Cartoon Forum event will also feature Fill the Gap, a new initiative offering former Cartoon Forum pitching producers a chance to complete the ifnancing for their projects, and Animated UK Meets Europe, aimed at building bridges and promoting collaboration between both territories.

Cartoon Forum’s lineup features 75 animated series from 20 European countries, for a total budget of €339.53 million, representing 396 hours of animation.

Cartoon Forum Tributes 2025 – Finalists

Broadcaster of the Year:

Danish Broadcasting Corporation (DR) (Denmark)

Denmark’s oldest and largest media enterprise Danish Broadcasting Corporation (DR) is an independent, license ifnanced public institution comprising television, radio and online services. As of 2023, it has further strengthened its commitment to promoting Danish and Nordic animation with DR1’s prime time block program FredagsTamTam. Some series on their programming slate such as Ormhildur the Brave, BeddyByes, Team Nuggets and Goat Girl were presented at Cartoon Forum over the years.

Radio Televisión Española (RTVE) (Spain)

Spain’s largest multimedia group public company Radio Televisión Española (RTVE) channel offer includes Clan, the leading children’s channel in the country, whose programming combines entertainment with the promotion of values, respect, environmental protection, and healthy lifestyles. RTVE is also an active player in both national and international co-productions, including series such as Samuel, Alice’sDiary, The Wawies and I, Elvis Riboldi, all of which were pitched at Cartoon Forum.

TF1 (France)

Free-to-air channel TF1 is part of TF1 Group, the leading private-sector television broadcaster in France. TF1 animated content is featured on TFOU, a children’s slot that also operates as an SVOD service. Pffifrates, Ernest & Rebecca, Mironins and OPS–WhataHopsriblePack are some of the series in the channel’s programming schedule that were presented at Cartoon Forum.

Investor/Distributor of the Year

https://www.animationmagazine.net/2025/09/cartoon-forum-tributes-announce-european-animation-nominees-for-2025/

Pffifrates, Ernest & Rebecca, Mironins and

some of the series in the channel’s programming schedule that were presented at Cartoon Forum.

Investor/Distributor of the Year

09/09/2025, 17:21

Cartoon Forum Tributes Announce European Animation Nominees for 2025 | Animation Magazine

https://www.animationmagazine.net/2025/09/cartoon-forum-tributes-announce-european-animation-nominees-for-2025/

Liquid Rock Entertainment (Spain)

Based in Barcelona and Miami (U.S.A.), Spain’s Liquid Rock Entertainment is a global distribution and brand management company specializing in premium kids and family programming. The company excels in distribution and co-production, providing market insight and dedication to the evolving entertainment landscape. TheSecretsExplorers and Superthings.RivalsofKaboom (both pitched at Cartoon Forum) feature in the company’s catalog.

Mediatoon Distribution (France)

Media Participations’ Mediatoon Distribution is one of the leading kids’ and family IP managers and animation distributors in Europe. Enhanced by its in-house studios (Belvision, Ellipse Animation, Studio Campedelli) and to third party producers, Mediatoon’s catalogue consists of over 10,000 half-hours of animated content, including series recently pitched at Cartoon Forum such as Cedric, SamSam, Trotro and TheFoxBadgerFamily, among others.

Meta Media Entertainment (U.K.)

Founded by Sara Cooper in 2016, London-based Meta Media Entertainment is a specialist distributor of high-quality children’s animation. With a growing catalogue of over 30 series and specials from worldwide award-winning producers, they sell their programs both to traditional broadcasters and to digital platforms. Their series Lena’s Farm, AppleHills, Schalotte – An Onion for All Cases, Rookie Robot, The Koala Brothers have been presented in Cartoon Forum.

Produce of the Year

Creative Conspiracy (Belgium)

Based in Ghent, Creative Conspiracy (CC) is an award-winning company that produces commercials, TV series, short iflms and feature iflms (both CGI and 2D). One of the company’s series, Ray&Ruby, was awarded with the EBU Co-Development Initiative at Cartoon Forum 2023. This year, CC is presenting the series TerryandOlivia in Toulouse, in addition to participating as co-producer in ThisMooseBelongstoMe

Grupa Smacznego / GS Animation (Poland)

Founded in 2004 in Gdansk, Grupa Smacznego / GS Animation covers all stages of the animation process: from project development to post-production, including animated content for children with a valuable, educational message. After presenting Bubblebit & Miau and Basia in previous editions of Cartoon Forum, the company participates this year with two pre-school series: Mort and Millie and Under the Floor, in this latter as co-producer.

Silex Films (France)

Paris-based Silex Films is an independent iflm company featuring an eclectic line-up of iflms and series, dramas and creative documentaries. In 2014, Silex Films founded Silex Animation in Angoulême. Their relationship with Cartoon Forum goes a long way back, after presenting at the event The Miniwhats, Brazen and Iren the Siren, among other series. This year, they return to Toulouse with Beasties, a series aimed at young adults/adults.

Magazine - 03/09/2025

Silex Films (France)

Studio Film Bilder (Germany)

09/09/2025, 17:21

Founded in Stuttgart in 1989 by Thomas Meyer-Hermann, Studio Film Bilder is an independent animation production company focused on individual design and original storytelling. Their catalogue features from music videos, commercials to short iflms to feature iflms and series.

Cartoon Forum Tributes Announce European Animation Nominees for 2025 | Animation Magazine

https://www.animationmagazine.net/2025/09/cartoon-forum-tributes-announce-european-animation-nominees-for-2025/

Animanimals and Lena’s Farm were presented at previous editions of Cartoon Forum. This year they participate with children’s series 3 Captains

23/10/2025, 19:49

Cartoon Forum announces its Tribute awards nominations

The event's attendees will vote for the broadcaster, investor/distributor and producers of the year.

By Ryan Tuchow

September 3, 2025

Cartoon Forum has named the nominees for this year’s annual Tribute awards, which recognizes companies that have made significant contributions to the animation biz.

There are 10 finalists in the running across the Tribute’s Broadcaster of the Year, Investor/Distributor of the Year and Producer of the Year categories. The awards are a nice feather in the cap for animation companies, especially since the winners are determined by their industry peers.

23/10/2025, 19:49

Kidscreen » Archive » Cartoon Forum announces its Tribute awards nominations

Select and listen

The battle for Broadcaster of the Year will be between free-to-air channel TF1 (France) and the public broadcasters Danish Broadcasting Corporation (Denmark) and Radio Televisión Española (Spain).

Investor/Distributor of the Year nominees are Liquid Rock Entertainment (Spain), Mediatoon Distribution (France) and Meta Media Entertainment (UK).

A nd GS Animation (Poland), Creative Conspiracy (Belgium), Silex Films (France) and Studio Film Bilder (Germany) are in the running for Producer of the Year

https://kidscreen.com/2025/09/03/cartoon-forum-announces-its-tributes-nominations/ 1/2

C artoon Forum’s roughly 1,000 attendees vote on the winners during the event in Toulouse. Cartoon runs f rom September 15 to 18 this year, and will host 75 pitches for animated series and specials.

S tay tuned next week for when Kidscreen will highlight five projects that have grabbed our attention ahead of the event.

Also, if you’re heading to Cartoon Forum, Kidscreen ‘s senior reporter Ryan Tuchow will be there looking to meet with producers and buyers who have news to share. You can reach him at rtuchow@brunico.com to schedule a meeting.

23/10/2025, 19:49

Investor/Distributor of the Year nominees are Liquid Rock Entertainment (Spain), Mediatoon Distribution (France) and Meta Media Entertainment (UK).

A nd GS Animation (Poland), Creative Conspiracy (Belgium), Silex Films (France) and Studio Film Bilder (Germany) are in the running for Producer of the Year

S tay tuned next week for when Kidscreen will highlight five projects that have grabbed our attention ahead of t he event.

Pictured is This Moose Belongs to Me , a special from Sixteen South and and Producer of the Year nominee Creative Conspiracy, which is co-producing the special.

TÉLÉVISION

Dix sociétés en lice pour les Cartoon Forum Tributes

Dix sociétés en lice pour les Cartoon Forum Tributes Dix en lice pour les Cartoon Forum

Date de publication : 03/09/2025 - 11:45

Destinés à célébrer l’engagement et la créativité des acteurs clés de l’industrie de l’animation européenne au cours de l’année écoulée, décernés en direct par les professionnels présents, les Cartoon Tributes seront remis le 18 septembre dans le cadre du Cartoon Forum à Toulouse.

Dix sociétés en provenance de sept pays sont en lice pour les prix de Diffuseur, Investisseur/Distributeur et Producteur de l'Année, qui seront soumis au vote des près de 1000 professionnels participant au Cartoon Forum, le forum européen de coproduction pour les séries télévisées d’animation, qui se tiendra du 15 au 18 septembre à Toulouse.

La Danish Broadcasting Corporation (DR) et la Radio Televisión Española (RTVE) – diffuseurs publics respectivement du Danemark et de l’Espagne – ont été nommé dans la catégorie Diffuseur de l’année aux côtés de TF1.

Les trois ﬁnalistes de la catégorie Investisseur/Distributeur de l’année sont Liquid Rock Entertainment (Espagne), Mediatoon Distribution (France) et Meta Media Entertainment (Royaume-Uni).

Enﬁn, la catégorie Producteur de l’année sera disputée entre Creative Conspiracy (CC) (Belgique), Grupa Smacznego / GS Animation (Pologne), Silex Films (France) et Studio Film Bilder (Allemagne).

DIFFUSEUR DE L'ANNÉE

Danish Broadcasting Corporation (DR) (Danemark)

Premier et plus grand groupe médiatique du Danemark, la Danish Broadcasting Corporation (DR) est une institution publique indépendante, ﬁnancée par la redevance et qui propose des services de télévision, de radio et en ligne. Depuis 2023, elle a renforcé son engagement en faveur de l’animation danoise et nordique.

Radio Televisión Española (RTVE) (Espagne)

Principal groupe audiovisuel public espagnol, Radio Televisión Española (RTVE) propose notamment Clan, la première chaîne jeunesse du pays, dont la programmation associe divertissement et transmission de valeurs telles que le respect, la protection de l’environnement et les modes de vie sains.

TF1, premier diffuseur privé de France.

les

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DIFFUSEUR DE L'ANNÉE

Danish Broadcasting Corporation (DR) (Danemark)

Radio Televisión Española (RTVE) (Espagne)

TF1, premier diffuseur privé de France.

Les contenus animés de TF1 sont diffusés sur la chaîne jeunesse TFOU, également disponible en SVOD. Pffﬁrates

Académie, Ernest & Rebecca, Mironins et OPS – What a Hopsrible Pack comptent parmi les séries de son programme qui ont été présentées au Cartoon Forum.

INVESTISSEUR/DISTRIBUTEUR DE L’ANNÉE

Liquid Rock Entertainment (Espagne)

Basée à Barcelone et Miami aux États-Unis, Liquid Rock Entertainment est une société espagnole de distribution et de gestion de marques à portée internationale, spécialisée dans les programmes pour enfants et familles.

L’entreprise se distingue par son expertise en distribution et coproduction, apportant une connaissance du marché et un engagement constant face à l’évolution du paysage du divertissement.

Mediatoon Distribution (France)

Filiale de Media Productions, Mediatoon Distribution est l’un des principaux gestionnaires de propriétés intellectuelles de contenu jeunesse et famille, ainsi qu’un distributeur majeur d’animation en Europe. Enrichi par ses studios internes (Belvision, Ellipse Animation, Studio Campedelli) ainsi que par des producteurs tiers, son catalogue compte plus de 10 000 demi-heures de programmes d’animation, parmi lesquels des séries récemment présentées au Cartoon Forum telles que Cédric, SamSam, Trotro et La Famille Blaireau-Renard

Meta Media Entertainment (Royaume-Uni)

Fondée en 2016 par Sara Cooper et basée à Londres, Meta Media Entertainment est une société spécialisée dans la distribution d’animations de qualité pour la jeunesse. Avec un catalogue en pleine croissance de plus de 30 séries et programmes spéciaux créés par des producteurs internationaux primés, elle distribue ses contenus aussi bien auprès des diffuseurs traditionnels que des plateformes numériques.

PRODUCTEUR DE L’ANNÉE

Creative Conspiracy (Belgique)

Basée à Gand, Creative Conspiracy (CC) est une société primée qui produit des publicités, des series TV , des courts-métrages et des longs-métrages (en CGI et en 2D). L’une de ses séries, Ray & Ruby, a remporté l’Initiative de co-développement de l’UER lors du Cartoon Forum 2023.

Grupa Smacznego / GS Animation (Pologne)

Fondée en 2004 à Gdansk, Grupa Smacznego / GS Animation couvre toutes les étapes du processus d’animation : du développement de projet à la post-production, en passant par la création de contenus animés pour enfants porteurs de messages éducatifs et constructifs. La société participe cette année au Cartoon avec deux séries pour les préscolaires Mort and Millie et Under the Floor

Silex Films (France)

Basée à Paris, Silex Films propose un catalogue éclectique de ﬁlms et de séries, de ﬁctions et de documentaires. En 2014, la société a fondé Silex Animation à Angoulême. Son lien avec le Cartoon Forum est de longue date, avec la présentation de séries telles que Les QuiQuoi, Les Culottées et S-IRÈNE-S. Cette année, elle revient à Toulouse avec Au Secours, série destinée aux jeunes adultes/adultes.

Studio Film Bilder (Allemagne)

Fondé à Stuttgart en 1989 par Thomas Meyer-Hermann, Studio Film Bilder est un studio indépendant spécialisé dans l’animation avec un design singulier et aux récits originaux. Son catalogue s’étend des clips musicaux et publicités aux courts-métrages, longs-métrages et séries. Cette année, le studio sera présent au Cartoon avec la série 3 Captains

crédit photo : Patrice Carré

Patrice Carré

Palombella

Cartoon Forum Tributes 2025 Nominees

Announced

6 days ago

  Jamie Stalcup

09/09/2025, 17:23

Cartoon Forum has announced the ten companies in the running for this year’s Cartoon Forum Tributes broadcaster, investor/distributor and producer of the year awards.

Nominees in the broadcaster category are DR, RTVE and TF1. The finalists for investor/distributor of the year are Spain’s Liquid Rock Entertainment, France’s Mediatoon Distribution and the U.K.’s Meta Media Entertainment.

The four contenders for producer of the year are Belgium’s Creative Conspiracy, Poland’s Grupa Smacznego/GS Animation, France’s SILEX FILMS and Germany’s Studio FILM BILDER.

More info on Banijay Kids & Family's programs.

The winners will be voted on by the professionals attending Cartoon Forum, taking place from September 15 to 18 in Toulouse, Occitanie. All nominees have participated in Cartoon Forum before, having pitched their projects and/or discovering new European animated series.

Cartoon Forum Tributes 2025 Set To Recognise European Animation Latest Achievements

Ten companies from seven countries are in the running for the Cartoon Forum Tributes, which seek to celebrate the dedication and creativity of key players in the European animation industry over the previous year.

by Editorial Team

—12 September 2025in Events, Highlights

21/10/2025, 17:13

SHARES 2 VIEWS

https://www.europeananimationjournal.com/2025/09/12/cartoon-forum-tributes-2025-set-to-recognise-european-animation-latest-achievements/ 1/8

The awards are broken down into three categories – Broadcaster, Investor/Distributor, and Producer of the Year – whose winners will be voted by the professionals attending Cartoon Forum, the European coproduction forum for animated series to be held on September 15-18 in Toulouse, Occitanie.

Danish Broadcasting Corporation (DR) and Radio Televisión Española (RTVE) – Denmark and Spain public broadcasters, respectively – were nominated for Broadcaster of the Year together with France’s leading private free-to-air channel TF1. Animation features prominently in the catalogues of the three ifnalists in the Investor/Distributor of the Year category: Spain’s Liquid Rock Entertainment, France’s Mediatoon Distribution, and UK’s Meta Media Entertainment.

Lastly, the Producer of the Year category will be contested between Belgium’s Creative Conspiracy, Poland’s Grupa Smacznego / GS Animation, France’s SILEX FILMS, and Germany’s Studio FILM BILDER. All nominees bear a close relationship with Cartoon Forum, in which they have participated both to pitch their projects and to discover the next generation of European animated series.

Besides pitching sessions and networking activities, the event will also feature Fill the

category: Spain’s Liquid Rock Entertainment, France’s Mediatoon Distribution, and UK’s Meta Media Entertainment.

Besides pitching sessions and networking activities, the event will also feature Fill the Gap, a new initiative offering former Cartoon Forum pitching producers a chance to complete the ifnancing for their projects, and Animated UK Meets Europe, aimed at building bridges and promoting collaboration between both territories. Cartoon Forum’s line up feature 75 animated series coming from 20 European countries, for a total budget of 339.53 million €, representing 396 hours of animation.

CARTOON

FORUM TRIBUTES 2025 – FINALISTS BROADCASTER OF THE YEAR Danish Broadcasting

Corporation (DR) (Denmark)

Denmark’s oldest and largest media enterprise Danish Broadcasting Corporation (DR) is an independent, licence ifnanced public institution comprising television, radio and online services. As of 2023, it has further strengthened its commitment to promoting Danish and Nordic animation with DR1’s prime time block programme FredagsTamTam. Some series on their programming slate such as “Ormhildur the Brave”, “BeddyByes”, “Team Nuggets” and “Goat girl” were presented at Cartoon Forum over the years.

Radio Televisión Española (RTVE) (Spain)

21/10/2025, 17:13 Cartoon Forum Tributes 2025 Set To Recognise European Animation Latest Achievements - The European Animation Journal

https://www.europeananimationjournal.com/2025/09/12/cartoon-forum-tributes-2025-set-to-recognise-european-animation-latest-achievements/ 2/8 Spain’s largest multimedia group public company Radio Televisión Española (RTVE) channel offer includes Clan, the leading children’s channel in the country, whose programming combines entertainment with the promotion of values, respect, environmental protection, and healthy lifestyles. RTVE is also an active player in both national and international co-productions, including series such as “Samuel”, “Alice’s Diary”, “The Wawies” and “I, Elvis Riboldi”, all of which were pitched at Cartoon Forum.

TF1 (France)

Free-to-air channel TF1 is part of TF1 Group, the leading private-sector television broadcaster in France. TF1 animated content is featured on TFOU, a children’s slot that also operates as an SVOD service. “Pfiffrates”, “Ernest & Rebecca”, “Mironins”, and “OPS –What a Hopsrible Pack” are some of the series in the channel’s programming schedule that were presented at Cartoon Forum.

INVESTOR/DISTRIBUTOR OF THE YEAR

Liquid Rock Entertainment (Spain)

Based in Barcelona and Miami (USA), Spain’s Liquid Rock Entertainment is a global distribution and brand management company specialising in premium kids and family programming. The company excels in distribution and co-production, providing market insight and dedication to the evolving entertainment landscape. “The Secrets Explorers” and “Superthings. Rivals of Kaboom” (both pitched at Cartoon Forum) feature on the

Liquid Rock Entertainment (Spain)

Mediatoon Distribution (France)

Media Participations’ Mediatoon Distribution is one of the leading Kids and Family IP managers and animation distributors in Europe. Enhanced by its in-house studios (Belvision, Ellipse Animation, Studio Campedelli) and to third party producers, Mediatoon’s catalogue consists of over 10,000 half-hours of animated content, including series recently pitched at Cartoon Forum such as “Cedric”, “SamSam”, “Trotro” and “The Fox Badger Family”, among others.

Meta Media Entertainment (UK)

Founded by Sara Cooper in 2016, London-based Meta Media Entertainment is a specialist distributor of high-quality children’s animation. With a growing catalogue of over 30 series and specials from worldwide award-winning producers, they sell their programmes both to traditional broadcasters and to digital platforms. Their series “Lena’s Farm”, “Apple

21/10/2025, 17:13 Cartoon Forum Tributes 2025 Set To Recognise European Animation Latest Achievements - The European Animation Journal

Hills”, “Schalotte – An Onion for All Cases”, “Rookie Robot”, “The Koala Brothers” have been presented in Cartoon Forum.

https://www.europeananimationjournal.com/2025/09/12/cartoon-forum-tributes-2025-set-to-recognise-european-animation-latest-achievements/ 3/8

PRODUCER OF THE YEAR

Creative Conspiracy (Belgium)

Based in Ghent, Creative Conspiracy (CC) is an award-winning company that produces commercials, TV series, short iflms and feature iflms (both CGI and 2D). One of the company’s series, “Ray & Ruby”, was awarded with the EBU Co-Development Initiative at Cartoon Forum 2023. This year, CC is presenting the series “Terry and Olivia” in Toulouse, in addition to participating as co-producer in “This Moose Belongs to Me”.

Grupa Smacznego / GS Animation (Poland)

Founded in 2004 in Gdansk, Grupa Smacznego / GS Animation covers all stages of the animation process: from project development to post-production, including animated content for children with a valuable, educational message. After presenting “Bubblebit & Miau” and “Basia” in previous editions of Cartoon Forum, the company participates this year with two pre-school series: “Mort and Millie” and “Under the lfoor”, in this latter as coproducer.

SILEX FILMS (France)

Paris-based Silex Films is an independent iflm company featuring an eclectic line-up of iflms and series, dramas and creative documentaries. In 2014, Silex Films founded Silex Animation in Angoulême. Their relationship with Cartoon Forum goes a long way back, after presenting at the event “The Miniwhats”, “Brazen” and “Iren the Siren”, among other series. This year, they return to Toulouse with “Beasties”, a series aimed at Young

animation process: from project development to post-production, including animated content for children with a valuable, educational message. After presenting “Bubblebit & Miau” and “Basia” in previous editions of Cartoon Forum, the company participates this year with two pre-school series: “Mort and Millie” and “Under the lfoor”, in this latter as coproducer.

SILEX FILMS (France)

Paris-based Silex Films is an independent iflm company featuring an eclectic line-up of iflms and series, dramas and creative documentaries. In 2014, Silex Films founded Silex Animation in Angoulême. Their relationship with Cartoon Forum goes a long way back, after presenting at the event “The Miniwhats”, “Brazen” and “Iren the Siren”, among other series. This year, they return to Toulouse with “Beasties”, a series aimed at Young adults/adults.

Studio FILM BILDER (Germany)

Founded in Stuttgart in 1989 by Thomas Meyer-Hermann, Studio FILM BILDER is an independent animation production company focused on individual design and original storytelling. Their catalogue features from music videos, commercials to short iflms to feature iflms and series. “Animanimals” and “Lena’s Farm” were presented at previous editions of Cartoon Forum. This year they participate with children’s series “3 Captains”.

Tags: CartoonForumTributes

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Paris, Sep 11 (EFE) - Spain is shaping up to be one of the key players in the 36th edition of Cartoon Forum, Europe's leading animated series event, to be held from September 15 to 18 in Toulouse (south), with two of its companies among the finalists for the awards recognizing the most important European figures in the sector.

The Spanish participation includes five series submissions and the nomination of Spanish Radio and Television (RTVE) and Liquid Rock Entertainment for the Cartoon Forum Tributes, placing Spain among the countries with a prominent presence in the award categories.

26/09/2025, 12:30 España destaca en los Cartoon Forum Tributes 2025 con dos nominaciones - SWI swissinfo.ch

This year, the Cartoon Forum will bring together 75 projects from 20 countries, totaling 396 hours of programming and a total budget

of €339.5 million, according to a statement from Cartoon, the event's organizing association.

https://www.swissinfo.ch/spa/españa-destaca-en-los-cartoon-forum-tributes-2025-con-dos-nominaciones/89987997 1/4

The selection maintains the predominance of children's and family content, which represents 80% of the projects, while 20% is aimed at teenagers and adults, consolidating the diversification of audiences in European animation.

2D remains the most widely used technique, present in 68% of series, and 37% of projects include female protagonists or stories with a gender perspective.

This year, the Cartoon Forum will bring together 75 projects from 20 countries, totaling 396 hours of programming and a total budget

https://www.swissinfo.ch/spa/españa-destaca-en-los-cartoon-forum-tributes-2025-con-dos-nominaciones/89987997

Liquid Rock Entertainment, meanwhile, is up for Investor/Distributor of the Year for its work in distribution and coproduction of series such as 'The Secret Explorers' and

The remaining finalists include companies from Denmark, France, and the United Kingdom, while the Producer of the Year category pits studios from Belgium, Poland, France, and Germany against each other.

In addition to the awards, the forum will include initiatives such as Fill the Gap, which offers former participants the opportunity to supplement the funding for their projects, and Animated UK Meets Europe, which aims to foster collaboration between British and European studios.

The Coaching Programme and Toons d'Ici training program will allow more than 80 young talents from 13 animation and arts schools in the southern Occitanie region to participate in workshops and project presentations. EFE

irr/cat/alf

The public's favorites

https://www.swissinfo.ch/spa/españa-destaca-en-los-cartoon-forum-tributes-2025-con-dos-nominaciones/89987997 2/4

- Switzerland -

26/09/2025, 12:37

RTVE y Liquid Rock Entertainment, ﬁnalistas en los Cartoon Forum Tributes 2025 - TTV News

Rock Entertainment, que compite en la categoría Inversor/Distribuidor del Año.

RTVE y Liquid Rock Entertainment, ifnalistas en los Cartoon Forum Tributes 2025

La animación europea volverá a reconocer a sus principales protagonistas en los Cartoon Forum Tributes 2025, cuyos ganadores serán elegidos por los participantes del foro europeo de coproducción de series de animación, que celebrará su 36ª edición del 15 al 18 de septiembre en Toulouse (Occitania, Francia).

16/09/2025 Por ttvnews

Cartoon Forum

Entre los ifnalistas de este año ifguran dos compañías españolas: RTVE, nominada en la categoría Broadcaster del Año, y Liquid

Entre los ifnalistas de este año ifguran dos compañías españolas: Radio Televisión Española (RTVE), nominada en la categoría Broadcaster del Año, y Liquid Rock Entertainment, que compite en la categoría Inversor/Distribuidor del Año.

https://www.todotvnews.com/rtve-y-liquid-rock-entertainment-ﬁnalistas-en-los-cartoon-forum-tributes-2025/ 1/5

RTVE ha reforzado en los últimos años su compromiso

26/09/2025, 12:37

RTVE ha reforzado en los últimos años su compromiso con la animación a través de Clan, el canal infantil líder en España, y con su participación en coproducciones nacionales e internacionales. Entre sus proyectos más destacados ifguran Samuel, El diario de Alice, Los Wawies y Yo, Elvis Riboldi, todos presentados en el Cartoon Forum. La corporación pública comparte nominación con Danish Broadcasting Corporation (DR) de Dinamarca y con TF1, el principal canal privado de Francia.

RTVE y Liquid Rock Entertainment, ﬁnalistas en los Cartoon Forum Tributes 2025 - TTV News

y distribución, con títulos como Los exploradores secretos y Superthings.Rivals of Kaboom. En su categoría, compite con la francesa Mediatoon Distribution y la británica

Meta Media Entertainment.

Por su parte, Liquid Rock Entertainment, con sede en Barcelona y Miami, se ha consolidado como una empresa global de distribución y gestión de marcas especializada en programación infantil y familiar. Fundada por Roberto Mitrani y Xavi Mas, destaca por su labor en coproducción

La lista de ifnalistas se completa con los aspirantes a Productor del Año: Creative Conspiracy (Bélgica), Grupa Smacznego / GS Animation (Polonia), Silex Films (Francia) y Studio Film Bilder (Alemania).

https://www.todotvnews.com/rtve-y-liquid-rock-entertainment-ﬁnalistas-en-los-cartoon-forum-tributes-2025/ 2/5

La edición 2025 de Cartoon Forum presentará 75 series de animación de 20 países europeos, con un presupuesto total de 339,53 millones de euros y 396 horas de programación. Además de las sesiones de pitching y networking, el evento incluirá nuevas iniciativas como Fill the Gap, que busca ayudar a antiguos proyectos a cerrar su ifnanciación, y Animated UK Meets Europe, destinada a estrechar lazos entre el Reino Unido y Europa en el sector de la animación.

RTVE y Liquid Rock Entertainment, entre los nominados a los Cartoon Forum Tributes 2025

Por Marco Sánchez Sequera

- 3 septiembre, 2025

La animación europea rendirá homenaje a algunas de sus figuras más destacadas a través de los Cartoon Forum Tributes, que reconocen el trabajo y los logros de los principales actores de la industria europea de la animación a lo largo del año anterior.

Los ganadores en las tres categorías de estos premios –Broadcaster, Inversor/Distribuidor y Productor del Año– serán votados por todos los participantes de Cartoon Forum, el foro europeo de coproducción de series de animación, que celebrará su 36ª edición del 15 al 18 de septiembre en la ciudad francesa de Toulouse.

09/09/2025, 17:24 RTVE y Liquid Rock Entertainment, entre los nominados a los Cartoon Forum Tributes 2025 - Audiovisual451

La lista de finalistas incluye candidatos de siete países, incluyendo dos empresas españolas: RTVE, que opta al premio al Broadcaster del Año, y Liquid Rock Entertainment, que compite en la categoría Inversor/Distribuidor del Año.

Los nominados

RTVE participa activamente en coproducciones nacionales e internacionales de animación, incluyendo series como ‘Samuel’, ‘El diario de Alice’, ‘Los Wawies’ y ‘Yo, Elvis Riboldi’, todas ellas presentadas en Cartoon Forum. La corporación pública española comparte nominación en esta categoría con su homóloga danesa, Danish Broadcasting Corporation (DR), así como con TF1, el principal canal privado en abierto de Francia.

- Publicidad -

Con sede en Barcelona y Miami, Liquid Rock Entertainment es una compañía global de distribución y gestión de marcas especializada en programación infantil y familiar. Fundada por Roberto Mitrani y Xavi Mas, la empresa cuenta en su catálogo con series como ‘Los exploradores secretos’ y ‘Superthings. Rivals of Kaboom’, ambas presentadas en Cartoon Forum. La francesa Mediatoon Distribution y la británica Meta Media Entertainment son las otras dos finalistas en la categoría Inversor/Distribuidor del Año.

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La lista de candidatos a los Cartoon Forum Tributes 2025 se completa con los finalistas a Productor del Año: Creative Conspiracy (Bélgica), Grupa Smacznego / GS Animation (Polonia), SILEX FILMS (Francia), y Studio FILM BILDER (Alemania).

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Sobre Cartoon Forum

- Spain -

- 03/09/2025

Sobre Cartoon Forum

La programación de esta nueva edición de Cartoon Forum incluye 75 series de animación procedentes de 20 países europeos que suman un presupuesto total de 339,53 millones de euros y representan 396 horas de programación. Además de las sesiones de pitching y las actividades de networking, el evento acogerá otras actividades como Fill the Gap, una nueva iniciativa que ofrece a los antiguos productores de Cartoon Forum la oportunidad de completar la financiación de sus proyectos, y Animated UK Meets Europe, cuyo objetivo es promover la colaboración entre el Reino Unido y Europa.

Marco Sánchez Sequera

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Accès Corporate Animation Distribution Production Télévision +4

Cartoon Forum 2025 - Trois sociétés récompensées lors des Tributes

Il y a 2 jours

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Le Cartoon Forum a distingué la Danish Broadcasting Corporation (Diffuseur de l'année), Mediatoon Distribution (Investisseur/Distributeur de l'année) et Creative Conspiracy (Producteur de l'année) à l'issue de sa 36e édition, saluant leur contribution à l’animation européenne.

Creative Conspiracy Danish Broadcasting Corporation DR

21/09/2025, 14:20

Cartoon Forum 2025 - Trois sociétés récompensées lors des Tributes - Ecran Total

Nouveau : Base de données des plans de financement →

annick.maes@cartoonmedia.eu

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©CARTOON

La Danish Broadcasting Corporation (DR) a été élue Diffuseur de l’année. Dans cette catégorie, elle était nommée aux côtés de la Radio Televisión Española (RTVE), diffuseur public espagnol, et de TF1. Plus ancienne et plus grande entreprise médiatique du Danemark, DR regroupe télévision, radio et services en ligne. Depuis 2023, l’institution publique indépendante a accru son engagement en faveur de l’animation locale et nordique, en particulier grâce au créneau hebdomadaire FredagsTamTam en prime time sur DR1, ainsi que via sa plateforme de streaming DR TV. Ce renforcement des investissements dans les contenus animés répond à la fois à la demande croissante du jeune public et à la volonté de valoriser la création régionale.

Le Cartoon Forum a clôturé sa 36e édition, le 18 septembre 2025, en décernant les Cartoon Forum Tributes, des distinctions devenues au fil des années un marqueur de reconnaissance au sein de l’industrie de l’animation européenne. Trois entreprises issues de Belgique, du Danemark et de France ont été récompensées cette année, après un vote des professionnels présents à Toulouse pour l’événement.

Mediatoon Distribution, lauréat côté investisseurs et distributeurs

https://ecran-total.fr/2025/09/19/cartoon-forum-2025-trois-societes-recompensees-lors-des-tributes/ 1/5

- France -

Le prix Investisseur/Distributeur de l’année a été attribué à Mediatoon Distribution, société française basée à Paris. Spécialisée dans la gestion d’IP jeunesse et famille, elle occupe une place centrale dans la circulation des contenus animés en Europe. Son catalogue, fort de plus de 10 000 demi-heures de programmes, rassemble à la fois des productions internes, issues de ses studios Belvision, Ellipse Animation et Studio Campedelli, et des œuvres de producteurs partenaires. Plusieurs titres emblématiques de son portefeuille, tels que Cédric, SamSam, Trotro ou La Famille Blaireau Renard, ont été mis en avant au Cartoon Forum, confirmant la visibilité internationale de la société et son rôle majeur dans

Morgann Favennec & Franklin Cadre (Mediatoon), Julie Hansen & Morten Hansen (Danish Broadcasting Corporation (DR)), Peter Decraene & Luc Van Driessche (Creative Conspiracy (CC))

Mediatoon Distribution, lauréat côté investisseurs et distributeurs

21/09/2025, 14:20

Cartoon Forum 2025 - Trois sociétés récompensées lors des Tributes - Ecran Total

Nouveau : Base de données des plans de financement →

annick.maes@cartoonmedia.eu

Ces récompenses s’inscrivent dans un contexte de forte dynamique pour l’animation européenne L’édition 2025 du Cartoon Forum a présenté 75 séries animées issues de 20 pays européens, représentant un budget cumulé de 339,53 millions d’euros et 396 heures de programmes. Les entreprises finalistes pour les Tributes, originaires d’Allemagne, de Pologne, d’Espagne et du Royaume-Uni ont alors témoigné de l’ancrage multinational de l’événement et de la densité des échanges autour des projets.

Creative Conspiracy (CC), société basée à Gand, a pour sa part été désignée Producteur de l’année face à Grupa Smacznego / GS Animation (Pologne), SILEX FILMS (France) et Studio FILM BILDER (Allemagne). Actif dans la publicité, les séries, les courts et les longsmétrages en CGI comme en 2D, le studio belge a déjà été distingué lors de précédentes éditions du Cartoon Forum, notamment avec la série Ray & Ruby, lauréate du prix de l’Initiative de codéveloppement UER (EBU) en 2023. Cette année, Creative Conspiracy a présenté la série Terry and Olivia et s’est engagé comme coproducteur du projet This Moose Belongs to Me. Le studio consolide ainsi son positionnement sur le marché international des coproductions.

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Depuis sa création en 1990, le Cartoon Forum a permis à 1 017 séries d’animation de trouver des financements, pour un montant global dépassant 3,69 milliards d’euros. En récompensant ces acteurs établis mais aussi étroitement liés à l'événement par leur implication dans le pitch et la découverte de nouveaux projets, les Cartoon Forum Tributes jouent leur rôle d’indicateur des tendances et des forces motrices de l’animation en Europe.

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Joseph Le Fer

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Facing market contractions, the European animation sector celebrates bootstrap success stories

By Ben Croll

DR, Mediatoon, Creative Conspiracy Take Top Honors as Cartoon Forum Bolsters

Euro Toon Sector

Facing market contractions, the European animation sector celebrates bootstrap success stories

By Ben Croll

Danish public broadcaster DR took home top honors at this year’s Cartoon Forum in Toulouse, capping an edition marked by self-reliance and continental solidarity. In the same spirit, France’s Mediatoon Distribution scooped Investor/Distributor of the Year, while Belgium’s Creative Conspiracy walked away with Cartoon Forum’s Producer of the Year accolade, as the co-production forum’s 36th edition navigated an industry in recalibration.

Indeed, as Europe’s animation ecosystem whiteknuckles through the second year of a market contraction – driven in no small part by a sharp drop in U.S. commissions – bootstrap success stories were all the more irresistible to delegates and attendees in Toulouse.

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25/09/2025, 16:09

WRITTEN BY: DAVIDE ABBATESCIANNI

Cartoon Forum celebrated DR triumph, showcased four bold projects from the Nordics

WRITTEN

BY:

DAVIDE ABBATESCIANNI

Cartoon Forum celebrated DR triumph, showcased four bold projects from the Nordics

The Occitanie-based gathering reafﬁrms the strength of Danish animation, while for other pubcasters in attendance it was business as usual.

LIND HOLM HANSEN, MORTEN SKOV HANSEN / PHOTO: CARTOON

The Occitanie-based gathering reafﬁrms the strength of Danish animation, while for other pubcasters in attendance it was business as usual.

The Nordic countries once again made a strong mark at the 36th edition of Cartoon Forum, the leading European co-production and pitching event for animated TV series, which unspooled in Toulouse from 15–18 September. With four new projects from Denmark, Finland, Iceland, and Sweden on show, and with Denmark’s DR crowned Broadcaster of the Year at the prestigious Tributes, the region’s talent and public service commitment to animation received well-deserved international recognition.

25/09/2025, 16:09

Cartoon Forum celebrated DR triumph, showcased four bold projects from the Nordics

https://nordiskﬁlmogtvfond.com/news/stories/cartoon-forum-celebrated-dr-triumph-showcased-four-bold-projects-from-the-nordics 1/7 DR honoured as Broadcaster of the Year

https://nordiskﬁlmogtvfond.com/news/stories/cartoon-forum-celebrated-dr-triumph-showcased-four-bold-projects-from-the-nordics 1/7

At this year’s Tributes, France’s Mediatoon Distribution and Belgium’s Creative Conspiracy were crowned Investor/Distributor of the Year and Producer of the Year, respectively.

The Broadcaster of the Year award reﬂects DR’s ongoing investment in Nordic animation, particularly through its prime-time weekly slot FredagsTamTam on DR1 and its streaming platform DRTV. For commissioning editor Julie Lind-Holm Hansen, the recognition signals the broadcaster’s ability to connect with audiences at home while keeping a strong European outlook.

https://nordiskﬁlmogtvfond.com/news/stories/cartoon-forum-celebrated-dr-triumph-showcased-four-bold-projects-from-the-nordics 1/7

Speaking to NFTVF, she noted that Nordic viewers respond best to family-oriented stories with emotional depth and humour, especially those blending “local cultural touchpoints such as friendship, everyday life or mystery” with a universal appeal. DR’s strategy balances international IPs with original, locally rooted shows, aiming to create content that offers “a break from everyday worries” at a time when audiences crave escapism and community.

Hansen stressed that co-productions are not only a ﬁnancial necessity, but also a creative strength: “Animation is expensive, and at DR we cannot carry the budgets for our projects alone. Partnerships are therefore both a necessity and a real strength which beneﬁts both us and the projects.”

JULIE

JULIE LIND HOLM HANSEN, MORTEN SKOV HANSEN / PHOTO: CARTOON

worries” at a time when audiences crave escapism and community.

She added that trust is essential in these long-term collaborations, with the best co-producers being “equally committed to creating high-quality content that resonates both locally and internationally”.

When it comes to formats, DR continues to look for series of 7, 11, or 22 minutes – durations that work well for both linear and streaming platforms. While shorter formats dominate pitches, Hansen emphasised her interest in longer story arcs that encourage family co-viewing.

25/09/2025, 16:09

Cartoon Forum celebrated DR triumph, showcased four bold projects from the Nordics

Humour, she said, remains a decisive factor: “When we laugh together, it creates a sense of community, and community makes people feel safe… And that is a core value for us.”

https://nordiskﬁlmogtvfond.com/news/stories/cartoon-forum-celebrated-dr-triumph-showcased-four-bold-projects-from-the-nordics 2/7

Looking at broader trends, she described Cartoon Forum 2025 as proof of the “breadth of animation – from high budget to low budget, from simple to complex and edgy”. The clearest development, however, was “the talks, and acknowledgement of the need for new collaborations across borders”.

For DR, diversity and representation also remain central: “Representation is just as important in animation as it is in live action, and we are committed to making sure our content reﬂects the wide range of audiences we serve. More representation means more kinds of stories – and in the end also better and more fun content.”

During Nordisk Film & TV Fond’s 2025 theme year Animation Collaboration, DR’s Head of C&Y Morten Skov Hansen has been a very active partner in uniting Nordic broadcasters at partner meetings organised by NFTVF or summits co-arranged by DR, NFTVF and the likeways active party nordicanimation.com (http://nordicanimation.com).

Four new Nordic projects on show

Beyond industry recognition, Nordic producers showcased four fresh projects across genres and age groups, underlining the region’s creative diversity.

J ULIE LIND HOLM HANSEN, CHIRSTOPHE ERBES / PHOTO: CELIA LENOIR

JULIE LIND HOLM HANSEN, CHIRSTOPHE ERBES / PHOTO: CELIA LENOIR

Beyond industry recognition, Nordic producers showcased four fresh projects across genres and age groups, underlining the region’s creative diversity.

25/09/2025, 16:09

From Copenhagen-based Nice Ninja Aps, Creature Combat (26 × 11’, 2D computer animation, target 6–9) is a lively and educational competition format. Each episode pits extraordinary animals against each other, with two hosts debating who has discovered the “coolest creature of the day”. Whether it’s the wombat with its square droppings, the Mexican walking ﬁsh that regenerates its body, or the tapeworm burrowing into intestines, the series combines surprising zoological facts with a humour-driven, kid-friendly tone.

25/09/2025, 16:09

Cartoon Forum celebrated DR triumph, showcased four bold projects from the Nordics

https://nordiskﬁlmogtvfond.com/news/stories/cartoon-forum-celebrated-dr-triumph-showcased-four-bold-projects-from-the-nordics 3/7

Helmed by Lowe Haak, with scripts by Emil Poulsen and Line Friis Frederiksen, the series is staged by Mette Valbjørn Skøtt and Thomas Borch Nielsen. Its mix of science and comedy ﬁts perfectly with DR’s tradition of engaging children through curiositydriven storytelling.

https://nordiskﬁlmogtvfond.com/news/stories/cartoon-forum-celebrated-dr-triumph-showcased-four-bold-projects-from-the-nordics 3/7

Next, Helsinki-based Gigglebug Entertainment presented The Underglow (50 × 7’, 2D animation, target 2–4), a magical pre-school adventure led by Riley, Brewster, and a quirky group of woodland friends. Originally developed within the BBC Ignite scheme, the series is co-created by Sam Morrison and Tanya J Scott, who also directs.

C REATURE COMBAT / PHOTO: NICE NINJA, CARTOON FORUM

Producers Anttu Harlin and his team emphasised the show’s focus on fun, discovery, and inclusivity, blending Finnish production

THE UNDERGLOW / PHOTO: GIGGLEBUG ENTERTAINMENT, CARTOON FORUM

CREATURE COMBAT / PHOTO: NICE NINJA, CARTOON FORUM

Harlin

T HE UNDERGLOW / PHOTO: GIGGLEBUG ENTERTAINMENT, CARTOON FORUM

Producers Anttu Harlin and his team emphasised the show’s focus on fun, discovery, and inclusivity, blending Finnish production expertise with strong UK creative roots. The Underglow positions itself as a warm and imaginative addition to the European preschool landscape, with strong international appeal.

From Animation Studio Iceland, Alﬁe’s Alright! (26 × 11’, 2D animation, target 9–11) follows a young elf navigating her new life in the city with her adoptive family. The show explores themes of identity, friendship, and ﬁtting in, while balancing comedy adventure with emotional honesty.

25/09/2025, 16:09

Created by Conor Leech and produced by Heather Millard and Gudny Gudjonsdottir, the project launched a teaser in Toulouse and actively sought co-producers, distributors, and broadcasters.

25/09/2025, 16:09

https://nordiskﬁlmogtvfond.com/news/stories/cartoon-forum-celeb

ALRIGHT! / PHOTO: ANIMATION STUDIO ICELAND, CARTOON FORUM

The Swedish pitch came from producers Caroline Drab and Oliver Guerpillon, presenting Puck (26 × 7’, 2D animation, target 3–5), a preschool series adapted from the popular books by Anna-Karin Garhamn. Co-written by Garhamn and Drab, the series gently portrays Puck’s everyday adventures with her bunny as she tries things for the ﬁrst time.

Thematically, Puck addresses gender identity and modern single-parent life, all through the lens of a relatable four-year-old.

Currently in ﬁnancing, with a tentative release in 2027, the project already has Yle (Finland), ERR (Estonia), and Folkets Bio (Sweden) attached, and is backed by Film i Skåne, the Swedish Film Institute, Lindholmen Science Park, the City of Malmö, and the Council of Europe (Development Award from Cinekid). Its budget is set at €1.6 million.

Thematically, Puck addresses gender identity and modern single-parent life, all through the lens of a relatable four-year-old. Currently in ﬁnancing, with a tentative release in 2027, the project already has Yle (Finland), ERR (Estonia), and Folkets Bio (Sweden) attached, and is backed by Film i Skåne, the Swedish Film Institute, Lindholmen Science Park, the City of Malmö, and the Council of Europe (Development Award from Cinekid). Its budget is set at €1.6 million.

A LFIE’S

Cartoon Forum celebrated DR triumph, showcased four bold projects from the Nordics

ALFIE’S ALRIGHT! / PHOTO: ANIMATION STUDIO ICELAND, CARTOON FORUM

Cartoon Forum celebrated DR triumph, showcased four bold projects from the Nordics

25/09/2025, 16:09

Cartoon Forum celebrated DR triumph, showcased four bold projects from the Nordics

Taking stock of this year’s edition

With four diverse projects pitched and DR securing one of the event’s highest honours, Nordic animation continues to punch above its weight in Europe. From scientiﬁc humour to preschool wonderlands, urban elf adventures to heartfelt family tales, the projects reveal a common emphasis on humour, inclusivity, and emotional resonance – qualities that deﬁne the region’s storytelling DNA.

For Nordic companies, the event reafﬁrmed their ability to compete and collaborate on the international stage, further strengthening the region’s reputation as a powerhouse in children’s and family animation.

For the other Nordic pubcasters, business seems to be as usual.

For SVT, for example, attending Cartoon Forum remains key to spotting projects early, giving feedback on content, and supporting promising titles through pre-buys. “We want to follow projects from an early stage,” said Linda Granath, adding that the broadcaster is especially interested in comedy and adventure targeting children aged 2–8.

Granath observed that while animation performs strongly for pre-schoolers in Sweden, it has become less successful with older age groups. Recent hits on SVT include Bluey, Mystery Lane, and Rubble & Crew. She explained that the broadcaster mostly acquires content, but often commits to pre-buys as well.

SVT also embraces the coexistence of linear and streaming, with Granath stressing that “we don’t have a problem sharing the same content with other streaming platforms. Popular series tend to be successful with us as well.”

For NRK, Cartoon Forum is “a priority event”, offering the chance both to discover fresh pitches and to follow projects already in development. Irene Pothecary-Huse explained that the forum allows the broadcaster to “observe how far projects have progressed”, and noted that several titles broadcast by NRK in recent years ﬁrst originated as pitches in Toulouse.

25/09/2025, 16:09

Cartoon Forum celebrated DR triumph, showcased four bold projects from the Nordics

She also underscored NRK’s involvement in the EBU collaboration, where European broadcasters join forces to highlight and support selected projects. “We’re on the lookout for content aimed at both children and teenagers,” she said, adding that the broadcaster expects to follow up on several of this year’s presentations.

https://nordiskﬁlmogtvfond.com/news/stories/cartoon-forum-celebrated-dr-triumph-showcased-four-bold-projects-from-the-nordics 6/7

This year, Cartoon Forum featured 75 animated series from 20 European countries, representing a total budget of €339.53 million and 396 hours of animation. The 2025 edition was also marked by the return of Animated UK Meets Europe, an initiative born of the need to rebuild bridges with continental markets following Brexit, and the introduction of Fill the Gap, an effort designed to help producers bridge ﬁnancing shortfalls and propel projects into production through enhanced networking and visibility activities.

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P UCH / PHOTO: BCD FILM, CARTOON FORUM

Cartoon Forum celebrated DR triumph, showcased four bold projects from the Nordics

Taking stock of this year’s edition

PUCH / PHOTO: BCD FILM, CARTOON FORUM

Dr, Mediatoon, Creative Conspiracy Take Top Honors as Cartoon Forum Bolsters Euro Toon Sector

Danish public broadcaster Dr took home top honors at this year’s Cartoon Forum in Toulouse, capping an edition marked by self-reliance and continental solidarity. In the same spirit, France’s Mediatoon Distribution scooped Investor/Distributor of the Year, while Belgium’s Creative Conspiracy walked away with Cartoon Forum’s Producer of the Year accolade, as the co-production forum’s 36th edition navigated an industry in recalibration.

Indeed, as Europe’s animation ecosystem white-knuckles through the second year of a market contraction – driven in no small part by a sharp drop in U.S. commissions –bootstrap success stories were all...

See full article at Variety - TV News

9/18/2025 by Ben Croll Variety - TV News

https://www.imdb.com/news/ni65481405/ 1/7

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Canal+ nomme un directeur de la diversification pour

Mipcom 2025 - Mediawan Rights affiche ses ambitions globales avec son nouveau line-up

Cartoon Forum 2025 - Les lauréats des Tributes dévoilés Forum des Cartoon 2025 - Les lauréats Tributes

Cartoon Forum 2025 - Les lauréats des Tributes dévoilés

Date de publication : 18/09/2025 - 14:10

Les professionnels participant à Toulouse à la 36e édition de Cartoon Forum ont élu en direct les lauréats des trois catégories – Diffuseur, Investisseur/Distributeur et Producteur de l'Année.

Dix sociétés en provenance de sept pays étaient en lice pour les prix de Diffuseur, Investisseur/Distributeur et Producteur de l'Année, le choix des lauréats étant soumis au vote des près de 1000 professionnels participant au Cartoon Forum, qui se clôture ce 18 septembre à Toulouse. Des entités françaises étaient une nouvelle fois nommées dans chaque catégorie.

La Danish Broadcasting Corporation (DR) et la Radio Televisión Española (RTVE) – diffuseurs publics danois et espagnols –étaient nommé dans la catégorie Diffuseur de l’année aux côtés de TF1.

Les trois ﬁnalistes de la catégorie Investisseur/Distributeur de l’année étaient Liquid Rock Entertainment (Espagne), Mediatoon Distribution et Meta Media Entertainment (Royaume-Uni).

Enﬁn, la catégorie Producteur de l’année était disputée entre Creative Conspiracy (CC) (Belgique), Grupa Smacznego / GS Animation (Pologne), Silex Films et Studio Film Bilder (Allemagne).

Lauréats des Cartoon Forum Tributes 2025

Diffuseur de l'année

Danish Broadcasting Corporation (DR) (Danemark)

Investisseur/Distributeur de l’année

Mediatoon Distribution (France)

Producteur de l’année

Creative Conspiracy (Belgique)

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A Road Less Travelled En préparation

Patrice Carré © crédit photo : Patrice Carré

BO France : "Chien 51", maître chenil

[Exclusif] Début de tournage du deuxième long métrage de Judith Godrèche tant que réalisatrice

Démarrages 14h : "La petite dernière", grande première à Paris

BO 1er week-end : "Chien 51" les crocs

Danish Broadcasting Corporation (DR) (Denmark)

l-r: Morgann Favennec and Franklin Cadre (Mediatoon), Julie Hansen and Morten Hansen (DR), and Peter Decraene and Luc Van Driessche (Creative Conspiracy) (© Cartoon)

FESTIVALS & EVENTSTOP STORIES

Cartoon Forum Celebrates 2025 Tributes Winners

By Mercedes Milligan September 18, 2025

This year, the Cartoon Forum Tributes have been awarded to companies from Belgium, Denmark and France in recognition of their professional contributions to the promotion of European animation.

The winners in the three awards categories were voted by participants at the Cartoon Forum (cartoon-media.eu/forum), the pitching and co-production event for animated TV series that today closes its 36th edition in the city of Toulouse. Presented for the ifrst time in 2006, the Cartoon Forum Tributes have since become a prestigious recognition in the European animation industry

25/09/2025, 12:53

Cartoon Forum Celebrates 2025 Tributes Winners | Animation Magazine

https://www.animationmagazine.net/2025/09/cartoon-forum-celebrates-2025-tributes-winners/ Denmark’s Danish Broadcasting Corporation was recognized as Broadcaster of the Year, while Paris-based Mediatoon Distribution was selected as Investor/Distributor of the Year. The list of winners is rounded out by Belgium’s Creative Conspiracy (CC), voted as Producer of the Year.

All of this year’s nominees bear a close relationship with Cartoon Forum, participating in past editions both to pitch their projects and to discover new European animated series ripe for distribution. Cartoon Forum’s 2025 line up comprised 75 animated series from 20 European countries, for a total budget of 339.53 million euros, representing 396 hours of animation

Cartoon Forum Tributes 2025 – Winners

Broadcaster of the Year Danish Broadcasting Corporation (DR) (Denmark)

Cartoon Tributes winners, 2025 © CARTOON

Cartoon Forum Tributes 2025 – Winners

Broadcaster of the Year

Danish Broadcasting Corporation (DR) (Denmark)

Denmark’s oldest and largest media enterprise Danish Broadcasting Corporation (DR) is an independent, license ifnanced public institution comprising television, radio and online services. As of 2023, it has further strengthened its commitment to promoting Danish and Nordic animation with DR1’s prime time weekly slot FredagsTamTam, as well as through DR TV, an internet streaming catch-up television service.

Nominees:

Radio Televisión Española (RTVE), Spain

TF1, France

Investor/Distributor of the Year

Mediatoon Distribution (France)

Mediatoon Distribution is one of the leading kids’ & family IP managers and animation distributors in Europe. Enhanced by its in-house studios (Belvision, Ellipse Animation, Studio Campedelli) and to third party producers, the company’s catalogue consists of over 10,000 half-hours of animated content, including series recently pitched at Cartoon Forum such as Cedric, SamSam, Trotro and TheFoxBadgerFamily, among others.

Nominees:

Liquid Rock Entertainment, Spain

Meta Media Entertainment, U.K.

Producer of the Year

Creative Conspiracy (Belgium)

Nominees:

25/09/2025, 12:53

Silex Films, France

Studio Film Bilder, Germany

Cartoon Forum Celebrates 2025 Tributes Winners | Animation Magazine

https://www.animationmagazine.net/2025/09/cartoon-forum-celebrates-2025-tributes-winners/ Grupa Smacznego / GS Animation, Poland

26/09/2025, 10:08

Spændingen er udløst:

DR kåret

som ’Årets Broadcaster’

Der er blevet lagt mærke til DR’s særlige satsning på kvalitetsanimation til ikke mindst ’FredagsTamTam’. Torsdag modtog DR prisen som ’Broadcaster of the Year’ i franske Toulouse

Spændingen er udløst: DR kåret som ’Årets Broadcaster’ | Nyt fra DR | DR

blev uddelt i forbindelse med Cartoon Forum i den sydfranske by Toulouse.

'Mesterlige monsterbørn' er også blevet en eksportsucces, som nu vises i over 100 lande (Foto: © Ja Film) 1 / 2

LÆS OP ORDBOG TEKST

Af Jan Dohrmann

18 sep kl 14:52 Opdateret 18 sep kl 17:49

Spændingen er udløst, og DR kan nu kalde sig ’Årets Broadcaster’.

Nyt fra DR DR . DK DRTVDR LYD

Prisen som ’Årets Broadcaster’ bliver givet til en broadcaster, der har prioriteret at vise, købe og co-producere kvalitetsanimation, især fra Europa, og som i det hele taget prioriterer at vise animation.

Foran nominerede som den spanske public service-station RTVE og den private franske tv-kanal TF1 hentede DR torsdag eftermiddag prisen, da den

FRA TEKSTEN

https://www.dr.dk/om-dr/nyheder/spaendingen-er-udloest-dr-kaaret-som-aarets-broadcaster

Cartoon Forum er et årligt europæisk event, hvor animationsproducenter pitcher deres TV-projekter til potentielle købere som tv-stationer, investorer og distributører for at finde partnere, co-produktioner og finansiering.

En af de medvirkende årsager til, at DR blev kåret som ’Årets Broadcaster’ er DR’s satsning på mere danskproduceret indhold og animation fra andre lande og producenter end USA og Disney-koncernen. Det er ikke mindst sket i ’FredagsTamTam’, som fra januar 2023 afløste Disney Sjov på DR1 og DRTV.

Denmark -

Og DR’s arbejde med at fremme dansk og nordisk animation blev netop fremhævet i forbindelse med, at DR blev nomineret og nu også har fået prisen.

, især fra Europa, og som i det hele taget prioriterer at vise animation.

Og DR’s arbejde med at fremme dansk og nordisk animation blev netop fremhævet i forbindelse med, at DR blev nomineret og nu også har fået prisen.

26/09/2025, 10:08

Spændingen er udløst: DR kåret som ’Årets Broadcaster’ | Nyt fra DR | DR

En humlebi-historie

https://www.dr.dk/om-dr/nyheder/spaendingen-er-udloest-dr-kaaret-som-aarets-broadcaster

Det var chef for DR B&U Morten Skov, der modtog prisen i Frankrig - sammen med redaktør på 'FredagsTamTam' Julie Lind-Holm, og han glæder sig over, at DR nu er blevet ’Årets Broadcaster’ for animationsindsatsen: - Vi er pavestolte og glade for prisen ’Årets Broadcaster’. DR’s børnetilbud har udviklet sig meget de seneste år, og ’FredagsTamTam’ er en hjørnesten for os i dag. At det er lykkedes er en humlebi-historie, som vi kan takke mange for. At vi kom på vingerne, var ikke lykkedes uden danske og nordiske partnere, en dygtig animationsbranche og et politisk fokus, siger han.

Læs også: DR og partnere vil ruste børn til at være både kritiske og kreative i en digital fremtid

DR’s lancering af ’FredagsTamTam’ har – ud over at glæde masser af børn og forældre – også været stærkt medvirkende til, at dansk animation nu rejser verden rundt. For eksempel er danske ’Mesterlige Monsterbørn’ nu ude i flere end 115 lande.

Denmark

DR . DK DRTVDR LYD

Redaktør Julie Lind-Holm fra 'FredagsTamTam' og B&U-chef Morten Skov modtog prisen i Toulouse (Foto: © Cartoon Forum)

23/10/2025, 10:42

AWARDS (HTTPS://WWW CARTOONBREW COM/AWARDS)

DISTRIBUTION (HTTPS://

EVENTS (HTTPS://WWW

DISTRIBUTION)

23/10/2025, 10:42

TV (HTTPS://WWW CARTOONBREW COM/TV)

Denmark ʼs DR , Franceʼs Mediatoon , And Belgiumʼs Creative Conspiracy Win Cartoon Forum Tribute Awards

The 36th edition of Cartoon Forum closed today with its annual tributes, celebrating companies that have made a significant mark on Europe’s animation industry. This year’s awards went to winners from Belgium, Denmark, and France.

By JAMIE LANG

(HTTPS:// WWW.CARTOONBREW.COM/AUTHOR/JAMIELANG) | 09/18/2025 7:51

Cartoon Forum 2025 Tributes Honour Top European Animation

am | 0 (https://www cartoonbrew com/awards/dr-mediatoon-creative-conspiracy-cartoon-forum-tributeawards-254623.html#disqus thread)

Forum 2025 Tributes Honour Top European Animation

Denmark’s Danish Broadcasting Corporation (DR) was named Broadcaster of the Year. As the country’s oldest and largest media institution, DR has expanded its support for Nordic animation in recent years, notably through its Friday prime-time slot FredagsTamTam and the streaming service DR TV.

Stay informed with free updates: Sign up to get our news digest — delivered directly to your inbox twice a week.

Paris-based Mediatoon Distribution secured the Investor/Distributor of the Year award. With a catalogue of more than 10,000 half-hours of animation, the company has become a key player in kids and family IP management across Europe. Its line-up includes longrunning hits like Cedric and SamSam, alongside newer titles pitched at Cartoon Forum.

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The Producer of the Year award went to Ghent-based Creative Conspiracy (CC). Known for commercials, shorts, and feature films, the studio has built a powerful international reputation. Its series Ray & Ruby won recognition through the EBU Co-Development Initiative in 2023, while this year it presented Terry and Olivia at Cartoon Forum and coproduced This Moose Belongs to Me.

In addition to the winners, finalists from Germany, Poland, Spain, and the U.K. also competed for recognition, reflecting the event’s pan-European reach.

Cartoon Forum 2025 hosted 75 animated series from 20 countries, representing nearly 400 hours of content with a combined budget of €339.5 million ($400 million). Since its creation in 1990, the event has helped more than 1,000 projects secure €3.69 billion ($4.3 billion) in financing, marking it as an undeniable cornerstone of the European coproduction and distribution industries.

In addition to the winners, finalists from Germany, Poland, Spain, and the U.K. also competed for recognition, reflecting the event’s pan-European reach.

Pictured at top: Ray & Ruby, FredagsTamTam, Cedric

WHAT DO YOU THINK ?

at top: Ray & Ruby, FredagsTamTam, Cedric

WHAT DO YOU THINK ?

Thanks for voting! Here are the latest results: What do you prioritize most when looking for work?

WHAT DO YOU THINK

Thanks for voting! Here are the latest results: What do you prioritize most when looking for work?

Thanks for voting! Here are the latest results: What

Pictured

Cartoon

Pictured at top: Ray & Ruby, FredagsTamTam, Cedric

Cartoon Forum 2025 Tributes Honour Top European Animation

21/09/2025, 14:34

C artoon Forum Tributes: Creative C onspiracy named Producer of the Year

A nd Denmark's pubcaster DR and Mediatoon Distribution rounded out this year's winners list.

B y Ryan Tuchow September 18, 2025

21/09/2025, 14:34

Olivia (a CG-animated preschool series about walking, talking plants that can converse with nature), and it’s also co-producing Sixteen South’s 2D-animated family special This Moose Belongs to Me

B elgium’s Creative Conspiracy, Denmark’s Danish Broadcasting Corporation and Paris-based Mediatoon D istribution are taking home this year’s Cartoon Forum Tributes trophies from Toulouse.

The Danish Broadcasting Corporation (DR) came out on top as Broadcaster of the Year. Denmark’s largest media company, DR operates TV channels, radio stations and the streamer DRTV. It also started running a children’s programming block called FredagsTamTam on its DR1 channel in 2023 that airs Monster Loving M aniacs (JA Film, Mondo TV, Belvision, Ginger Pictures) and Team Nuggets (Sparre Production and Godo Films), and it’s a co-producer on Gigglebug’s Tadpoles.

Creative Conspiracy—the animation studio behind Ray & Ruby , which was selected for the Cartoon Forum EBU Co-Development Initiative in 2023—was named Producer of the Year. This year, it pitched Terry and S elect and listen

The Tributes recognize contributions to the European animation industry, the winners are voted in by Cartoon Forum’s attendees, which numbered more than 850 this year, according to the event’s organizers.

https://kidscreen.com/2025/09/18/cartoon-forum-tributes-creative-conspiracy-named-producer-of-the-year/?utm_source=newsletter&utm_medium=email&utm_… 1/2

And lastly, Mediatoon Distribution was voted in as Investor/Distributor of the Year, on the strength of managing a catalogue of more than 10,000 half hours of animated content from in-house and third-party productions. Previous Cartoon Forum pitches Cedric (Dupuis Audiovisuel, France 3, RTBF, Aranéo, Canal J) , SamSam (Bayard Jeunesse Animation, ARANEO, Tiji, Gulli, France 5) and The Fox Badger Family (Ellipse Animation and Belvision) are among the titles it sells.

Kidscreen » Archive » Cartoon Forum Tributes: Creative Conspiracy named Producer of the Year

21/09/2025, 14:34

Olivia (a CG-animated preschool series about walking, talking plants that can converse with nature), and it’s also co-producing Sixteen South’s 2D-animated family special This Moose Belongs to Me

The Danish Broadcasting Corporation (DR) came out on top as Broadcaster of the Year. Denmark’s largest media company, DR operates TV channels, radio stations and the streamer DRTV. It also started running a children’s programming block called FredagsTamTam on its DR1 channel in 2023 that airs Monster Loving Maniacs (JA Film, Mondo TV, Belvision, Ginger Pictures) and Team Nuggets (Sparre Production and Godo Films), and it’s a co-producer on Gigglebug’s Tadpoles.

Today is the final day of the 36th edition of Cartoon Forum, an annual event in Toulouse where producers from across Europe go to present their animated projects to potential buyers and co-producers. This year’s pitchfest featured 75 new animation concepts from 20 countries.

Images by Ryan Tuchow

Select and listen

https://kidscreen.com/2025/09/18/cartoon-forum-tributes-creative-conspiracy-named-producer-of-the-year/?utm_source=newsletter&utm_medium=email&utm_… 2/2

Creative Conspiracy

All the winers

Mediatoon Distribution

21/09/2025, 14:01

W ill Lingokids or Cartoon Forum w in Kidscreen’s Gold Star?

W hat about Webtoon? Kayou? Miss Piggy? Vote for who had the best week in the kids biz!

B y Kidscreen Staff September 19, 2025

Welcome to Kidscreen’s Gold Star, where our readers get to decide who had the best week in the kids biz!

21/09/2025, 14:01

B ut we’re not the only ones crowning champions this week. At Cartoon Forum, 75 creative teams from all over Europe spent the last few days pitching their newest animated concepts, in hopes that buyers with good t aste would step forward to help make them a reality. The event named three stars with their Tributes awards —Creative Conspiracy for Producer of the Year, Denmark’s DR for Broadcaster of the Year and Mediatoon Distribution for Distributor of the Year. And with a lot more buyers at the pitchfest this year, hopefully even more producers will emerge as winners!

While we at Kidscreen can’t get anybody’s show made, we can give out something almost as good: Gold Stars! Vote below for who won the week! S elect and listen

C ARTOON – The latest edition of Cartoon Forum may have wrapped up yesterday, but we’re still toasting o rganizer CARTOON today for doing the work of giving the industry a much-needed leg-up. This year saw the l aunch of a new “Fill the Gap” initiative at the pitchfest, re-spotlighting a handful of projects from last year to h elp them secure the last bit of financing they still need to get over the line. Depending on how successful this i naugural edition proves to be in helping out producers, the initiative might become a permanent feature of C artoon Forum. We’re certainly rooting for it!

https://kidscreen.com/2025/09/19/will-lingokids-or-cartoon-as-in-forum-win-kidscreens-gold-star/?utm_source=newsletter&utm_medium=email&utm_campaig… 1/3

D isney+ : We’ve noticed the streamer has been keeping it old school lately when it comes to growing its kids TV library. Instead of rushing through commissions or completely cutting back, Disney+ has been ordering pilots and only moving forward when the results inspire confidence—kind of like we used to do in the old days of cable, y’know? And speaking of old school, this week’s reveal of a new Muppet Show special (out in 2026, in case you needed to mark your calendars) has also caught our eye with its sneaky approach. Though billed as a one-off event celebrating the 50th anniversary of the Henson franchise, it seems to be testing the waters as a

Kidscreen » Archive » Will Lingokids or Cartoon Forum win Kidscreen’s Gold Star?

21/09/2025, 14:01

D isney+ : We’ve noticed the streamer has been keeping it old school lately when it comes to growing its kids T V library. Instead of rushing through commissions or completely cutting back, Disney+ has been ordering p ilots and only moving forward when the results inspire confidence—kind of like we used to do in the old days o f cable, y’know? And speaking of old school, this week’s reveal of a new Muppet Show special (out in 2026, in c ase you needed to mark your calendars) has also caught our eye with its sneaky approach. Though billed as a o ne-off event celebrating the 50th anniversary of the Henson franchise, it seems to be testing the waters as a b ackdoor pilot for a rebooted series. Now that’s a caper we can get behind!

Kayou: Trading cards have become a shockingly hot commodity in North America for scalpers and investors a like, turning a once-simple hobby for kids into a multi-billion-dollar empire of holographic cardboard. Now, C hina’s top trading card company Kayou is expanding into the market to get some of those Wall Street dollars, a nd it doesn’t trust any distributor to do the job right. Unlike most toycos looking to break into the US, it’s t aking matters into its own hands and rolling out new booster packs for Naruto, My Little Pony and tokidoki t o major retailers all by itself. So sit back, crack a pack and say hello to Kayou.

Lingokids : Bagging a US$120-million investment in today’s risk-averse market is no small feat, especially for a ( mostly) original content-driven learning app. With this new capital under its wing, Lingokids is now inviting m ore third-party entertainment brands to enter its educational world—joining Blippi and Pocoyo, who’ve a lready come over to play. The app is also setting aside some cash for leveraging GenAI to expand and speed u p its interactive output. At this rate, we hope you’re making more room on your awards shelf, Lingokids.

W EBTOON: What began as a deal for adapting Disney’s comics catalogue for mobile phones has rapidly e scalated into the Mouse House purchasing a 2% stake in WEBTOON Entertainment and ordering a whole n ew digital comics platform for more than 35,000 titles in just two months. This announcement shot W EBTOON’s share value up by 30% before markets opened that day. If the company was looking for a cheat c ode to explode its presence in North America, they may have just found it.

S elect and listen

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10 Eye - Catching Projects From Cartoon Forumʼs Expansive

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2025 Lineup Worth Tracking

By KÉVIN

GIRAUD (HTTPS:// WWW.CARTOONBREW.COM/AUTHOR/KEVIN-GIRAUD) | 09/18/2025 7:01 am | 0 (https://www cartoonbrew com/events/cartoon-forum-10-titles-to-track254602.html#disqus thread)

Migrating for their annual meet-up in the lush south of France, animation creators, producers, broadcasters, investors, and streamers alike all gathered in Toulouse this week for Cartoon Forum, the biggest European animation co-production event dedicated to series and TV specials.

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Always a buzzing scene, the 2025 edition was no exception, with 75 projects hailing from 20 different countries, inside and outside Europe.

As anyone who has ever attended the Forum knows, it is physically impossible to catch every interesting pitch, let alone cover them. From this rich program, we selected 10 projects we thought were worth highlighting.

- USA -

Welcome Back Clara

23/10/2025, 10:51

When 26-year-old Clara moves back in with her mom, her little sister Rachel, and their cat, chaos quickly ensues. A 2D 20×4′ TV series for adults/young adults, Welcome Back Clara aims to blend family dynamics with both wild comedy and serious themes, tackling depression, loneliness, and buried secrets. Created by interdisciplinary artist Clara Kennedy and EMCA/La Poudrière director Lola Degove (Sale Pluie!, Le Bain des Sirènes), Welcome Back Clara revealed itself as a lively, touching story reminiscent of recent successes such as Samuel, this time powered by a distinctly lovable mother-sisters trio and a rich color palette. CARTOONBREW

10 Eye-Catching Projects From Cartoon Forum 2025 To Track

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Natu Natu

Wherever there is life, you’ll find nature’s little helpers: the Natu Natu. Following two of these cute nature guardians, Natu Natu is an ambitious 2D 104×5′ project helmed by fivetime Oscar-nominated studio Cartoon Saloon, in collaboration with Luxembourgish Melusine Productions and French Superprod Animation. Illustrator/animation director and Cartoon Saloon veteran Fran Bravo (Puffin Rock) directs, with a script by Silly Sundays writer Cian McGarrigle. Aimed at preschoolers, this new eco-conscious, naturedriven show will definitely draw the attention of international distributors.

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Elle ( s )

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Elle ( s )

At first glance, Elle is just a regular teen with changing hairstyles. But for a girl whose emotions split into living, breathing versions of herself, each battling for control of her identity, things can quickly get out of hand. A coming-of-age comic book series that sold hundreds of thousands of copies in France alone, Elle(s) is brought to animated life by Paris-based GO-N Productions. Adapting the works of writer Kid Toussaint and vizdev/character designer and comic book artist Aveline Stokart, Elle(s) has strong potential for reaching tweens all over the world — provided it finds the right partners.

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Sissi & Caesar

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Rainbow penguins Sissi & Caesar travel the world with a mission: to protect the colors of nature from the chromatic crisis. The stop-motion 26×7′ animated series, helmed by Chilean director Gabriela Villalobos, already made a colorful impression last year in Warsaw, where it won the Kids Kino Industry Award. Subsequently picked up by RTVE for co-production, Sissi & Caesar capitalizes on the cuteness of its main characters to bring a rich and fluffy stop-motion ecosystem to life, highlighting the beauty and wisdom of nature. A delightful visual treat for upper preschool children and animation enthusiasts.

23/10/2025, 10:51

10 Eye-Catching Projects From Cartoon Forum 2025 To Track

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Cartoon Forum 2025 To Track

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The Underglow

Forests are definitely trendy at Cartoon Forum, where eco-conscious projects (both in topic and increasingly in production setups) find more space than ever to shine. The Underglow, with its diverse and quirky gang of friends roaming the woodland settings, provides another take on nature adventures for preschoolers. Created by Aardman veteran

Sam Morrison and Wizkit author Tanya J. Scott as part of the BBC Ignite scheme and developed with the BBC, the 50×7′ series is helmed by Finnish studio Gigglebug (Merry Little Batman, Super Duper Bunny League).

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Eye-Catching Projects From

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2142

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2142

From Serbia comes one of the most intriguing projects of this year’s edition. 2142, a scifi thriller blending class wars, augmented reality, and end-of-the-world myths, positions itself as a tremendously ambitious series aimed at young adults and adults. Powered by a Serbian-Spanish co-production, 2142 comes from the inspired minds of Mina Sablic Papajic, Kristina Djukovic, Nedeljko Kovacic, and Pavle Zelic, with many storylines and what looks like a deep and unsettling dystopian world. Blending different types of 3D animation and effects into a singular look, 2142 may very well attract investors with its bold proposal.

23/10/2025, 10:51

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Oh Wow !

23/10/2025, 10:51

Life can get pretty intense for a kid, even if you’re just living a regular life in a regular house — with your not-so-regular mouse friend. Going from one adventure to another, little Olivier and his friend Zelie experience all kinds of trouble, as children’s mistakes can sometimes turn into big, messy problems. Crafted in a beautiful claymation-like CG animation, Oh Wow! will have adults and preschoolers laughing alike, as the cute and imaginative duo can quickly turn into a parent’s nightmare. French indie powerhouse Autour de Minuit handles production for a show created by ENSAD alum/scriptwriter/graphic author Claire Grimond and author/screenwriter Françoise Ruscak.

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10 Eye-Catching Projects From Cartoon Forum 2025 To Track

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Undo

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Undo

Exit cute mouse, enter two ugly pug dogs. Gif and Mups, stars of Undo, go through a trail of misfortunes as Gif experiences many different kinds of anxieties, trying to escape “the goddamn tyranny of happiness.” The witty, cynical, and surreal 2D stop-motion blend is created by Brazilian director Andrea Simão and produced by Portuguese animation studio Sardinha em Lata (Alice’s Diary). A silly 10×22′ semi-serialized project, Undo goes from therapist sessions to a manatee hugging a beluga, providing a refreshing and funny approach to adult animation.

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Eye-Catching

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Antón Piñón

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Antón Piñón

A singular co-production between Spanish Imagic TV and Japanese public broadcaster NHK Enterprises, Antón Piñón is a 52×7′ series following the adventures of clumsy but loving blue lemming Antón, who lives with his wise yet unpredictable grandma and his 27 chaotic siblings in a busy and vibrant forest. Farts, swimming pool days, and cooking catastrophes are all part of Antón’s adventures, brought to life with soft 2D animation and beautiful backgrounds. A cozy viewing for adults, and a potential hit for preschoolers who could definitely fall for this lovable lemming.

23/10/2025, 10:51 10 Eye-Catching Projects From Cartoon Forum 2025 To Track

A singular co-production between Spanish Imagic TV and Japanese public broadcaster NHK Enterprises, Antón Piñón is a 52×7′ series following the adventures of clumsy but loving blue lemming Antón, who lives with his wise yet unpredictable grandma and his 27 chaotic siblings in a busy and vibrant forest. Farts, swimming pool days, and cooking catastrophes are all part of Antón’s adventures, brought to life with soft 2D animation and beautiful backgrounds. who could definitely fall for this lovable lemming.

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Titus , Little Prince of Rap

Can animation and rap music blend into a TV show? Dutch producers and award-winning studio Submarine Animation (Fox and Hare, Apollo 10½) definitely think so! Coproduced with French businessman and producer Jean-Martial Le Franc, Submarine unfolds the story of Titus, a would-be rapper teen who runs by chance into fading rap legend Yakka. Can they work together to bring Titus’ beats to life and restore Yakka’s career? A 52×11′ project blending 2D and 3D animation, Titus is helmed by animation veteran and Ernest and Celestine director Jean-Christophe Roger, with a script by Sam Morrison (his second project presented this year at Cartoon Forum).

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annick.maes@cartoonmedia.eu 21/09/2025, 14:10

Accueil Accès Corporate Cartoon Forum 2025 – Les ch...

Accès Corporate Animation Production Série Fiction +3

Cartoon Forum 2025 – Les chaînes publiques européennes unies pour développer de nouvelles séries

Il y a 2 jours

Le Cartoon Forum a accueilli, pour la troisième année consécutive, l’initiative de codéveloppement menée par l’Union Européenne de Radio-Télévision (UER ou EBU –European Broadcasting Union).

Un an après sa sélection par l'EBU pour son dispositif d'aide au développement, l'heure est au premier bilan pour "My Life is a Manga" ((Brain Comet & Blue Spirit). © Joseph Le Fer

21/09/2025, 14:10 Cartoon Forum 2025 – Les chaînes publiques européennes unies pour développer de nouvelles séries - Ecran Total

Pour l’édition 2025, plusieurs chaînes de service public européennes se mobilisent autour de cette initiative afin de collaborer sur de nouveaux contenus, comme l’a rappelé Matthew Trustram, responsable de la télévision au sein de l’EBU. Participent notamment : la BBC (Royaume-Uni), DR (Danemark), France Télévisions (France), LTV (Lettonie), NPO (Pays-Bas), NRK (Norvège), RAI (Italie), RTBF (Belgique), RTÉ (Irlande), RTVE (Espagne), STVR (Slovaquie), SVT (Suède), SWR (Allemagne), VRT (Belgique) et YLE (Finlande).

annick.maes@cartoonmedia.eu

Le Cartoon Forum confirme son rôle clé dans le développement de l’animation européenne. Pour la troisième année consécutive, l’Union Européenne de Radio-Télévision (UER/EBU) a réuni plusieurs diffuseurs publics afin de soutenir le développement de séries d’animation ambitieuses. Après la sélection du projet français My Life is a Manga, une nouvelle création, présentée lors du Cartoon Forum, sera accompagnée par le dispositif.

Un an plus tard

https://ecran-total.fr/2025/09/19/cartoon-forum-2025-les-chaines-publiques-europeennes-unies-pour-developper-de-nouvelles-series/ 1/5

- France -

L’an dernier, le projet My Life is a Manga avait été sélectionné à l'issue du Cartoon Forum 2024. Destinée au jeune public (6 à 10 ans), la série raconte l’histoire de Liya, une adolescente de 13 ans à l’imagination débordante. Elle alterne entre situations du quotidien — école, relations, famille — qui représentent souvent un défi pour l’ héroïne, et plongées dans son imaginaire grâce à un simple clic de son stylo. Transportée dans une aventure digne d’un manga, Liya transforme ses difficultés en quêtes épiques. En

Morade Rahni Nicolas Monteiro Sylvie Mahé

Un an plus tard

annick.maes@cartoonmedia.eu

Matthew Trustram, responsable de la télévision au sein de l’EBU. Participent notamment : la BBC (Royaume-Uni), DR (Danemark), France Télévisions (France), LTV (Lettonie), NPO (Pays-Bas), NRK (Norvège), RAI (Italie), RTBF (Belgique), RTÉ (Irlande), RTVE (Espagne), STVR (Slovaquie), SVT (Suède), SWR (Allemagne), VRT (Belgique) et YLE (Finlande).

Un an plus tard

La série d’animation, mêlant 2D et 3D dans un style fidèle à l’animation japonaise, a été créée par Nicolas Monteiro, avec Morade Rahni à la réalisation. Elle est coproduite par Brain Comet et Sylvie Mahé de chez Blue Spirit Productions, filiales de Studio TF1 (anciennement Newen Studios). Depuis sa sélection en 2024, les premiers résultats de l’avancée du projet ont été présentés au Cartoon Forum. Produite durant l’été, l’animatique d’un pilote de 13 minutes a été projetée au public. En plus des décors, cinq visuels de Liya ont été dévoilés, correspondant aux personnages qu’elle incarne dans son imaginaire : ninja, chevalière, espionne, magicienne et pirate.

21/09/2025, 14:10

Cartoon Forum 2025 – Les chaînes publiques européennes unies pour développer de nouvelles séries - Ecran Total

La sélection 2025 bientôt dévoilée

En 2023, les quinze chaînes de service public membres de l’EBU avaient retenu deux séries parmi plus de 70 projets : Ray & Ruby (Belgique) et Pig & Andersen (Danemark), avec un soutien financier de plus de 130 000 € pour leur développement.

Creative Content Fest en novembre. Parmi les déclinaisons envisagées, un webtoon est en discussion avec la Corée du Sud ainsi qu’un manga avec l’éditeur japonais Kōdansha.

Avec le soutien de l’EBU, la série dispose désormais d’une bible littéraire et graphique, de quatre synopsis, de deux scripts, d’un teaser d’une minute ainsi que d’une estimation du budget de production. La prochaine étape consistera à livrer, d’ici avril 2026, au moins neuf synopsis et un script. My Life is a Manga sera également présentée au Taiwan Creative Content Fest en novembre. Parmi les déclinaisons envisagées, un webtoon est en discussion avec la Corée du Sud ainsi qu’un manga avec l’éditeur japonais Kōdansha.

Cette initiative sera reconduite en 2025 avec au moins un nouveau projet. Les représentants de l’EBU présents au Cartoon Forum ont assisté aux pitchs des producteurs : parmi dix projets sélectionnés, l’un sera retenu en octobre prochain pour être accompagné dans son développement, avec une enveloppe comprise entre 50 000 et 100 000 €.

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Article rédigé par: Joseph Le Fer

France -

Partager sur Copier le lien https://etlink fr/b/1W5i annick.maes@cartoonmedia.eu

La Unión Europea de Radiodifusión anuncia ‘My

Life is Manga’, una coproducción

09/09/2025, 17:17 La Unión Europea de Radiodifusión anuncia 'My Life is Manga', una coproducción europea que reúne a 11 televisiones públicas - Tivu

europea que reúne a 11 televisiones públicas

El proyecto, liderado por France Télévisions, fue seleccionado durante el Cartoon Forum 2024 y está previsto que salga en abril de 2026. En su producción cuenta con Blue Spirit Studios y Brain Comet (STUDIO TF1).

José Suay Alamo-3 abril 2025

https://tivu.es/news/la-union-europea-de-radiodifusion-anuncia-my-life-is-manga-una-coproduccion-europea-que-reune-a-11-televisiones-publicas/ 1/12

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France Télévisions ha logrado aunar un grupo de 11 televisiones públicas para realizar conjuntamente My Life is a Manga, una coproducción europea de animación dirigida al público juvenil, cuyo proyecto ha dado a conocer la Unión Europea de Radiodifusión (UER) En total, se han destinado más de 60.000 euros para el desarrollo de la serie francesa.

El proyecto fue seleccionado durante el Cartoon Forum 2024, y está previsto que salga en abril de 2026. En su producción cuenta con Blue Spirit Studios y Brain Comet (STUDIO TF1), y trata sobre una aﬁcionada a este género artístico japonés que transforma sus experiencias cotidianas en aventuras inspiradas en el anime y las da vida a través de su imaginación.

Matthew Trustram, director de Televisión de la UER daba a conocer las claves de esta alianza: «El éxito continuado de esta iniciativa demuestra la solidez de la colaboración entre los broadcasters públicos para apoyar a los productores de animación de alta calidad para el público joven. Trabajando juntos, nuestros miembros no solo aseguran el futuro de la animación europea, sino que también garantizan que los jóvenes espectadores de todo el continente tengan acceso a historias atractivas y culturalmente diversas».

https://tivu.es/news/la-union-europea-de-radiodifusion-anuncia-my-life-is-manga-una-coproduccion-europea-que-reune-a-11-televisiones-publicas/ 2/12

Home News EBU reveals new animation co-prod adcasters

Back to Press release PRESS RELEASE

EB U revea ls n e w a n i m a t i on c o - pro d u c t i on for 2025, supported

by 11 M e m be r b ro adca ste rs

09/09/2025, 17:13 EBU reveals new animation co-production for 2025, supported by 11 Member broadcasters | EBU

https://www.ebu.ch/news/2025/04/ebu-reveals-new-animation-co-production-for-2025-supported-by-11-member-broadcasters

Courtesy of Blue Spirt/Brain Comet

My Life is a Manga

In a major move for children's entertainment, the EBU has announced a dynamic new animation co-production that will aim to inspire and entertain

young audiences across Europe

Led by EBU Television, at the initiative of France Télévisions, a group of 11 public service broadcasters have committed over €60,000 to the

development of the French series ‘My Life is a Manga.ʼ The project was hosted by Cartoon Forum

Produced by Blue Spirit Studios and Brain Comet (STUDIO TF1 companies), ‘My Life is a Mangaʼ centres around a fan of the Japanese art form, who transforms her everyday experiences into anime-inspired adventures and brings them to life through her imagination

The co-production was chosen from over 75 projects presented at Cartoon Forum 2024, a pitching & co-pro forum for animated TV projects

Building on the success of last year ʼs selections‘Pig & Andersenʼ by Fleng Entertainment (Denmark) and ‘Ray & Rubyʼ by Creative Conspiracy (Belgium) - the initiative continues to demonstrate a successful collective financing model for animation pilot projects

Matthew Trustram, Head of Television, EBU, said: “The continued success of this initiative shows the strength of collaboration between public

service broadcasters in supporting the producers of high-quality animation for young audiences By working together, our Members are not only securing the future of European animation but also ensuring that young viewers across the continent have access to engaging, culturally diverse stories.”

The project is scheduled to be delivered in April 2026, expanding on the EBUʼs longstanding dedication to animated television programming and priority of engaging young audiences across Member territories

Sylvie Mahé, Producer, Blue Spirit said: "We are thrilled to bring 'My Life is a Manga' to life alongside our incredible partners This project is a celebration of imagination, creativity, and the universal love for storytelling that transcends cultures With the support of the EBU and its Member broadcasters, we are excited to craft an animated series that will resonate with young audiences across Europe and beyond."

Nicolas Monteiro, Creator and Producer, Brain Comet said: “ʼMy Life is a Mangaʼ is a heartfelt tribute to the creativity and boundless imagination of young dreamers everywhere We wanted to capture the magic of turning everyday moments into extraordinary, manga-style adventures and with the support of the EBU and our co-producers, we can now bring this vision to a wider audience We canʼt wait for viewers to dive into Liyaʼs world

and hopefully see a bit of themselves in her.”

Annick Maes, General Director, Cartoon said: “We are very pleased that Cartoon Forum is once again hosting this bold initiative, bringing together European public broadcasters and empowering European animation S

visibility European cooperation is at the heart of this project.”

Participating Broadcasters

VRT (Belgium)

ARD/SWR (Germany)

DR (Denmark)

RTVE (Spain)

YLE (Finland)

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Switzerland-

3/9

09/09/2025, 17:13

FT (France) – lead broadcaster

BBC (UK)

RTE (Ireland)

NRK (Norway)

RTP (Portugal)

SVT (Sweden)

R e l eva nt l i n ks a n d d o c um e nts

Contact

Once

televisiones públicas unen fuerzas para desarrollar la serie de animación ‘My Life is a Manga’, coproducción europea presentada en Cartoon Forum

Por Marco Sánchez Sequera - 3 abril, 2025

La Unión Europea de Radiodifusión (UER) ha dado a conocer una nueva coproducción europea de animación dirigida al público juvenil. Por iniciativa de France

Télévisions, un grupo de once televisiones públicas han destinado más de 60.000 euros al desarrollo de la serie francesa ‘My Life is a Manga’

Producida por Blue Spirit Studios y Brain Comet (STUDIO TF1), esta ficción se centra en una aficionada a este género artístico japonés que transforma sus experiencias cotidianas en aventuras inspiradas en el anime y las da vida a través de su imaginación.

‘My Life is a Manga’.

‘My Life is a Manga’ fue seleccionado entre los más de 75 proyectos presentados en Cartoon Forum 2024, y está previsto que se complete en abril de 2026. El año pasado, este foro europeo de coproducción de series de animación ya consiguió impulsar la financiación de otros dos proyectos: ‘Pig & Andersen’, de Fleng Entertainment (Dinamarca), y ‘Ray & Ruby’, de Creative Conspiracy (Bélgica).

https://www.audiovisual451.com/once-televisiones-publicas-unen-fuerzas-para-desarrollar-la-serie-de-animacion-my-life-is-a-manga-coproduccion-europea-pres…

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Sobre ‘My Life is a Manga’

«El éxito continuado de esta iniciativa demuestra la solidez de la colaboración entre los broadcasters públicos para apoyar a los productores de animación de alta calidad para el público joven. Trabajando juntos, nuestros miembros no solo aseguran el futuro de la animación europea, sino que también garantizan que los jóvenes espectadores de todo el continente tengan acceso a historias atractivas y culturalmente diversas», asegura Matthew Trustram, director de Televisión de la UER.

Sylvie Mahé, productora de Blue Spirit, apunta: «Estamos encantados de dar vida a ‘My Life is a Manga’ junto a nuestros increíbles colaboradores. Este proyecto es una celebración de la imaginación, la creatividad y el amor universal por la narrativa que trasciende culturas. Con el apoyo de la UER y sus emisoras miembro, nos entusiasma crear una serie animada que conectará con el público joven de toda Europa y más allá.»

«‘My Life is a Manga’ es un sentido homenaje a la creatividad y la imaginación desbordante de los jóvenes soñadores de todo el mundo. Queríamos capturar la magia de convertir momentos cotidianos en aventuras extraordinarias al estilo manga y, con el apoyo de la UER y nuestros coproductores, ahora podemos llevar esta visión a un público más amplio. Estamos deseando que los espectadores se sumerjan en el mundo de Liya y, con suerte, se reflejen en ella», señala Nicolas Monteiro, creador y productor de Brain Comet.

Por su parte, Annick Maes, directora general de CARTOON, declara: «Nos complace enormemente que Cartoon Forum haya dado pie, una vez más, a esta audaz iniciativa que reúne a las emisoras públicas europeas y potencia la animación europea. La cooperación europea es fundamental a la hora de ayudar a los proyectos a conseguir financiación, llegar al público y ganar visibilidad.»

Marco Sánchez Sequera

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21/09/2025, 14:34

Kidscreen » Archive » Ryan’s Reﬂections: Animals battle and manga takes off at Cartoon Forum

R yan’s Reflections: Animals battle a nd manga takes off at Cartoon Forum

P lus, the five pitches with the best buyer attendance at the annual animation event are revealed.

B y Ryan Tuchow September 18, 2025

21/09/2025, 14:34

At Cartoon Forum this week, 75 creative teams from around Europe have gathered in Toulouse to pitch their a nimated TV projects, in hopes of connecting with potential buyers, co-producers and other partners. Kidscreen’s s enior reporter Ryan Tuchow is there, and has been covering the trends and exciting projects he’s seen. This is his last report. (But you can also catch up on our Cartoon Forum preview series from last week here .)

Kidscreen » Archive » Ryan’s Reﬂections: Animals battle and manga takes off at Cartoon Forum

S elect and listen

T he five pitches that had the most buyers in the room this year were: Elle(s) from GO-N Productions , Pepper ( Millimages, L’Incroyable Studio), Temtem (Marla Studios – Kiss a Frog, Somewhere Animation ), Frostheart, the S even Hearts of Darkness (La Chouette Compagnie) and This Moose Belongs to Me (Sixteen South)

The final day of Cartoon Forum is a wrap, and I saw a few really excellent projects today that have strong market potential. But first, a few stats from today’s press conference.

I n total, Cartoon Forum 2025 welcomed 870 participants, including 240 buyers (a 30% increase from last year, driven primarily by the increased presence of publishers). There were 100 fewer attendees overall than i n 2024.

https://kidscreen.com/2025/09/18/ryans-reﬂections-animals-battle-and-manga-takes-off-at-cartoon-forum/?utm_source=newsletter&utm_medium=email&utm_c… 1/3

Now, let’s get into the final-day standouts!

A scrappy series

Creature Combat (26 x 11 minutes) from Denmark’s Nice Ninja feels like it would be a natural (pun intended)

(Millimages, L’Incroyable Studio), Temtem (Marla Studios – Kiss a Frog, Somewhere Animation ), Frostheart, the Seven Hearts of Darkness (La Chouette Compagnie) and This Moose Belongs to Me (Sixteen South) .

In total, Cartoon Forum 2025 welcomed 870 participants, including 240 buyers (a 30% increase from last year, driven primarily by the increased presence of publishers). There were 100 fewer attendees overall than in 2024.

Now, let’s get into the final-day standouts!

A scrappy series

C reature Combat (26 x 11 minutes) from Denmark’s Nice Ninja feels like it would be a natural (pun intended) p rospect for most public broadcasters, which are typically the buyers most interested in educational p rogramming.

T his series punches up what is essentially a 2D-animated animal facts program for six- to nine-year-olds in w hich two real-life nature experts/influencers present scientifically accurate information about critters from a ll over the world.

T he twist is that these hosts ask three judges—a trio of goofy monkeys—to score the animals based on their a ppearance, their hunting ability and their unusual talents (what the show calls “superpowers”), and one is d eclared the winner. In a clip from the presentation in which sea creatures from the Mariana Trench are p itted against each other, for example, the ghost fish triumphs over the tripod shark in the appearance battle w ith its translucent body.

N ice Ninja is looking for broadcasters, distributors and co-producers for this series, which is budgeted at U S$2 million. Danish pubcaster TV2 and Nordisk Film Distribution are attached, and the project has received f unding from the Danish Film Institute.

Animals are better than humans

A t least that’s how Olga, the star of Apartment 11/Fabrique Fantastique’s same-name 2D-animated series, s ees it.

T his shy 10-year-old protagonist is way more comfortable around animals than other kids. But that all c hanges when she meets an unusual—and potentially alien—creature called Meh, who is curious about h umans and wants to do everything they do.

21/09/2025, 14:34

I n each episode of this 52 x 11-minute series for the six to nine set, Olga (who is an aspiring zoologist) tests o ut a scientific hypothesis about humans or animals. For instance, when Olga wants to find out whether she a nd Meh have the kind of symbiosis that animals in the wild do, they try out Puppy and Me Karate. Olga gives u p too quickly, and Meh has to convince her to try again. The conclusion? Their symbiosis is one in which they m ake each other better.

Kidscreen » Archive » Ryan’s Reﬂections: Animals battle and manga takes off at Cartoon Forum

Select and listen

Budgeted at US$7.7 million, Olga has already attracted TFO, CBC/Radio-Canada and VRT-Ketnet. There are scripts and an animatic available to share to prospective buyers and partners.

Cartoon Forum attendees were treated today to an updated look at Brain Comet/Blue Spirit Productions’ b uzzy 2D/CG-animated series My Life is a Manga. This project was selected last year for the EBU CoD evelopment Initiative, a program that pools funding from more than a dozen UK and European broadcasters t o help develop one Cartoon Forum project each year.

https://kidscreen.com/2025/09/18/ryans-reﬂections-animals-battle-and-manga-takes-off-at-cartoon-forum/?utm_source=newsletter&utm_medium=email&utm_c… 2/3 I, manga

Targeting six to 10s, My Life is a Manga (52 x 11 minutes, pictured) revolves around Liya, a young girl who deals w ith real-life problems by envisioning herself as a manga hero, taking on different personas such as secret a gent, pirate captain and knight. In a full-episode animatic the producers shared today, Liya has to do a p resentation on manga to her class. She turns this daunting task into an imaginary knightly quest that sees h er battle books, a cloud of smoke representing anxiety and even her own self-imposed pressure to be p erfect. Vanquishing all of these challenges, she finally gains the confidence she needs to deliver a killer p resentation in real life.

T here are 15 broadcasters supporting My Life is a Manga as part of the EBU initiative, including the BBC, France TV and YLE. The series got one set of notes from each broadcaster after last year’s pitch, and Brain C omet and Blue Spirit have since worked on visual development and produced the animatic, a teaser, four s ynopses and two scripts. The next step is to curn out nine more synopses by April. Delivery is TBD, d epending on when financing is completed.

In a few weeks, another project will be given a similar opportunity. The EBU’s pick from this year’s batch of Cartoon Forum pitches will be announced in early October, says president Matthieu Blanc, with between US$58,000 and US$117,000 in development funding set aside to help it get to the next level.

- 18/09/2025

There are 15 broadcasters supporting My Life is a Manga as part of the EBU initiative, including the BBC, France TV and YLE. The series got one set of notes from each broadcaster after last year’s pitch, and Brain Comet and Blue Spirit have since worked on visual development and produced the animatic, a teaser, four synopses and two scripts. The next step is to curn out nine more synopses by April. Delivery is TBD, depending on when financing is completed.

In a few weeks, another project will be given a similar opportunity. The EBU’s pick from this year’s batch of C artoon Forum pitches will be announced in early October, says president Matthieu Blanc, with between U S$58,000 and US$117,000 in development funding set aside to help it get to the next level.

S elect and listen

https://kidscreen.com/2025/09/18/ryans-reﬂections-animals-battle-and-manga-takes-off-at-cartoon-forum/?utm_source=newsletter&utm_medium=email&utm_c… 3/3

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Smart thinking from the people running the content business.

Dandelooo’s Emmanuèle Pétry on European support for the animation industry

Karolina Kaminska

08-04-2025

©C21Media

EmmanuèlePétry,producerandheadofinternationalatFrenchanimationcompany Dandelooo,discussestheimportanceofstrengtheningEuropeanalliancesinan uncertain world.

Emmanuèle Pétry

The animation industry is going through a difficult period as it deals with changing viewing habits among kids and the rise of AI. How can animation companies in Europe band together to weather the storm? Historically it is in tough times that Europe is the strongest. We are now up for a new challenge which will strengthen our bonds. Animation companies have been coproducing with each other (and with our friends in Canada) since the 1980s but even more now that the bilateral treaty support system has matured. For example, we have just completed the coproduction of The Upside Down River with two European partners, Viviﬁlms in Belgium and Sparkle Animation in Portugal.

Despite the fact copros are never easy, we are quite pleased by our shared achievement as the series has just been selected for the Annecy Festival, where we will raise our glass to our constructive European coproduction. For now, AI, is not threatening the balance – not in the studios, nor in the dubbing arena – at least not until anything truly convincing appears. Creativity and talent remain the seal of success. Animation companies have joined hands in the European Union’s Animation in Europe [alliance], which is very active on the political side of the picture thanks to [producer and CEO of Watch Next Media] Philippe Alessandri’s leadership.

How important are the public service broadcasters and other networks to animation in France and Europe?

The public service broadcasters have been key for the animation industry and remain as such. One of the main reasons is how pubcasters hold up against the private sector thanks to their loyal mission of serving children in the best way, ﬁghting cheap YouTube consumption. To do so they have also re-created an EBU network with 27 countries, which selects two series per year at Cartoon Forum for full European ﬁnancial and creative support. Essentially, pubcasters are adapting to the viewing habit changes by creating their own digital service (Okoo, child of France TV) to retain the young viewers. Slowly the eyeballs are shifting but strangely enough we can still witness a solid consolidation with France 5 for its preschool slots.

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YouTube consumption. To do so they have also re-created an EBU network with 27 countries, which selects two series per year at Cartoon Forum for full European ﬁnancial and creative support. Essentially, pubcasters are adapting to the viewing habit changes by creating their own digital service (Okoo, child of France TV) to retain the young viewers. Slowly the eyeballs are shifting but strangely enough we can still witness a solid consolidation with France 5 for its preschool slots.

What subsidies are available in France and the wider European animation market? In France, ﬁrst we have the CNC (national support ﬁnanced by the cinema industry) via the Centre National du Cinéma et de l’image Animée. Second, we have regional subsidies, such as Region Auvergne/Rhones Alpes for the south, or Region Hauts de France. Third, there are department subsidies which have different budgets, for example La Drome where we have our studio Ooolala. And, of course, there is a national tax credit system.

In Europe, it is mainly Creative Europe which supports development, production and distribution. It is a challenging application which favours mostly smaller countries. As for the cinema sector, there is great ﬁnancial (although selective) support called Eurimages, via the European Cinema Support Fund.

How does the Creative Europe Media (CEM) programme aid and boost Europe’s animation industry?

I don’t know the overall ﬁnancial budget of Creative Europe Media, but given the number of programmes which have received support it must be quite signiﬁcant. Having said that, the number of tangible criteria is quite high as well, mostly aimed at future successful shows, with many signed licences. The applications are thorough and insightful, based on real interests from European broadcasters who wish to acquire the given programme. It is a virtuous non-refundable system which complements each country’s own support, with a demanding selection, based on an anonymous committee composed of savvy professionals from each sector, with a ‘no bullshit’ analysis of its value.

The Upside Down River was a coproduction with Viviﬁlms and Sparkle Animation

future successful shows, with many signed licences. The applications are thorough and insightful, based on real interests from European broadcasters who wish to acquire the given programme. It is a virtuous non-refundable system which complements each country’s own support, with a demanding selection, based on an anonymous committee composed of savvy professionals from each sector, with a ‘no bullshit’ analysis of its value.

What are the most helpful animation events in Europe and how do they beneﬁt the sector?

Creative Europe Media is an amazing support for the animation industry as it has been organising many events for all creatives and business people to meet. Of course, there’s Cartoon Forum in Toulouse every September which allows Euro producers to pitch their new series projects in front of professionals, including broadcasters. Cartoon Movie in

Bordeaux every March shows up to 55 feature ﬁlm projects in different stages and there are other smaller events such as Cartoon Business and Cartoon Next. Last but not least, there is Cartoon Springboard in Madrid which allows young professionals, including students, to pitch for the ﬁrst time.

CEM also offers booths in the various markets, including Mipcom in Cannes, Berlinale, Mifa in Annecy etc. Beyond the CEM events there are many festivals which now offer panels and host programmes, such as ACE Producers for professionals and students, CEE Animation workshops for Eastern and Central Europe, Dingle Animation in Ireland, APD in Germany, and Euro coproduction conference Animart in Barcelona, to name a few. Unifrance is also a great actor by supporting the industry in markets and organising the Rendez Vous de Paris in January.

As an established animation producer, what do you see as being the biggest challenges for the industry in France/Europe?

Our European system has now reached a mature and fruitful ecosystem based on decades of growing quality studios. The overall worldwide economic crisis sees pubcasters’ budgets decreasing while FVoD, AVoD and games (aka Roblox) audiences are increasing, which is a cruel temptation for free cheap eyeball-capturing and monetisation.

Another challenge comes from the threat of deconstruction of the platforms and US major’s obligations to invest in original fresh animation because of American politics. Our unions, such as Anime France, have been able to build this healthy industry step by step, but dark clouds are swiftly progressing through the Atlantic. We need to keep up the energy.

Where do the best opportunities for animation in France and Europe lie?

Currently one of the best opportunities in Europe is the creation and implementation of the carbon calculator, which helps studios minimise the ecological impact of our

Latvian ﬁlm Born in the Jungle, producted by Atomart

Where do the best opportunities for animation in France and Europe lie?

Currently one of the best opportunities in Europe is the creation and implementation of the carbon calculator, which helps studios minimise the ecological impact of our productions. In France, the CNC will now require this tool to be systematically used in the studios in order to be eligible for grants. This is a virtuous and concrete way for the animation production sector to remain competitive and mindful of the planet.

There is also another opportunity in extending to the European countries, the ‘l’Education à l’Image,’ based on the strong French system of ‘L’ecole au cinema,’ supported by the CNC, whereby ﬁlms are selected to be shown and studied in all schools, such as our TV special Mum is Pouring Rain. This vision is to help children understand, analyse and grow with smart meaningful ﬁlms in order to blossom into responsible adults. This is not new but in France (like the UK), we have a wonderful children’s book heritage for possible adaptations, thus creating the future brands.

What are Dandelooo’s core aims and objectives for the next year?

Our first goal is to consolidate our cinema department which has proven successful in terms of films selected and international sales, mainly supporting European projects. For example, the Latvian film Born in the Jungle, currently in production by Atomart, is raising strong interest in other European countries, with several deals in the works. We are also aiming to pitch our own first feature film at Cartoon Movie next March.

Secondly, our goal is to deliver the best stories, on time, on budget and to make our broadcasters proud of their commissions. We now have three preschool series in production; Hold on Gaston for TF1, Max & Bunny for Canal+ and Billy the Cowboy Hamster season two for France TV. This is more than we ever had, so our studio Ooolala in Valence is growing day by day.

Thirdly, we are developing two great original comedy series and are working hard to tap into the best professionals to make these programmes happen and hopefully become international successes. So, the door is wide open for great European animation talent.

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Accueil Accès Corporate Marcel Mendy, producteur ch...

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annick.maes@cartoonmedia.eu

Il y a 3 heures

Marcel Mendy, producteur chez Slam Créations : “L’industrie a besoin de renouveau”

Fondé en 2011 par Marcel Mendy, Smir et Lezly Prager, Slam Créations est un studio d’animation mêlant 3D et style 2D. D’abord tourné vers les clips, notamment lié au hip-hop et à l’e-sport, il a collaboré avec IAM, Jul, Soolking ou Slimane.

Vous avez commencé chez Slam Créations par la réalisation de clips musicaux. Pourquoi avez-vous décidé de vous tourner vers celle de séries d’animation ?

C’était une idée présente depuis longtemps, mais nous voulions acquérir de l’expérience avant de nous lancer. Nous avons d’abord collaboré avec le studio Supamonks sur un projet qui n’a pas abouti mais qui nous a permis d’apprendre.

https://ecran-total.fr/2025/09/08/marcel-mendy-producteur-chez-slam-creations-lindustrie-a-besoin-de-renouveau/ 1/4

- France -

Lezly Prager Marcel Mendy Smir

Un choix

limités. Il s’agit de notre première série développée en interne de manière professionnelle. Nous avions tenté un projet en 2014, mais nous étions trop jeunes et cela n’avait pas abouti. Avec Cap Krapool, nous avons désormais l’expérience, les bons partenaires et l’ambition nécessaire.

Un choix plutôt audacieux alors qu’une ébranle le secteur de l’animation…

Oui et non. Je compare cela à la Nouvelle Vague : à une époque de crise, certains cinéastes ont osé proposer autre chose, des récits différents. Malgré la crise, nous avons en France une vraie chance : des diffuseurs et des institutions solides, comme France Télévisions, TF1 et le CNC, qui soutiennent l’animation. Ce n’est pas le cas partout en Europe. Ces aides et cette dynamique nous permettent d’avancer et de rester optimistes. Je pense que c’est justement dans ces périodes qu’il faut innover, proposer des projets originaux qui donnent envie au public et relancent l’industrie.

Voyez-vous d’autres studios suivre cette dynamique ?

Oui, beaucoup de jeunes studios tentent de développer de nouvelles IP. Je pense que c’est nécessaire : l’industrie a besoin de renouveau, de prendre des risques, plutôt que de rester sur des formats convenus.

Voyez-vous d’autres studios suivre cette dynamique ?

Et puis Blender est un outil incontournable qui permet à de nouveaux talents d’émerger, sans les barrières financières des logiciels payants. Lezly Prager vient de la bande dessinée et n’avait pas suivi de formation en animation auparavant.Cet outil lui a permis de créer un trailer quasiment seul : direction ar tistique, personnages, fabrication…

Quels sont vos prochains axes de développement ?

Nous explorons d’autres pistes, notamment autour de la japanimation, en mélangeant 2D et 3D. Nous travaillons avec un auteur-réalisateur, mais c’est encore expérimental. Chaque chose en son temps : pour l’instant, priorité à Cap Krapool que nous pitcherons au Cartoon Forum 2025 à Toulouse.

Quels sont vos prochains axes de développement ?

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France -

Amit Russell Gicelter: "Our goal is to help grow this new base while keeping the creativity flowing" - Señal News

Romina Rodríguez

Intending to unite talent and resources from the South Mediterranean region, The Hive Studio has partnered with AnimaSyros Productions to establish a permanent base in Greece. In conversation with Señal News, Founder and CEO Amit Russell Gicelter discusses the state of the animation industry in Greece, the goals of this new partnership, and how The Hive plans to drive growth and creative excellence in the region.

What encouraged the decision to open a new branch in Greece, and why partner specifically with AnimaSyros Productions?

"My connection with the Greek animation industry began at the Animasyros International Animation Film Festival, when 'Letter to a Pig' was selected to screen there. At the festival, I met many talented animation professionals, and we quickly found common ground that led to a strong creative relationship. Out of that positive experience came our first collaboration: the short film 'P', directed by Stelios Koupetoris and co-produced by The Hive Studio and AnimaSyros Productions. That was the first coproduction of its kind between Greece and Israel. Working with such a skilled and collaborative team naturally sparked conversations about expanding our production arm into Greece to support more projects like this. Of course, Greece's attractive 40% rebate incentive on investment also made the decision to produce there all the more compelling."

How do you envision The Hive Greece strengthening the animation industry in the South Mediterranean region?

"One of the things we hear more and more about in our region is the 'brain drain.' The best talent decided to pack their bags and go where the work takes them. But in the same breath, they also say they're just waiting for a good reason to return and work from here. To answer your question, we believe that by investing in education and job opportunities in the region, the talent will grow and eventually return, helping to strengthen the industry from within."

The Hive Studio has gained global recognition, especially with "Letter to a Pig". How will you bring that same creative excellence to this new base?

"The Greek Animation industry has an excellent base to work with. I have met incredibly talented creators with a creative spark and unique style to their work, but it's still very local right now. The Hive prides itself on being a hub of creativity with a strong emphasis on quality workflows. By combining that local talent with a manageable creative system, experienced in independent and commercial pipelines, our goal is to help grow this new base while keeping the creativity flowing."

What stories are you looking to explore through The Hive Greece?

"As we already do at The Hive, I'm most drawn to stories that are personal yet touch audiences around the world, universally understood stories. Hopefully, these will also carry a Greek touch, a connection to the rich local culture or history, which would be an amazing bonus. We're already developing a project with strong ties to Greek history, though it's still a bit too early to share more details."

Greece offers a 40% rebate on foreign investment. How vital was this incentive in the decision to expand here?

"It was quite important. The international industry is going through turbulent times, with studios shutting down and much of the work staying in North America. This rebate is imperative to convince clients to work with you as a studio. Yes, investors, broadcasters, and big North American studios might seek you out for your talent and storytelling experience. But if a company is going to put their hardearned cash into working with you, they'll need to be sure it makes financial sense for them. It is great for the industry that the government is willing to support its country's talented and creative people. Look at countries like France, Canada, or South Korea, and how they've invested in their local industries."

THOUGHT LEADERSHIP

Cartoon Forum Q&A: Sebastian Wehner, Wolkenlenker

Kids’ animation is having a tough time, says Wolkenlenker co-founder and CEO Sebastian Wehner, but with innovation and new partners, a path through the malaise can be found.

What is the biggest issue facing the animation industry right now?

Right now, kids’ animation is in a tough spot. Streamers have pulled back – there are far fewer kids’ commissions compared to just a few years ago – and when they do commission, they lean heavily on existing franchises. At the same time, licence fees and distributor MGs are shrinking, so almost every project ends up leaning on the local public broadcaster to get moving. That leaves less room for true international coproductions, and it makes ﬁnancing more complicated and slower.

What is your company doing in response to this?

At Wolkenlenker, we’re tackling this on three fronts:

Innovation: we invest heavily in R&D to make our pipelines leaner and smarter. The aim is simple: reduce cost per minute without compromising creativity.

Direct-to-audience: through our sister company Wonderz, we’re building apps that let us connect with kids and families directly. It gives our IPs a life beyond the traditional broadcaster window and it spreads risk across different revenue streams.

New partnerships: we’re also open to collaborations beyond the TV bubble –brands, cultural institutions, even educational partners. That way, we build IPs that are both sustainable and relevant in more places than just the screen.

Do you let your children or young family members watch YouTube Kids? Yes, but with limits. YouTube Kids has great content, but it’s still an algorithm-driven space, which is the part of screen time I am most vigilant about – so it doesn’t turn into endless scrolling.

Do iconic children’s networks like Nickelodeon and Cartoon Network have any relevancy to young audiences in your market?

They do – mostly as trusted brands for parents and older siblings – but kids themselves are increasingly elsewhere: YouTube, apps and streaming. In Germany, Nickelodeon and Cartoon Network don’t drive daily viewing the way they once did. But their heritage and storytelling sensibility still matter, especially when they reinvent themselves across digital. That’s where I see the opportunity: as partners who bring legacy and reach, while aligning with how kids actually consume content today.

Tell us about the project you are pitching at Cartoon Forum.

We’re bringing Wing it like Lilly (52×3’) to Cartoon Forum this year – a heart-warming

Sebastian Wehner

Do iconic children’s networks like Nickelodeon and Cartoon Network have any relevancy to young audiences in your market? They do – mostly as trusted brands for parents and older siblings – but kids themselves are increasingly elsewhere: YouTube, apps and streaming. In Germany, Nickelodeon and Cartoon Network don’t drive daily viewing the way they once did. But their heritage and storytelling sensibility still matter, especially when they reinvent themselves across digital. That’s where I see the opportunity: as partners who bring legacy and reach, while aligning with how kids actually consume content today.

Tell us about the project you are pitching at Cartoon Forum. We’re bringing Wing it like Lilly (52×3’) to Cartoon Forum this year – a heart-warming and funny family comedy about Lilly, a chicken who juggles her life as a variety artist with being a single mum to her three chicks: Flip, Pip and Scuttle. It’s a show about love, resilience and laughter through life’s everyday chaos, delivered in vibrant 2D and designed for a wide international audience.

Regarding production set-up, Wolkenlenker (Germany) leads, in coproduction with Copa Studio (Brazil). We’re thrilled that Edel Kids and Ketnet have already conﬁrmed their interest, and that ZDF/KiKA and Studio 100 have also shown strong enthusiasm. What excites me most about Wing it like Lilly is how personal the theme feels. As a producer, and a parent, I often ﬁnd myself ‘performing’ in different roles while juggling the needs of my own kids. Lilly’s balancing act between stage lights and family chaos makes me smile because it mirrors that everyday reality in a playful, uplifting way. That mix of humour and heart is exactly what we want families to feel when they watch the show.

Cartoon Forum

Oliva, Imagic TV

Cartoon Forum

Beato, Sardinha

Cartoon Forum

Sebastian Wehner, Wolkenlenker

Cartoon Forum

Eiselt, Blue Light

Cartoon Forum Moretto, Millimages

THOUGHT LEADERSHIP

Cartoon Forum Q&A: Nuno Beato, Sardinha em Lata

C21 reporter 16-09-2025

Nuno Beato, producer and CEO at Sardinha em Lata, on market segmentation and the struggle to bring adult audiences to animation.

What is the biggest issue facing the animation industry right now? I believe that the growth of YouTube and the resulting ﬁnancial cutbacks by major investors have had a very strong economic impact on the industry. Market segmentation and the way children view animation today is different. It is much more difficult to achieve large-scale projects that create strong and stable brands, and investors prefer to bet on already known IP that can guarantee economic returns. Without taking risks, it will be difficult for new projects to conquer the global market and become major productions, because budgets for new projects are increasingly limited. I have only referred to the children’s market because, unfortunately, this is still the only market with the capacity for return in animated cinema. Bringing adult audiences to animation is still a constant struggle.

What is your company doing in response to this?

Sardinha em Lata has been trying to diversify the type of products it produces. Given the current changing market, we have to be prepared for possible structural changes in the way animated ﬁlms are consumed, so the ideal thing for now is to achieve variety in our production, both in terms of target audience and format, graphic style, and genre.

Studios that were dedicated to a particular genre and style of animation ended up having to reduce their teams considerably because of the current crisis. By having several projects in progress, we can be flexible when choosing the first one to be produced, thus enabling us to adapt more quickly to possible market changes in a short space of time. The way we organise teams has also been adapted after Covid19. We have a mixed team, with part of the team based at our studio in Lisbon, and we have created flexibility in the external team, made up of different freelancers that we hire depending on the number and size of the projects in production.

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having to reduce their teams considerably because of the current crisis. By having several projects in progress, we can be flexible when choosing the first one to be produced, thus enabling us to adapt more quickly to possible market changes in a short space of time. The way we organise teams has also been adapted after Covid19. We have a mixed team, with part of the team based at our studio in Lisbon, and we have created flexibility in the external team, made up of different freelancers that we hire depending on the number and size of the projects in production.

Do you let your children or young family members watch YouTube Kids? My son is already an adult, but in any case, I am not the one who will be able to stop consumer trends, or at least not in this way; another approach will have to be taken.

Do iconic children’s networks like Nickelodeon and Cartoon Network have any relevancy to young audiences in your market?

I think the way we consume audiovisual content is undoubtedly changing. I wish I had a magic formula to know where we are headed, but one thing is certain: the current television model no longer works and is losing more and more viewers.

Tell us about the project you are pitching at Cartoon Forum.

Undo (10×22′) is a series project for adults that meets the diversity that Sardinha em Lata seeks to have in its portfolio of projects. A sarcastic comedy that addresses a topic that is so widely talked about and discussed today: mental health. Taking a dog to a psychologist with her problems, which often seem ridiculous but are so close to our own, is a way of bringing the audience closer to the normality of psychological counselling that we all need at certain times in our lives. We could say that Undo is playing with serious issues.

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Cartoon Forum Q&A: Adem Šišić, Turning Green Productions

Breaking into the animation industry is tough everywhere, but especially in Bosnia & Herzegovina, says Adem Šišić, a producer at Turning Green Productions.

What is the biggest issue facing the animation industry right now?

The biggest issue facing the industry is its inaccessibility to outsiders. It is really difficult for people who have no connections within the space to break into it, especially in countries where there’s no clear prospects to do so, such as my homeland, Bosnia & Herzegovina, where there are no opportunities to study or work in animation in any meaningful way.

What is your company doing in response to this?

With our company, Turning Green Productions, we’re trying to create such opportunities. Our team comprises incredibly talented artists, both professionally trained and otherwise, that aren’t able to showcase their incredible skill due to a lack of opportunities to do so. Everyone working on our project is in their early 20s, faced with an industry that has created itself a closed loop, where new talent can only break in under very speciﬁc circumstances that they don’t happen to fall into. We want to alleviate that, by giving the disadvantaged artist a chance to showcase what they’re truly capable of.

Would you let your children or young family members watch YouTube Kids, and why?

Personally, I’m not a fan of children watching YouTube Kids content. Before, children’s entertainment was a lot more regulated. Big TV networks had a tonne of responsibility when it came to what they could show to such an impressionable, young audience. But online content is the opposite – it is hard to regulate and it answers to no one. If a YouTube channel gets taken down, it is easy for its creator to just make a new one and continue posting the same kind of harmful content, free of consequences. So I would recommend that parents stick to the less dangerous world of non-online children’s entertainment.

Do iconic children’s networks like Nickelodeon and Cartoon Network have any relevancy to young audiences in your market?

Our market is teens and young adults, most of which have grown up watching shows on these legendary networks. The style of humour their shows employed is still very much relevant and enjoyable, and older audiences can still enjoy them if that same style of humour is contrasted with a more modern, contemporary subject matter.

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your kids watch

Do iconic children’s networks like Nickelodeon and Cartoon Network have any relevancy to young audiences in your market? Our market is teens and young adults, most of which have grown up watching shows on these legendary networks. The style of humour their shows employed is still very much relevant and enjoyable, and older audiences can still enjoy them if that same style of humour is contrasted with a more modern, contemporary subject matter.

Tell us about the project you are pitching at Cartoon Forum. Our project is Clout Chasers (10×11’), an adult animated series starring three unemployed bums in their early 20s who decide that, instead of getting real jobs, they’d much rather pay their rent making videos on the internet.

It’s a satire of YouTube, internet and video culture, aimed at the audience that engages with that content regularly. Our entire concept and pilot were created inhouse on a shoestring budget, while balancing full-time jobs, with no coproduction or broadcast partners. We’re looking forward to changing that by attending Forum, as there’s only so much you can do alone!

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Giorgio Welter on what’s next for Monello

Karolina Kaminska 02-09-2025

© C21Media

Giorgio Welter, president of Paris-based Monello Productions, which he runs alongside COO Cécile Sady, discusses the Banijay Kids & Family-owned prodco’s current slate and the market’s need for coproductions.

Welter

Season ﬁve of Street Football debuted on France Télévisions last month. How is the rebooted series still relevant to viewers 20 years since the original launched?

Street Football is a classic and iconic series, particularly popular with audiences in France and in Italy. What makes it so enduring, is its ability to connect with both long-time fans who discovered the original series 20 years ago, and a new generation of kids discovering it today. It’s not just a football show, it’s a reflection of real-life, tackling the everyday challenges and emotions kids face. That authenticity is why season four resonated so strongly with audiences on France Télévisions’ Okoo platform, and we’re confident season five will continue to build on that success.

What other activity is planned around the series to coincide with the new season launch?

To celebrate the launch of the new season, we’re releasing a refreshed version of the original opening theme song. The track was a huge hit when the series ﬁrst aired – earning a gold record – and became an anthem for the ﬁrst generation of Street Football fans. We’re excited to bring back a modern version for today’s audience. This summer, Street Football brought the action directly to fans as part of the Okoo Summer Tour, delivering high-energy live experiences and interactive games across towns and cities in France. In addition, we’re developing a merchandising programme that includes a publishing initiative, allowing fans to engage with the world of Street Football beyond the screen.

Giorgio

aired – earning a gold record – and became an anthem for the ﬁrst generation of Street Football fans. We’re excited to bring back a modern version for today’s audience. This summer, Street Football brought the action directly to fans as part of the Okoo Summer Tour, delivering high-energy live experiences and interactive games across towns and cities in France. In addition, we’re developing a merchandising programme that includes a publishing initiative, allowing fans to engage with the world of Street Football beyond the screen.

Tell us about the series, Pikky & Rhino, Monello is pitching at Cartoon Forum this month?

Pikky & Rhino is a lively comedy series that celebrates the unlikely but heartwarming friendship between a big, gentle rhino and his tiny, talkative oxpecker bird. Drawing inspiration from the real-life symbiotic relationship between these two animals, the series transforms this natural bond into a vibrant and humorous narrative, ﬁlled with charm, wit and emotional depth. An original concept, I think we’ve created a fun and character-driven show full of heart. With its rich storytelling and universal themes of friendship and difference, Pikky & Rhino has strong potential to resonate across international markets. We’re excited to present the project at Cartoon Forum in Toulouse and are hopeful our pitch will spark interest from broadcasters keen to join us in bringing this unique duo to life.

What else is on Monello’s current programming slate?

We are currently producing the second season of When I Was Your Age, coproduced with MOBO for France Télévisions and Rai. The series follows Paul, an 11-year-old boy, with the extraordinary ability to travel back in time and experience the childhoods of his parents and grandparents. Each episode blends humour and adventure, offering a playful yet meaningful look at generational differences.

We’re also in production on the ﬁrst season of Froggie, coproduced with Pikkukala for M6 and RTVE. The series centres on a spirited city girl who relocates to a remote village. As she brings her urban habits to a rural setting, she navigates the challenges of countryside life, leading to plenty of funny and heart-warming moments. Both these series reﬂect our commitment to creating standout, original storytelling that resonates with young audiences across Europe.

What are the biggest challenges currently facing the business and wider industry?

Financing animated series has always been a signiﬁcant challenge for producers, but the current industry climate has made it even more complex. Market conditions are tightening and competition for funding is increasing, while at the same time, the expectations for international-quality productions continue to rise, both creatively and technically. As a result, producers are navigating higher production costs, longer development timelines and the need for more strategic partnerships to bring ambitious projects to life. Balancing creative vision with ﬁnancial viability is more critical than ever.

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Season ﬁve of Street Football has aired on France Télévisions

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What are the biggest challenges currently facing the business and wider industry?

What are the biggest opportunities you identify in the kids’ sector right now? There is a growing demand for diverse, inclusive and globally resonant storytelling. Audiences are looking for content that reﬂects a wide range of cultures, experiences and perspectives, which creates an environment where fresh voices and original IPs can thrive. With a market need for coproductions, these not only help navigate ﬁnancing, but also enrich creative development by bringing together different cultural and creative viewpoints. Additionally, the expansion of digital platforms offers new ways to connect with young audiences beyond traditional broadcast, opening possibilities for wider cross-platform engagement. And by building wider and more actively engaged communities, we can amplify our brands through the likes of music, games, publishing and live events.

How will the rise of AI continue to inﬂuence the business?

AI has the potential to become a transformative force across the animation industry, offering ways to improve efficiency, reduce costs and accelerate timelines. But we need to ensure we have regulatory frameworks in place which protect IP and rights for the creators, artists and voice actors. In the months ahead, our focus will be on understanding how best to integrate AI into existing processes, while ﬁercely protecting the human creativity and innovation that is central to our world-class storytelling, and that of the wider Banijay Entertainment.

What are Monello’s core goals and ambitions for the next year or so?

Our primary goal is to continue developing and producing original series that have the potential to grow into strong, recognisable brands. At the heart of everything we do, is a commitment to creativity and meaningful storytelling, anchored in the values that matter most to children today. We aim to expand our international reach through strategic coproductions, while staying true to our DNA: delivering high-quality content that entertains, inspires and reﬂects the diverse experiences of young audiences.

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Cartoon Forum Q&A: Sander Alt, Urrebuk

C21 reporter 17-09-2025

With a ﬂood of content across platforms, getting yourself noticed is the biggest battle of all, says Urrebuk’s Sander Alt.

What is the biggest issue facing the animation industry right now?

One of the biggest challenges is discoverability. With a ﬂood of content across platforms, it’s increasingly difficult for original, creator-driven animation to stand out.

What is your company doing in response to this?

We’re focusing on developing strong, pitch-ready IP that’s built with international audiences in mind. Besides that, patience is key and to keep believing in the quality of your work.

Do you let your children or young family members watch YouTube Kids? Yes – but always with supervision and time limits. YouTube Kids has a huge range of content, and while much of it is educational or entertaining, the algorithm can surface lower-quality or overly commercialised videos.

Do Iconic children’s networks like Nickelodeon and Cartoon Network have any relevancy to young audiences in your market? Yes, though their relevance today comes more from their brand legacy than from traditional broadcasting. Kids increasingly engage with their content through streaming, YouTube and apps. These networks still carry strong trust with parents and can boost the credibility of new IP when they’re attached as partners.

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Sander Alt.

Fairytale Friends is a 2D series for ages two to six

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your kids watch

Do Iconic children’s networks like Nickelodeon and Cartoon Network have any relevancy to young audiences in your market?

Yes, though their relevance today comes more from their brand legacy than from traditional broadcasting. Kids increasingly engage with their content through streaming, YouTube and apps. These networks still carry strong trust with parents and can boost the credibility of new IP when they’re attached as partners.

Tell us more about the project you are pitching at Cartoon Forum. We are pitching Fairytale Friends (52×7’) a 2D series for preschoolers. It’s a show where small events lead to lots of fun and great adventures! Fairytale Friends combines heart, humour and kids fantasy with a strong character-driven core. Wellknown fairytale characters take on unexpected roles, making it fun for adults too. The show is unique because of its design, black background and minimalist compositions. It makes the characters vibrant and energetic. NPO, the Dutch public broadcaster gave us a letter of intent for four years. Currently, we are looking for coproduction partners to ﬁll different roles: distributors writers, story boarders. We don’t expect to leave Cartoon Forum empty-handed.

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THOUGHT LEADERSHIP

Cartoon Forum Q&A: MarcHenri Wajnberg, Wajnbrosse Productions

C21 reporter

Saturation of content and a need to address urgent ecological and societal issues are front-of-mind for Wajnbrosse Productions’ Marc-Henri Wajnberg.

Marc-Henri Wajnberg

What is the biggest issue facing the animation industry right now?

The animation industry is currently facing a dual challenge. The ﬁrst issue is the saturation of content, especially in the digital and streaming sectors, where quantity often takes precedence over quality. The second issue, from a more personal perspective, is how to address urgent ecological and societal issues without overwhelming or alienating young audiences. Children are more aware than ever of the climate crisis and environmental degradation but are also more anxious. The challenge is to ﬁnd a tone that educates without alarming, that engages without moralising.

What is your company doing in response to this?

Wajnbrosse Productions is responding with Prout, a humorous stop-motion series with strong ecological undertones. The waste that threatens the planet of our little characters drives them to develop their poetry and imagination. The series aims to raise awareness about overconsumption and pollution, empower children through themes of creativity, recycling and solidarity, and use non-verbal storytelling (grammelot and sound) to make the series universally accessible and engaging, with strong international potential. By using humour, imagination and visual inventiveness, Prout sidesteps the alarmist narrative and instead cultivates curiosity and joy in doing things differently.

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Prout blends ecology, humour and creativity

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Do Iconic children’s networks like Nickelodeon and Cartoon Network have any relevancy to young audiences in your market?

Yes, they still hold some cultural relevance, but their inﬂuence has waned in favour of on-demand platforms and shortform content. That said, their legacy and brand value remain strong, and they are ideal partners for original, bold and universal series like Prout. The visual humour, creativity and strong personalities in Prout echo the spirit of early Cartoon Network or Nickelodeon shows. We believe such networks can reconnect with younger audiences by backing fresh, visually distinctive and socially conscious content.

Tell us more about the project you are pitching at Cartoon Forum. We are pitching Prout (52×7’), an animated series in stop-motion with plasticine characters and real material sets, aimed at ﬁve- to 10-year-olds. The show blends ecology, humour and creativity through the adventures of a group of small characters dealing with Earth’s garbage falling onto their planet. It’s an environmental tale for children, but told with laughter, invention and zero moralising. A joyful rebellion against throwaway culture. Wajnbrosse Productions is one of Belgium’s oldest companies and the format of this project is no spoken dialogue, only expressive grammelot, making the show instantly exportable worldwide. The visual style is a mix of Aardman with Tex Avery-style absurdity, set in a post-industrial poetic world. We are supported by Mediawan, which wants to coproduce and sell the series. Prout is also the winner of the Belgian prize for best children’s animation project (SACD, SABAM, ASA and Ministry of Culture). In terms of coproduction and broadcasting, discussions are ongoing. We’re open to European and international partners.

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is Reshaping a

A market correction in the U.S., combined with a commissioning landscape that has yet to return to prestrike levels—and likely never will—has reverberated across the globe, triggering contraction and uncertainty within an industry that had spent years expanding to meet once-insatiable streamer demand.

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Are kids’ cable brands still iconic or irrelevant?

Producers gathering for Cartoon Forum this week told C21 whether they believe iconic linear kids’ networks like Nickelodeon and Cartoon Network still have a place in the children’s content industry as it evolves at breakneck speed.

Back in the 1990s, the children’s TV industry in Europe was disrupted signiﬁcantly by the arrival of US cablenets Nickelodeon and Cartoon Network (CN), which created intense competition for the local public-service and commercial broadcasters.

Then, in the 2010s, came Netﬂix and a suite of other SVoD services as the streaming boom swept the world. While this was going on, YouTube, which launched in the 2000s, was growing in prominence, eventually establishing itself as the number one platform for kids’ viewing.

As the digital revolution continues and social media platforms and YouTube grow stronger, are iconic children’s networks like Nickelodeon and Cartoon Network still relevant to young audiences?

One producer such the channels are “not really” relevant anymore in their market of Poland. “For today’s kids, linear TV is no longer the go-to place for stories and heroes. Their ﬁrst screen is usually a tablet or a smartphone, and their cultural references come from streaming platforms and YouTube. That’s where they ﬁnd the characters they admire and the worlds they want to spend time in,” they say.

“Of course, Nickelodeon and Cartoon Network remain important historically and for some nostalgic audiences, but when it comes to current generations, their inﬂuence has been replaced by on-demand, personalised platforms.”

A producer in the Czech Republic holds a similar view: “What I do see is that younger audiences here tend to lean more towards streaming platforms and local broadcaster apps. Nick and CN still have brand recognition, but their direct inﬂuence on young audiences in our market is weaker than before.”

And in Italy, one producer says Nickelodeon and Cartoon Network “have had a hard time defending their positions since DTT arrived 15 years ago, leading a

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references come from streaming platforms and YouTube. That’s where they ﬁnd the characters they admire and the worlds they want to spend time in,” they say.

And in Italy, one producer says Nickelodeon and Cartoon Network “have had a hard time defending their positions since DTT arrived 15 years ago, leading a proliferation of 24-hour kids’ thematic channels and giving the country the highest number of free kids’ channels in the EU.”

The attitude of producers in France is more positive, with one saying Nickelodeon and Cartoon Network “absolutely” still have a place in their market. “They’re major players in global animation, each with a distinct but complementary approach. Both set trends with bold and disruptive editorial choices and share one strength: creating strong, endearing characters that truly connect with audiences,” they say.

In Finland, one producer points out the importance of big brands and phenomena that get talked about in the playground, but says Nickelodeon and Cartoon Network can still achieve that.

“Skibidi Toilet and Italian Brainrot are big things, but so are Nick, CN and all the individual brands within them. So I feel they are relevant and it just depends on which brand is doing a push at any particular time. I would love nothing more than to ﬁnd Nickelodeon or Cartoon Network in the quick menu of my smart TV, right there next to YouTube, Disney+, Netﬂix, YLE Areena etc,” they say.

Other producers argue that channels like Nickelodeon and Cartoon Network are still important, but mainly for the parents and older family members who used to watch them.

“They do [still have relevancy] – mostly as trusted brands for parents and older siblings – but kids themselves are increasingly elsewhere: YouTube, apps and streaming. In Germany, Nickelodeon and Cartoon Network don’t drive daily viewing the way they once did. But their heritage and storytelling sensibility still matter, especially when they reinvent themselves across digital,” says one German producer.

For some producers, Nickelodeon and Cartoon Network’s relevancy stems not from the brands themselves but from the content they offer.

“Yes, they do [still have relevancy], although young audiences tune in not because of the brand of the channel but for the content they’re looking for. They know what to look for and where to ﬁnd it,” says a producer in Spain.

Another in Greece adds: “Yes, [they are still relevant] but in a different way. These networks remain respected tastemakers, yet kids today recognise characters more than channels. Viewing has shifted toward on-demand and digital platforms, meaning strong content can thrive anywhere – TV, streaming or online. Still, Nickelodeon and Cartoon Network set creative benchmarks and provide global visibility that help new series succeed.”

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BY TIM DAMS |22 SEPTEMBER 2025 NEWS

Euro indie producers voice “serious concerns” about proposals to replace Creative Europe

Independent European producers have issued a powerful joint statement to express concerns over AgoraEU, the European Commission’s proposed replacement for the Creative Europe programme.

The statement, signed by 24 inﬂuential independent European producer groups, describes the AgoraEU proposals, published earlier this summer, as “a risky turning point for the future of independent audiovisual creation in Europe”.

Among the signatories are the European Producers Club (EPC), Eurocinema, CEPI, Italy’s APA, Germany’s Prog, France’s L’ARP and Switzerland’s SFP. The statement was published during the San Sebastian Film Festival.

The proposed AgoraEU programme will be backed by a €8.6bn ($10bn) budget over seven years from 2028-36, up from Creative Europe’s current €2.5bn for 2021-27.

But its funding scope is much wider, encompassing the EU’s Citizens, Equality, Rights and Values (CERV) programme as well as support for the news media.

AgoraEU’s proposed Media+ strand, which effectively replaces the Creative Europe Media programme, comes with a proposed €3.2bn budget to support the EU’s struggling news media on top of its traditional backing for ﬁlm and audiovisual content.

Strong statement

The producers’ statement said the Commission’s ambition to increase the budget, strengthen the media ecosystem, support pluralism, press freedom,

Strong statement

The producers’ statement said the Commission’s ambition to increase the budget, strengthen the media ecosystem, support pluralism, press freedom, and the ﬁght against disinformation deserves recognition.

However, the new Media+ strand raises serious concerns for the future of independent European audiovisual creation, they said.

“The proposed reform strays signiﬁcantly from the founding spirit of the Creative Europe Media programme, a European success story over the past three decades and a cornerstone in protecting cultural diversity and independent creation,” said the statement. “The programme appears now downgraded into a “speciﬁc objective” of a much larger programme with an extended scope, that threatens its clarity.”

The European producer groups have outlined four speciﬁc concerns. First, they highlight weakened support for independent productions, describing the removal of the independence criterion as alarming. “Media has always been dedicated to supporting independent productions. Its absence in the AgoraEU proposal risks directing funding to subsidiaries of broadcasters and platforms, including non-European ones. This choice directly threatens the diversity of works and the competitiveness of small and medium-sized production companies.”

The groups also ﬂagged “unclear budget and shifting priorities” in the AgoraEU proposals.

“The budget for the support to the European audiovisual creation and circulation is not speciﬁed nor guaranteed and it is merged with the funding for News media. This creates uncertainty and undermines predictability for the sector. By mixing support for audiovisual creation with political objectives linked to news and the ﬁght against disinformation, Media+ blurs its mission, to the detriment of clarity and its impact on the audiovisual sector.”

Third, the producer groups said the AgoraEU proposals open doors to nonEuropean entities. “Allowing third-country entities to beneﬁt from funding undermines cultural sovereignty and exposes the sector to further market concentration in favour of global giants.”

Fourth, the statement expressed concern about “complex and opaque governance” within the AgoraEU proposals, citing the absence of mechanisms to consult Member States and stakeholders, and the centralisation of decisions within the European Commission’s hands. It also states that a lack of detail on the different support schemes limits transparency and accountability in future programme implementation.

The producer groups have set out four of their own proposals to “ensure Media+ meets its ambitions and promotes Europe’s cultural diversity.”

Reinstate the criteria of independence as a mandatory condition for support. Strictly

within the European Commission’s hands. It also states that a lack of detail on the different support schemes limits transparency and accountability in future programme implementation.

The producer groups have set out four of their own proposals to “ensure Media+ meets its ambitions and promotes Europe’s cultural diversity.”

Reinstate the criteria of independence as a mandatory condition for support.

Strictly separate funding for the audiovisual sector from funding for news and the ﬁght against disinformation, ensuring clarity and dedicated budgets.

Restrict access to funding for companies from non-associated, nonEuropean countries.

Reintroduce annexes specifying different support objectives, in order to provide the sector with predictability and sectoral stability.

Producers reaction

Julie-Jeanne Regnault, the managing director of the European Producers Club, told Screen that her members welcome the ambition of AgoraEU and the European Commission’s willingness to give more resources to culture and the creative sectors in the future budget.

“When we ﬁrst saw the AgoraEU, we were reassured to see that the European Commission proposed a stand-alone programme covering culture and creative sectors, with a stronger budget,” said Regnault.

“However, looking more closely, we cannot hide our concerns. The Media programme which will celebrate its 35th anniversary in 2026, has been an EU success story and a quality label for so many European works and projects. It is now being diluted and is merged with support to news media and journalism.”

Regnault noted that AgoraEU’s Culture strand gets a strong increased envelope, up 115% compared to 2021-2027, but there is currently no speciﬁc budget line provided for the support to the ﬁlm and audiovisual sector.

“In addition, the draft no longer mentions the support to independent producers. Yet it is precisely independent producers who stand at the heart of the three main AgoraEU’s objectives: contributing to cultural diversity, competitiveness, and democracy.”

“We are ready to work with the EU institutions to improve the draft and bring greater clarity and predictability,” said Regnault. “With this joint statement, European Independent producers’ associations stand united in their determination to improve AgoraEU so that it can fully deliver on its ambitions.”

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Date de publication : 10/06/2025 - 08:19

Devenu au ﬁl des années un acteur phare de l’animation française, TAT retrouve le Festival d’Annecy avec Falcon Express

Les services du Film français

La 49e édition du Festival d'Annecy a démarré ce 8 juin. Que représente pour vous cette manifestation ?

Je crois que j’y suis allé pour la première fois en 2001 ou 2002, ça commence à remonter (rires). Le Festival a beaucoup grossi avec le temps. Quelque part, nous sommes un peu nostalgiques de l'époque où il était plus petit, mais il reste évidemment très important pour nous. Chaque année, nous y faisons des rencontres qui, plus tard, aboutissent sur quelque chose : un accord de distribution, la découverte d’un auteur… Et puis l’ambiance est géniale, c’est très bien organisé. C'est à mon sens l’un des rendez-vous incontournables du secteur. Si vous êtes une société qui fait de l’animation, il faut aller à Annecy.

Des deux volets des As de la jungle à Pattie et la colère de Poséidon en passant par Pil, pratiquement tous vos ﬁlms d'animation ont rencontré un beau succès en salles. Comment l'expliquez-vous ?

Je pense que nous avons fait un choix courageux, celui de s'aventurer sur le domaine de l'animation familiale. Très tôt, nous avons eu la conviction que nous pouvions aller sur le terrain des studios américains – pas en espérant faire aussi bien ou mieux qu’eux, parce que c'est impossible au regard de leurs budgets de fabrication et de promotion –, mais sans leur ressembler pour autant. Comme nous l’avons à mon sens bien fait, nous avons réussi à formuler une proposition assez inédite pour un producteur français. Nous avons, de surcroît, fait le choix de prendre de gros risques financiers pour enchaîner les films, que nous livrons très régulièrement. Nous sommes finalement aujourd'hui les producteurs les plus prolifiques sur le long métrage d’animation. Petit à petit, nous installons notre marque, notre savoir-faire, auprès du public mais, aussi et surtout, des exploitants. C’est très important car, sans eux, il est très dur de faire vivre les films en salles. Les exploitants savent que nous allons livrer un long métrage de qualité, qui va s'adresser aux familles. Lorsqu’un film TAT arrive en salles, ils sont donc rassurés, et vont bien l'exposer et bien le promouvoir. C'est une stratégie de long terme : très tôt, nous nous sommes dit que, si nous livrions un film par an, tout le monde allait vouloir travailler avec nous, parce que nous serions les seuls à le faire. Tout cela implique une prise de risque bien plus importante que celle de nos camarades producteurs, qui, eux, financent film après film, mais explique aussi ce succès, je pense.

pioche En postproduction

CINÉMA

A ce titre, comment anticipez-vous la sortie de votre prochaine production, Falcon Express de Benoît Dafﬁs et Jean-Christian Tassy, qu'Apollo Films sortira le 2 juillet ?

Nous y croyons très fort. Nous avons la conviction que c'est notre film le plus abordable. L'affiche, la bandeannonce, le concept… : tout est clair. Je pense par ailleurs que c'est notre film le plus familial, puisque c’est à notre sens le plus destiné aux adultes. Les enfants restent notre première cible, mais Falcon Express est beaucoup plus clairement adressé à leurs parents que nos précédentes productions. Nous pensons donc qu’il a tout le potentiel nécessaire pour séduire un très large public.

Vous évoquiez tout à l'heure la notion de prise de risque. Est-il aujourd’hui plus difﬁcile de créer une nouvelle IP ?

Sorties et

Besoin Foire aux Articles

Production Summit 2025 by français"

[Tournage] Premier clap imminent pour le premier long de Pierre Menahem

Rachida Dati : "Aider la filière l'animation à surmonter cette crise est impératif industriel et culturel" "En première ligne" triplement à Vierzon

et Jean-Christian Tassy, qu'Apollo Films

Le film français

Vous évoquiez tout à l'heure la notion de prise de risque. Est-il aujourd’hui plus difﬁcile de créer une nouvelle IP ?

Bien sûr. Développer une création 100% originale est beaucoup plus compliquée qu'il y a quatre ou cinq ans. Tous les financeurs "non institutionnels" – les acheteurs, les distributeurs, les télés… - veulent aller vers des IP parce que tout le monde a envie de se sécuriser. Ceci dit, nous sommes nous-mêmes en train de devenir une IP. Pour les exploitants, mais aussi pour les acheteurs internationaux, notre nouveau film, c'est avant tout un nouveau film TAT. S’il est beaucoup moins simple de financer nos productions qu’il y a trois ou quatre ans, nous y arrivons encore parce que, à mon sens, nous avons réussi à construire une mini-marque.

Vous travaillez justement sur un nouveau projet de long-métrage original, Lovebirds d’Hélène Blanchard et Laurent Bru, une comédie romantique avec des oiseaux...

C’est un petit pas de côté. Lovebirds est clairement destiné à une cible un peu plus âgée que nos précédentes productions, mais, comme à notre habitude, nous ferons bien attention à ne pas perdre les enfants. Il y a évidemment beaucoup d'humour, plein d'action…, ce qui va permettre de séduire les plus petits, mais aussi les plus grands, grâce à cette dimension de comédie romantique. Sur nos films, nous manquons souvent les spectateurs âgés de 12 à 25 ans, et je pense que Lovebirds a un énorme potentiel sur cette cible. Pour la première fois, nous travaillons avec KMBO. C’est un distributeur que nous connaissons depuis longtemps, et avec qui nous avions envie de travailler. Ils ont tout de suite accroché au concept, au scénario, aux graphismes, qui sont sublimes. Lovebirds sortira le 27 janvier 2027. Par ailleurs, Lovebirds a la particularité d’être le premier film que nous avons développé à partir d'un scénario qui n’a pas été écrit en interne. Ce scénario, développé par Amanda Sthers avec sa société américaine Idea(l), est arrivé un jour sur notre bureau, et nous en sommes tombés amoureux. Nous avons donc passé un accord de coproduction avec la société d’Amanda Sthers pour récupérer le projet, le développer et le mettre en production. Nous avons énormément progressé – en termes d'organisation, de manière de travailler, de qualité – grâce à notre expérience sur Astérix & Obélix : le combat des chefs [dont TAT a assuré la fabrication pour Netflix, Ndlr]. Nous n’avions jamais disposé d’autant de moyens, de temps, de talents aussi grands. Nous commençons à appliquer tous ces enseignements sur la fabrication de Lovebirds, et c'est impressionnant. Je vois déjà, au fur et à mesure que la fabrication avance, que nous avons gagné en qualité par rapport à nos précédentes productions. Je pense que nous allons passer un nouveau cap avec Lovebirds. C’est d’ailleurs le film le plus cher que nous avons réussi à financer, puisqu’il est doté d’un budget de 15M€

Cette expérience sur Astérix et Obélix : Le combat des chefs vous a-t-elle donné envie de pratiquer davantage la production exécutive ?

Cette expérience a été à la fois très intéressante et très enrichissante. À l’avenir, nous pourrions envisager des productions similaires, mais uniquement dans le cadre de prestations premium. Ces projets doivent à la fois nous permettre de progresser en tant que studio et d’apporter du plaisir à nos équipes. Nous disposons déjà de nos propres IP que nous développons en série, comme Les aventures de Pil, un 52x13 min que nous produisons pour France Télévisions. Notre travail sur Astérix et Obélix : Le combat des chefs nous a surtout donné envie d’adapter de nouvelles œuvres. L’adaptation est un exercice très créatif qui nous motive. Nous échangeons donc avec plusieurs éditeurs et replongeons dans la lecture de bandes dessinées. Cette envie traduit aussi une forme de maturité. Depuis notre création il y a 25 ans, nous avons eu la chance de concrétiser tous les projets que nous rêvions de faire. Nous avons dépassé tous les objectifs que nous nous étions ﬁxés. Aujourd’hui, tout ce que nous entreprenons est un bonus. Nous prenons le temps de réﬂéchir à nos futurs projets.

Justement, quels sont les projets sur lesquels vous travaillez aujourd’hui ?

Outre Lovebirds et Les aventures de Pil, nous venons de lancer la préproduction de Ringo at Summer Camp, l’histoire d’une colonie de vacances pour chiens dont le scénario est très réussi et très drôle. Le ﬁlm devrait être livré entre ﬁn 2027 et début 2028. Pour le reste, nous étudions plusieurs pistes.

TAT Studio a été lauréat de la Grande fabrique de l’image en 2023. Qu’est-ce que cela vous a apporté ?

Nous devions passer à la vitesse supérieure, il fallait produire en parallèle du long métrage, de la série et des prestations premium. Nous avions déjà une structure solide, mais il a fallu doubler pratiquement nos capacités de production. Cette ambition nécessitait un investissement conséquent. Le soutien de la Grande Fabrique de l’image nous a permis d’accélérer notre développement plus sereinement, en investissant dans du matériel, en recrutant de nouveaux talents. Pour la première fois, nous avons pu lancer des programmes de R&D, avec des effets immédiats. La première saison de Pil a, par exemple, été produite en temps réel, avec un rendu hautement qualitatif.

Vous évoluez au sein d’un secteur sous forte tension. Quel est votre regard sur la situation ?

salle

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Vous évoluez au sein d’un secteur sous forte tension. Quel est votre regard sur la situation ?

Elle est très anxiogène. Tout est plus compliqué, même pour nous. L’animation traverse aujourd’hui une crise structurelle assez lourde. Nous cumulons les inquiétudes et les incertitudes. Malgré cela, j’essaie de rester concentré sur le positif. TAT a la chance d’avoir trois projets en cours et d’être, depuis quelques mois, sous le feu des projecteurs. J’espère que le marché se stabilisera d’ici à la ﬁn de l’année prochaine et reprendra son cours. Je reste optimiste. L’envie de voir des œuvres est toujours là. Et nous avons la chance de nous adresser à la jeunesse, un public en renouvellement permanent. Les bons projets ﬁniront toujours par trouver preneur. Ce qui nous sauvera, c’est la qualité de ce que nous proposons.

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Accueil » À Toulouse, l’animation prend le train de l’action avec TAT

ACTUALITÉSCINÉMA

À Toulouse, l’animation prend le train de l’action avec TAT

Ces deux dernières années, TAT Productions jouit d’une belle phase de croissance. Une dynamique que « Falcon Express », en salles le 2 juillet prochain, a le potentiel d’entretenir. Culture 31 s’est faufilé dans les locaux du studio toulousain pour en apprendre davantage sur ce long-métrage d’animation.

« Qu’y a t’il de mieux à faire en pleine canicule ? Aller se rafraîchir au cinéma ! », s’exclame d’emblée Jean-François Tosti, cofondateur de TAT Productions. Et pour cause, le dernier bébé du studio toulousain, « Falcon Express », sortira en salles obscures le 2 juillet 2025. Avec ce longmétrage d’animation, l’ambition était claire : « faire un gros film américain, 100 % toulousain » Rien que son nom, emprunté à la langue de Shakespeare, illustre ce dessein. Falcon désigne le personnage principal, un raton-laveur débrouillard et un poil roublard, qui passe le plus clair de son temps à voler les riches pour nourrir les pauvres. Seulement voilà, ce Robin des Bois des temps modernes, qui se prête volontiers les qualités d’un faucon, va se retrouver pris au piège à bord d’un train quasi condamné au crash, avec d’autres animaux. S’engage alors une course contre la montre pour sauver la mise !

- France -

https://www.culture31.com/2025/06/27/a-toulouse-lanimation-prend-le-train-de-laction-avec-tat/

L'Essentiel

【 Cinéma 】

Dans une intrigue un commentaire

chinois Zhang la société fracturée partie, qu’à compromissions.

Un iflm d’animation, oui. Un iflm d’action, certainement. Pour donner vie à ce premier film d’action ferroviaire signé TAT, les réalisateurs, Benoît Daffis et Jean-Christian Tassy, ont (re)vu une quantité phénoménale d’œuvres du genre, de « Speed » à « Unstoppable » en passant par « Runaway Train », et bien d’autres. C’est d’ailleurs le longmétrage du studio avec le plus de références cinématographiques, même s’il n’est pas nécessaire de les déceler pour apprécier « Falcon Express ».

Cependant, pour proposer une œuvre aussi palpitante et qualitative que les inspirations mentionnées, les équipes du studio d’animation ont dû affronter différents challenges techniques. En effet, faire évoluer une multitude de personnages dans un espace restreint et mouvant tel qu’un train, ce n’est pas une mince affaire ! Et ce n’est pas Mathieu Capel, artiste layout qui dira le contraire. « Ça a été un sacré défi ! », confie le cameraman virtuel.

Une œuvre pour toute la famille

https://www.culture31.com/2025/06/27/a-toulouse-lanimation-prend-le-train-de-laction-avec-tat/

Les mots d’ordre côté narratif : tension et humour. D’ailleurs, pour le bien du récit, différents personnages sont passés à la trappe. Ainsi, toute la petite troupe d’animaux coexiste harmonieusement. On vous laissera notamment découvrir Ronald, un protagoniste à plumes dont la personnalité est indéniablement… Toulousaine ! En bref, TAT livre ici « un vrai film d’action que parents et enfants vont vivre différemment », pour citer Jean-François Tosti.

France -

31/07/2025, 14:58 À Toulouse, l’animation prend le train de l’action avec TAT

Culture 31 - 28/06/2025

personnages sont passés à la trappe. Ainsi, toute la petite troupe d’animaux coexiste harmonieusement. On vous laissera notamment découvrir Ronald, un protagoniste à plumes dont la personnalité est indéniablement… Toulousaine ! En bref, TAT livre ici « un vrai film d’action que parents et enfants vont vivre différemment », pour citer Jean-François Tosti.

Et comme tout bon film d’actions qui se respecte, « Falcon Express » est fait pour l’expérience cinéma ! Il n’est donc pas question de streaming pour l’instant, mais plutôt de projections internationales. Du reste, si le studio se réjouit du succès de la série « Astérix et Obélix : Le Combat des chefs » sur Netflix, il se réjouit de continuer à développer ses propres projets. Un certain « Lovebirds » est notamment sur les rails…

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11/08/2025, 12:51 TAT, le cinéma d’animation made in Occitanie cartonne avec son dernier opus, "Falcon Express", et part à la conquête du monde - ladepeche.fr

Accueil Culture et loisirs Cinéma

TAT, le cinéma d’animation made in Occitanie cartonne avec son dernier opus, "Falcon Express", et part à la conquête du monde

Un Galaxy Chromebook Go pour l’achat d’un Galaxy Z Flip

Carole Delga et Jean-François Tosti, producteur de TAT devant l’affiche les As de la jungle 2. /Région Occitanie

06 JUIN 2025 • SÉRIES ET TV

Tags :

animation (https://www.cnc.fr/actualites?p_r_p_tag=animation) • série (https://www.cnc.fr/actualites?p_r_p_tag=s%C3%A9rie) • studio (https://www.cnc.fr/actualites?p_r_p_tag=studio) • france2030 (https://www.cnc.fr/actualites?p_r_p_tag=france2030)

Jean-François Tosti : « L’esprit

familial est au cœur de l'identité de TAT Productions »

Jean-François Tosti : « L’esprit familial est au cœur de l'identité de TAT Productions » | CNC

Fondé en 2000 à Toulouse, TAT Productions s'est imposé comme un acteur majeur de l'animation 3D en Europe. Alors que la structure fête ses 25 ans d'existence au Festival d'Annecy et y présentera notamment son nouveau long métrage, Falcon express, nous vous proposons de (re) découvrir l'entretien de son cofondateur et directeur, JeanFrançois Tosti, donné à l'occasion de la sortie de la série Astérix & Obélix :Le Combat des chefs, réalisée par Alain Chabat et Fabrice Joubert, en avril dernier sur Netflix. Une collaboration inédite qui a marqué un tournant pour le studio, lauréat de l’appel à projets France 2030 – La Grande Fabrique de l’image.

https://www.cnc.fr/series-tv/actualites/tat-productions-le-studio-danimation-toulousain-derriere-le-nouvel-asterix--obelix_2378668 1/11

Comment est née TAT Productions ? Et quel a été votre parcours avant de vous lancer dans l’animation ?

- France -

Comment est née TAT Productions ? Et quel a été votre parcours avant de vous lancer dans l’animation ?

Jean-François Tosti : TAT a vu le jour en 2000, fondée par David Alaux, mon frère Éric et moi. Nous étions trois passionnés d’animation depuis l’enfance. Nous avions commencé par réaliser de petits films amateurs dès l’âge de 11-12 ans, avant de suivre des parcours universitaires scientifiques sans rapport avec notre passion. L’animation, c’était notre domaine d’autodidactes. Après quelques années dans nos secteurs respectifs, l’appel de cette passion s’est fait plus fort. La création de notre société visait à développer nos propres projets créatifs. Nous avions à l’époque aucun réseau, aucune notoriété. Le premier pari fut un court métrage en stop motion, Le Vœu, avec cette idée simple : si l’aventure échouait, il serait temps de passer à autre chose. Notre grande inspiration restait Ray Harryhausen, déclencheur de notre amour pour le cinéma d’animation.

C’est l’époque où, pour la première fois, vingt ans avant la série Astérix pour Netflix, vous rencontrez Alain Chabat. Comment cette rencontre s’est-elle produite ?

26/09/2025, 14:39 Jean-François Tosti : « L’esprit familial est au cœur de l'identité de TAT Productions » | CNC

https://www.cnc.fr/series-tv/actualites/tat-productions-le-studio-danimation-toulousain-derriere-le-nouvel-asterix--obelix_2378668 2/11

C’est une histoire presque incroyable. En 2001, alors que notre société balbutiait encore, nous avons été informés qu’Alain Chabat, en pleine préparation d’Astérix & Obélix : Mission Cléopâtre, cherchait un court métrage d’animation français à projeter en première partie de son film. Sans grandes illusions, j’ai envoyé une VHS de notre court. Quelques semaines plus tard, stupeur : il avait choisi notre film. Le Vœu fut donc projeté dans la moitié des salles françaises. La rencontre avec Alain Chabat s’est faite lors d’une avant-première à Toulouse – une expérience surréaliste pour des inconnus comme nous. Ce fut comme un prélude à ce qui allait suivre vingt ans plus tard.

L’ambition

d’Alain Chabat allait bien

audelà d’une simple adaptation en 3D : il voulait littéralement donner vie à la bande dessinée originale.

De quelle manière le projet de série Astérix avec Netflix vous est-il parvenu deux décennies plus tard ?

26/09/2025, 14:39

De quelle manière le projet de série Astérix avec Netflix vous est-il parvenu deux décennies plus tard ?

Malgré notre croissance, l’esprit familial reste au cœur de notre identité. L’équation est simple : des collaborateurs épanouis dans leur environnement, fiers des projets sur lesquels ils travaillent, réussissent mieux. L’attention portée au bien-être se traduit par des espaces de travail agréables et la lutte contre toute pression excessive ou horaires déraisonnables. Cette culture devient plus difficile à maintenir avec l’expansion de nos studios – aujourd’hui environ 300 personnes en comptant les intermittents – mais demeure une priorité absolue. L’équipe se compose d’une quarantaine de personnes aux fonctions techniques et de supervision, ainsi que de quelque 250 graphistes directement impliqués dans la création des œuvres.

En 2021, Netflix nous a contactés avec une proposition inattendue. Nous ne faisions pas de prestations, mais la plateforme nous a demandé si nous pouvions accepter de travailler sur une série animée Astérix, réalisée par Alain Chabat. La réponse (affirmative) fut immédiate, mais il a fallu passer par un processus de sélection où nous figurions parmi quatre studios repérés. Cette sélection comportait deux volets : des tests techniques et des rencontres avec les équipes Netflix et Alain Chabat. Lors de leur visite au studio, Alain Chabat s’est souvenu de l’histoire du court métrage – une anecdote sympathique mais qui n’a pas pesé dans la décision finale. Le choix s’est finalement porté sur TAT Productions. Selon leurs retours, notre avantage décisif ne tenait pas tant à la qualité technique des tests qu’à notre capacité à proposer quelque chose de drôle, un critère essentiel pour Alain Chabat. L’atmosphère et l’esprit d’équipe du studio ont également fait la différence.

Astérix & Obélix : Le Combat des Chefs | Bande-annonce

Justement, qu’est-ce qui caractérise l’ADN de TAT ?

Jean-François Tosti : « L’esprit familial est au cœur de l'identité de TAT Productions » | CNC

https://www.cnc.fr/series-tv/actualites/tat-productions-le-studio-danimation-toulousain-derriere-le-nouvel-asterix--obelix_2378668 3/11

26/09/2025, 14:39

Comment le projet Astérix a-t-il marqué un tournant dans votre façon de travailler ?

Astérix & Obélix : Le Combat des Chefs | Bande-annonce …

C’était une première : nous allions travailler en prestation pure. Jusqu’alors, notre ADN associait production et création de nos propres contenus. Avec Astérix, l’équation changeait radicalement : nous exercerions moins de responsabilités sur le contrôle artistique, ou la maîtrise du budget, du planning ou des choix créatifs. C’était presque un paradoxe : Netflix nous choisissait précisément pour notre statut de studio de production-création et notre sensibilité artistique, mais pour un travail où ces compétences n’auraient pas à s’exprimer directement. Cette situation inhabituelle présentait pourtant un avantage rassurant pour tous : notre maîtrise complète de la chaîne de production, du concept initial à la livraison finale était clairement un atout dans la conception de la série.

Jean-François Tosti : « L’esprit familial est au cœur de l'identité de TAT Productions » | CNC

Quels ont été les principaux enjeux rencontrés durant la fabrication de cette mini-série ?

https://www.cnc.fr/series-tv/actualites/tat-productions-le-studio-danimation-toulousain-derriere-le-nouvel-asterix--obelix_2378668 4/11

Comment le projet Astérix a-t-il marqué un tournant dans votre façon de travailler ?

France -

C’était presque un paradoxe : Netflix nous choisissait précisément pour notre statut de studio de production-création et notre sensibilité artistique, mais pour un travail où ces compétences n’auraient pas à s’exprimer directement. Cette situation inhabituelle présentait pourtant

Le défi principal était de réussir à concilier la créativité d’Alain Chabat et les contraintes structurelles inhérentes à l’animation 3D. Les premiers temps furent compliqués : habitué au tournage en prises de vues réelles, Alain Chabat souhaitait pouvoir modifier constamment certains éléments, une flexibilité incompatible avec les processus rigides de l’animation où chaque changement entraîne une cascade de retouches. Face à cette frustration créative, une décision s’imposait : allonger le calendrier de production pour lui offrir l’espace d’expression nécessaire. Cette adaptation, bien que complexe pour l’organisation du studio, s’est révélée judicieuse puisque chaque modification a contribué à enrichir la qualité finale de la série. Pour accompagner Alain Chabat, Netflix a constitué une équipe d’experts internationaux exceptionnels : Kristof Serrand,

pour tous : notre

26/09/2025, 14:39

Cette série était une première : nous allions travailler en prestation pure.

Quelle vision artistique guidait ce projet ?

L’ambition d’Alain Chabat allait bien au-delà d’une simple adaptation en 3D : il voulait littéralement donner vie à la bande dessinée originale. Cette approche a servi de boussole à l’ensemble du projet, avec un résultat très excitant. Tous les départements travaillaient avec des cases de BD comme références absolues. Pour les animateurs, le défi relevait presque du paradoxe : comment faire bouger des personnages tout en restant fidèle à leur représentation statique dans la BD ?

Cette quête du moment où Alain Chabat pourrait dire « Je vois enfin la BD en mouvement » a nécessité un temps considérable, mais le résultat justifie pleinement cet investissement.

Jean-François Tosti : « L’esprit familial est au cœur de l'identité de TAT Productions » | CNC

Quels ont été les défis techniques à relever ? Et qu’en avezvous retiré ?

https://www.cnc.fr/series-tv/actualites/tat-productions-le-studio-danimation-toulousain-derriere-le-nouvel-asterix--obelix_2378668 5/11

Contrairement aux attentes, la modélisation des personnages n’a pas constitué l’obstacle principal. L’abondance de références et la présence d’experts comme Borja Montoro, capable d’identifier au millimètre près les imperfections d’une oreille ou d’une expression faciale, ont facilité cette étape. Le véritable défi résidait dans l’animation. Jamais auparavant le studio n’avait disposé de tels moyens pour l’animation pure, ce qui impliquait d’élever considérablement notre niveau pour atteindre les standards américains en termes de fluidité, de finesse des mouvements et d’expressivité. Là où nos équipes étaient habituées à deux ou trois phases de retouches, certaines séquences en ont nécessité jusqu’à neuf. L’adaptation à une méthode de travail inspirée du modèle américain, où la perfection l’emporte sur toute autre considération, a représenté une période exigeante mais infiniment enrichissante pour les équipes. Cette expérience a significativement fait progresser le savoir-faire du studio TAT.

trois phases de retouches, certaines séquences en ont nécessité jusqu’à neuf. L’adaptation à une méthode de travail inspirée du modèle américain, où la perfection l’emporte sur toute autre considération, a représenté une période exigeante mais infiniment enrichissante pour les équipes. Cette expérience a significativement fait progresser le savoir-faire du studio TAT.

France 2030 a apporté un soutien financier substantiel qui a véritablement accéléré notre développement.

En quoi le programme France 2030 a-t-il transformé TAT Productions ?

L’appel à projets France 2030 – La Grande Fabrique de l’image est apparu à un moment où le studio envisageait déjà une phase d’expansion. Avec Astérix en perspective et une stratégie de croissance bien définie, ce programme correspondait parfaitement à notre trajectoire. France 2030 a apporté un soutien financier substantiel qui a véritablement accéléré notre développement. Le projet présenté visait deux objectifs ambitieux : doubler notre capacité de production et positionner TAT comme l’un des champions européens de l’animation. Ce financement a permis des investissements essentiels en équipements, en

26/09/2025, 14:39 Jean-François Tosti : « L’esprit familial est au cœur de l'identité de TAT Productions » | CNC

https://www.cnc.fr/series-tv/actualites/tat-productions-le-studio-danimation-toulousain-derriere-le-nouvel-asterix--obelix_2378668 6/11

espaces de travail, mais surtout en recherche et développement. Grâce à ce soutien, de nouveaux processus de fabrication pour nos séries ont pu être mis en place, avec des innovations déjà opérationnelles aujourd’hui. Les économies réalisées sur ces aspects techniques libèrent des ressources pour renforcer la dimension artistique et la qualité de nos productions.

Qu’est-ce qui, selon vous, distingue votre modèle de production et explique le succès de TAT ?

La création de contenus originaux constitue le socle de notre réussite. TAT figure parmi les rares producteurs européens positionnés sur le même segment que les studios américains. Sans prétendre disposer de moyens comparables, nous visons néanmoins un public similaire avec des productions aux ambitions internationales. Et contrairement à de nombreuses productions européennes privilégiant des approches plus artistiques, voire « auteurisantes », nous assumons pleinement le divertissement et l’aspect commercial de nos projets. Nos films sont conçus pour fonctionner sur les marchés internationaux, avec une formule éprouvée en termes de narration, d’esthétique et de rythme, qui répond aux attentes d’un large public tout en restant fidèle à notre vision créative. Je pense aussi qu’une particularité essentielle de TAT tient à notre ancrage exclusivement français. Cette conviction fondatrice repose sur un principe simple : pour maximiser la qualité visible à l’écran, chaque euro investi doit apparaître dans le résultat final. Les coproductions internationales entraînent souvent des dispersions artistiques et financières. Ce choix implique des risques financiers accrus, mais s’avère payant en termes de cohérence et de qualité finale.

France -

En parlant d’ancrage français, comment TAT Productions

internationaux, avec une formule éprouvée en termes de narration, d’esthétique et de rythme, qui répond aux attentes d’un large public tout en restant fidèle à notre vision créative. Je pense aussi qu’une particularité essentielle de TAT tient à notre ancrage exclusivement français. Cette conviction fondatrice repose sur un principe simple : pour maximiser la qualité visible à l’écran, chaque euro investi doit apparaître dans le résultat final. Les coproductions internationales entraînent souvent des dispersions artistiques et financières. Ce choix implique des risques financiers accrus, mais s’avère payant en termes de cohérence et de qualité finale.

En parlant d’ancrage français, comment TAT Productions contribue-t-il à l’écosystème local de Toulouse ?

C’est une dimension fondamentale de notre identité. Les relations entretenues avec les écoles et formations locales nourrissent un écosystème dynamique. Le studio a joué un rôle moteur dans plusieurs initiatives structurantes : l’installation du Cartoon Forum à Toulouse, la création du Fonds de soutien au cinéma et à l’audiovisuel de la Métropole, et le renforcement des budgets régionaux dédiés à l’audiovisuel. Au-delà de la création directe d’emplois, TAT génère un impact économique mesurable dans son environnement. De nombreux partenariats locaux illustrent cet engagement : une exposition des As de la jungle, tirée de notre série animée éponyme, au Muséum d’histoire naturelle de Toulouse qui a considérablement augmenté sa fréquentation, une collaboration avec le Toulouse Football Club pour les activités familiales, et actuellement une grande exposition

26/09/2025, 14:39 Jean-François Tosti : « L’esprit familial est au cœur de l'identité de TAT Productions » | CNC

https://www.cnc.fr/series-tv/actualites/tat-productions-le-studio-danimation-toulousain-derriere-le-nouvel-asterix--obelix_2378668 7/11

célébrant les 25 ans du studio à la Foire internationale de Toulouse. Ces initiatives créent des événements culturels, renforcent l’attractivité du territoire et font rayonner simultanément le studio et la région toulousaine.

Jamais

auparavant le studio n’avait disposé de tels moyens pour l’animation pure, ce qui impliquait d’élever considérablement notre niveau pour atteindre les standards américains en termes de fluidité, de finesse des mouvements et d’expressivité.

Que retirez-vous de l’expérience Astérix pour vos futures productions ?

Cette collaboration exceptionnelle a ouvert l’accès à des talents internationaux et à des méthodologies de travail habituellement hors de portée pour nos productions indépendantes. L’élévation du niveau de compétence des équipes représente un héritage précieux de cette aventure. Si notre prochain film, Falcon Express, prévu pour juillet 2025, n’a pas encore pu pleinement bénéficier de ces acquis en raison du calendrier, les projets suivants intégreront déjà de nombreux enseignements tirés de cette expérience. Une prestation premium comme celle-ci remplit ainsi une double fonction : assurer la viabilité économique du studio tout en élevant structurellement notre niveau de qualité global. Ces compétences nouvellement acquises bénéficieront intégralement à des productions 100 % françaises, créant une valeur ajoutée sur notre territoire. Pour les équipes, ce projet a généré un sentiment d’accomplissement et de fierté d’une ampleur inédite. Se confronter à une référence aussi mythique qu’Astérix, aux côtés d’Alain Chabat et Netflix, représentait un défi extraordinaire dont nous pouvons aujourd’hui tirer une légitime satisfaction.

https://www.cnc.fr/series-tv/actualites/tat-productions-le-studio-danimation-toulousain-derriere-le-nouvel-asterix--obelix_2378668 8/11

CARTOON FORUM 2025: FEDERATION KIDS & FAMILY TO UNVEIL EXTENDED FOOTAGE OF "20 DANCE STREET"

Originally greenlit by broadcasters ZDF and France Télévisions, "20 Dance Street" is produced by Cottonwood Media, along with ZDF, ZDF Studios, France Télévisions, and in partnership with Opéra national de Paris.

por Señal News news@senalnews.com

21/10/2025, 09:53

https://senalnews.com/en/events/cartoon-forum-2025-federation-kids-family-to-unveil-extended-footage-of-20-dance-street/amp 1/6

With production of the brand-new CGI animated drama series "20 Dance Street" well underway, distributor Federation Kids & Family will unveil extended footage to buyers at the upcoming Cartoon Forum and MIPCOM markets, with first episodes scheduled for delivery by end of the year.

"20 Dance Street" (26 x 26’) was first presented as a project in development during Cartoon Forum 2023. The highly anticipated series is currently in production and scheduled to be fully delivered by fall 2026. Originally greenlit by broadcasters ZDF and France Télévisions (the latter as part of a pre-sale), "20 Dance Street" is produced by Cottonwood Media, along with ZDF, ZDF Studios, France Télévisions, and in partnership with Opéra national de Paris.

A TV adaptation of the hit French children’s book series "20 allée de la danse" by Elizabeth Barféty, "20 Dance Street" (6-11 year old target demo) centres around 11-year-old Maya who leaves the Caribbean to join the prestigious Paris Opera Ballet School, unaware her destiny is about to change forever. Her resilience and altruism shine through as she is plunged into the unknown far from home, whilst moving forward through joys and sorrows, guided by a single dream: to become a prima ballerina. The series blends drama and comedy with a serialized arc that follows Maya during her first year at the ballet school.

"20 dance street"

Cartoon Forum 2025: Federation Kids & Family to unveil extended footage of "20 dance street" - Señal News

2023. The highly anticipated series is currently in production and scheduled to be fully delivered by fall 2026. Originally greenlit by broadcasters ZDF and France Télévisions (the latter as part of a pre-sale), "20 Dance Street" is produced by Cottonwood Media, along with ZDF, ZDF Studios, France Télévisions, and in partnership with Opéra national de Paris.

Monica Levy, Co-Chief of Distribution, Federation Kids & Family, said the company has been evolving its catalogue: "Whilst animation has been a strong staple when it comes to our content, in the last few years we have also expanded into premium kids live-action drama series, and '20 Dance Street' now marks our firstanimateddrama!Theseriesisquiteuniqueasitisproducedand serialized in a telenovela style. We also worked closely with professional dancers and choreographers from the Paris Opera Ballet to reproduce the animated dance moves in a realistic wayusingmixmotioncapture,withkeyframeanimation," expressed.

’20 Dance Street’ Warms Up for Cartoon Forum & MIP Launch with Federation

20DanceStreet[CottonwoodMedia/FederationKids&Family]

TELEVISIONTOP STORIES

By Mercedes Milligan September 10, 2025

’20 Dance Street’ Warms Up for Cartoon Forum & MIP Launch with Federation

By Mercedes Milligan September 10, 2025

With production of the brand-new CGI animated drama series 20 Dance Street well underway, distributor Federation Kids & Family will unveil extended footage to buyers at the upcoming Cartoon Forum and MIPCOM markets, with the ﬁrst episodes scheduled for delivery by end of the year.

20 Dance Street (26 x 26’, aimed at children 6-11) was ﬁrst presented as a project in development during Cartoon Forum 2023. The highly anticipated series is currently in production and scheduled to be ‘fully’ delivered by Fall 2026.

Originally greenlit by broadcasters ZDF and France Télévisions (the latter as part of a pre-sale), 20 Dance Street is produced by Cottonwood Media, along with ZDF, ZDF Studios, France Télévisions, and in partnership with Opéra national de Paris

A TV adaptation of the hit French children’s book series 20 allée de la danse by Elizabeth Barféty, 20 Dance Street centers on 11-year-old Maya, who leaves the Caribbean to join the prestigious Paris Opera Ballet School, unaware her destiny is about to change forever. Her resilience and altruism shine through as she is plunged into the unknown far from home, whilst moving forward through joys and sorrows, guided by a single dream: to become a prima ballerina. The series blends drama and comedy with a serialized arc that follows Maya during her ﬁrst year at the ballet school.

“Whilst animation has been a strong staple when it comes to our content, in the last few years we have also expanded into premium kids live-action drama series, and 20 Dance Street now marks our ﬁrst animated drama!” said Monica Levy, Co-Chief of Distribution, Federation Kids & FAmily. “The series is quite unique as it is produced and serialized in a ‘telenovela’ style. We also worked closely with professional dancers and choreographers from the Paris Opera Ballet to reproduce the animated dance moves in a realistic way using mix motion capture, with keyframe animation.”

federationstudios.com/genre/kids

capture, with keyframe animation.”

France Télévisions commissions second season of Billy the Cowboy Hamster

Billy the Cowboy Hamster is based on Dutch author and illustrator Catharina Valckx’s books

French pubcaster France Télévisions has commissioned a second season of animated preschool series Billy the Cowboy Hamster, along with two specials.

Produced by animation prodco Dandelooo, Billy the Cowboy Hamster premiered its ﬁrst season on France 5 in 2023.

The series is based on Dutch author and illustrator Catharina Valckx’s books and follows the adventures of a hamster in the Wild West who dreams of becoming a cowboy.

The 48×11’ second season and 2×22’ specials have started production at Dandelooo’s in-house animation studio Ooolala, with delivery slated for 2026. The new episodes are coproduced by Belgian indie Bardaf! Productions and Belgian pubcaster RTBF.

Italy’s Rai picks up Studio Ghibli’s Ronja, the Robber’s Daughter anime series

CARTOON FORUM: Italian pubcaster Rai has acquired Japanese anime house Studio Ghibli’s Ronja, the Robber’s Daughter series.

Based on Swedish writer Astrid Lindgren’s 1981 novel of the same name, Ronja, the Robber’s Daughter tells the story of a girl growing up among a clan of thieves living in a castle in the woodlands in medieval times.

Studio Ghibli, The Astrid Lindgren Company, NHK Enterprises, Dwango and Polygon Pictures adapted the book into a 26×26’ anime series that premiered on NHK in Japan in 2014.

The English-language version of the series, overseen by Studio Ghibli, The Astrid Lindgren Company and UK-based distributor Serious Kids, won the International Emmy Kids Award for best animated series in 2017, following which it aired exclusively on Prime Video in the UK and the US.

Rai has now acquired the broadcast rights to the series from Serious Kids, which holds worldwide distribution rights to the show outside Japan and the Nordics. It will air on Rai Gulp and Rai Play this autumn.

Rai has also acquired the two-hour movie edit of Ronja, the Robber’s Daughter from Serious Kids, in addition to two specials: The Ghastly Ghoul (Dreamlogic and Lupus Films for Sky Kids in the UK and Germany’s KiKA) and We’re Going on a Bear Hunt (Lupus Films and Walker Books for the UK’s Channel 4).

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26/09/2025, 12:14

Maite Woköck und Reza Memari zu „Der letzte Walsänger“: „Just keep swimming“ - SPOT media & ﬁlm

(https://the-spot-mediafilm.com)

wokoek-und-reza-memari-zu-der-letztewalsaenger-just-keep-swimming/)

(https://the-spot-mediafilm.com/suche/)

Maite Woköck und Reza Memari feiern mit dem ersten großen Projekt ihrer gemeinsam gegründeten Telescope Animation Weltpremiere beim Schlingel am 28. September. Das Duo arbeitet bereits an einer Fortsetzung und einer neuen IP, wie es uns verriet

Sie sind mit „Der letzte Walsänger“ bereits zu einigen Festivals eingeladen. Was bedeutet es Ihnen, in Chemnitz Weltpremiere zu feiern? Was schätzen Sie am Schlingel?

Maite Woköck: Das Festival Schlingel hat immer eine großartige Auswahl an wirklich hochwertigen Kinder- und Familienfilmen, und es ist eine große Ehre, in so einem tollen Line-up dabei zu sein! Und dann auch noch zum 30. Jubiläum. Wir freuen uns sehr und sind sehr stolz, nach so einer langen Produktionszeit endlich die Weltpremiere zu feiern.

„Der Spielfilm war unser Startpunkt“

Reza Memari

Der Film ist das erste große Projekt Ihrer gemeinsam gegründeten Telescope Animation, ein Originalstoff, den Sie als Marke aufbauen. Was reizte Sie am Stoff und macht ihn in Ihren Augen für ein breites, weltweites Publikum interessant? Warum taugt er zum Ausbau in verschiedenen Medien und Formaten?

Reza Memari: Die magischen Wale faszinieren Jung und Alt weltweit, und noch dazu gibt es keinen einzigen Animationsfilm mit Buckelwalen und ihrem Gesang. Also haben wir die Chance ergriffen, denn welche vielfältigere, mystischere Welt gibt es als die Ozeane? Von Anfang an war uns wichtig, dass wir mit dieser IP auch den Umweltschutzgedanken einfließen lassen, nie mit dem Zeigefinger, sondern immer auf unterhaltsame, kurzweilige Art und Weise. Der Spielfilm war unser Startpunkt, doch bald haben wir festgestellt, dass in diesem StoryUniversum noch sehr viel mehr Platz für weitere Geschichten ist. So kamen wir auf die Idee, diese Geschichten auch in anderen Formaten für verschiedene Zielgruppen zu erzählen. Bei originären Marken kann man nicht genug dafür tun, eine möglichst breite Zielgruppe auf diversen Wegen anzusprechen, und wir denken, dass uns das mit dem Walsänger gelingen wird.

https://the-spot-mediaﬁlm.com/news/interviews/maite-wokoek-und-reza-memari-zu-der-letzte-walsaenger-just-keep-swimming/ 2/6

Reza Memari und Maite Woköck von Telescope Animation (Credit: Lena Jürgensen)

26/09/2025, 12:14 Maite Woköck und Reza Memari zu „Der letzte Walsänger“: „Just keep swimming“ - SPOT media & ﬁlm

(https://the-spot-mediafilm.com/suche/)

Wie verlief die lange Produktionsreise des ambitionierten Projekts „Walsänger“ und seiner Begleitprodukte? Was war die größte Herausforderung?

Maite Woköck: Die kurze Variante einer langen Reise: Wir haben die erste Treatmentförderung 2017 bekommen und wurden dann 2018 der erste Animationsfilm, der über die Initiative „Der Besondere Kinderfilm“ gefördert wurde. Diese Initiative hat uns sehr unterstützt und die deutschen Finanzierungspartner waren (relativ) schnell an Bord. Da die internationale Finanzierung direkt in die Covid-Zeit fiel, dauerte das dann aber noch mal länger. Parallel dazu haben wir unser Animationsstudio mit der Unreal-Pipeline unabhängig vom Film finanziert, unter anderem mit der Förderung für „Innovative Business Models and Tools“ von Creative Europe MEDIA, sowie den Prototyp des Games, der dann in unserem Potsdamer Game Studio hergestellt wurde.

Im Laufe der Filmproduktion haben wir dann die anderen Projekte finanziert, zum Beispiel die Entwicklung der Walsänger-Serie, die Herstellung eines interaktiven Storybooks und ein Short Game. Inzwischen arbeiten wir auch schon an einer TVSerie für eine etwas jüngere Zielgruppe sowie dem Sequel des Kinofilms. Animationsprojekte dauern ja immer enorm lange, also kann man nicht früh genug mit der Fortsetzung anfangen.

Reza Memari: Die größte Herausforderung auf Animationsebene war die Herstellung des Films mit einer Echtzeit-Engine (Unreal), die noch nicht sehr animationserprobt war. Wir waren schließlich der erste große Animationsspielfilm in Europa, der sich dieser damals noch völlig neuartigen Technologie angenommen hat. Die ambitionierte Größe des Projekts stellte sich dann ebenfalls als Challenge heraus, denn wir hatten es eben mit einem Wal zu tun und nicht mit kleinen Fischen.

Das Game und der Film waren letztendlich gleichzeitig finanziert, sodass der Aufbau beider Studios gleichzeitig stattfand, was ebenfalls sehr intensiv und herausfordernd war.

26/09/2025, 12:14

(https://the-spot-mediafilm.com)

können Sie den Zuhörer:innen aus Ihrem Erfahrungsschatz mit „Der letzte Walsänger“ geben?

(https://the-spot-mediafilm.com/suche/)

Maite Woköck: Um es mit Dorys Worten zu sagen: „Just keep swimming.“ Wir hatten viele Herausforderungen und viel ist nach Plan gelaufen, aber ich denke, jede*r Produzent*in weiß, dass man nicht aufgeben darf, sondern mit Ruhe und Zuversicht immer weitermachen muss.

Internationale Finanzierungen, wie bei Animationsfilmen üblich, sind sehr bereichernd, aber, dass sie funktionieren, steht und fällt mit der Auswahl der Koproduktionspartner. Insofern wäre das auch mein Ratschlag, hier besonders sorgfältig zu sein, denn man arbeitet viele Jahre eng zusammen. Da hilft es, wenn man sich gut versteht und lösungsorientiert für das Projekt arbeitet. Ich kann sagen, dass das beim Walsänger der Fall war, und es hat sicherlich einen großen Unterschied gemacht.

Wie war das Echo zu „Der letzte Walsänger“ bei Testscreenings und Branchenkollegen?

Reza Memari: Um ehrlich zu sein, durften wir den Film noch gar nicht mit völlig projektfremden Menschen genießen, daher können wir diese Frage erst nach der Schlingel-Premiere beantworten. Wir hatten allerdings ein Testscreening mit dem Animatic (zusammengeschnittenes Storyboard) unseres Films, das sehr gut bei sowohl Kindern als auch Erwachsenen ankam, obwohl es hier noch keine Animation und keine Farben gab. Unsere internen Screenings und auch Marktscreenings waren sehr bewegend bzw. erfolgreich, also freuen wir uns umso mehr auf die Reaktionen des Publikums da draußen.

Wie wurden das bereits veröffentlichte Game aus der Welt von „Walsänger“ angenommen?

Reza Memari: Das Short Game „Lani’s Call“ war bereits in mehreren Streams zu sehen, unter anderem von der mit uns zusammenarbeitenden Meeresschutzorganisation WDC (Whale and Dolphin Conservation). Besonders gefreut hat uns ein Gameplay-Video, das uns aus Japan erreicht hat.

Das Konsolenspiel „Rise of Leviathan“ befindet sich in der Finanzierung.

„Das

Wie wurden das bereits veröffentlichte Game aus der Welt von „Walsänger“ angenommen?

Das Konsolenspiel „Rise of Leviathan“ befindet sich in der Finanzierung.

„Das Hamburger Filmfest ist ein Heimspiel“

Maite Woköck

„Walsänger“ läuft auch beim Michel in Hamburg, wo ein Teil Ihrer Firma angesiedelt ist. Was erwarten Sie dort?

Maite Woköck: Das Hamburger Filmfest ist ein Heimspiel und wir sind seit vielen Jahren freundschaftlich verbunden, zum Beispiel mit unserer „Abenteuer Animation“-Veranstaltung letztes Jahr, in der Reza und ich erklärt haben, wie ein Animationsfilm entsteht und wo die Kinder schon einen ersten Blick auf die Entstehung des Walsängers bekommen haben.„Meine Chaosfee & ich“ hatte hier 2022 ebenfalls Premiere.

Wie geht die Reise des Filmes weiter? In welche Länder ist der Film verkauft?

Maite Woköck: Der Film wird jetzt erst einmal auf ein paar weiteren Festivals laufen, bislang zugesagt haben Zürich, Young Horizons in Warschau und die Nordischen Filmtage. Der Kinostart in Deutschland ist dann am 12. Februar 2026.

https://the-spot-mediaﬁlm.com/news/interviews/maite-wokoek-und-

26/09/2025, 12:14

Maite Woköck und Reza Memari zu „Der letzte Walsänger“: „Just keep swimming“ - SPOT media & ﬁlm

(https://the-spot-mediafilm.com) (https://the-spot-mediafilm.com/suche/)

„Der letzte Walsänger“ wurde bereits in über 20 Territorien verkauft, u.a. nach Frankreich, in die Türkei, nach Polen und in die Ukraine und auch nach Australien/Neuseeland/Pazifik und Südkorea.

„Der letzte Walsänger“ (Credit: Telescope Animation)

Sie entwickeln auch neue Projekte wie „Children of Gaea“, eine Science-FictionFantasy-Serie, deren Hintergrund wie bei „Walsänger“ eine Klimakatastrophe ist. Wie weit ist sie? An welchen Projekten arbeiten Sie noch?

Reza Memari: „Children of Gaea“ wird unsere nächste große IP sein, bei der es um junge Schamaninnen und Schamanen und ihre Krafttiere geht, die in der Astralwelt gegen Dämonen antreten müssen, um Mutter Erde zu beschützen. Bisher entwickeln wir in diesem Universum eine futuristische Serie für eine etwas ältere Zielgruppe, die im kommenden Jahr gepitcht wird. Parallel dazu arbeiten wir an einem Kinofilm für das Family-Segment, der in der Jetztzeit spielt. Ich bin Creator und beide Projekte werden von den ausgezeichneten Autor*innen Olivia Vieweg und Andreas Völlinger geschrieben.

Maite Woköck: Es gibt natürlich auch noch mehr Projekte aus der WalsängerWelt: Wir finanzieren gerade die Serie als internationale Koproduktion für das

ist. Wie weit ist sie? An welchen Projekten arbeiten Sie noch?

Spot & Media Film - 18/09/2025

Bisher entwickeln wir in diesem Universum eine futuristische Serie für eine etwas ältere Zielgruppe, die im kommenden Jahr gepitcht wird. Parallel dazu arbeiten wir an einem Kinofilm für das Family-Segment, der in der Jetztzeit spielt. Ich bin Creator und beide Projekte werden von den ausgezeichneten Autor*innen Olivia Vieweg und Andreas Völlinger geschrieben.

Maite Woköck: Es gibt natürlich auch noch mehr Projekte aus der WalsängerWelt: Wir finanzieren gerade die Serie als internationale Koproduktion für das ZDF. Außerdem schreibt Reza Memari gemeinsam mit der preisgekrönten CoAutorin Jytte-Merle Böhrnsen bereits den zweiten Kinofilm.

Und auf dem Cartoon Forum in Toulouse pitchen wir dieses Jahr eine minoritäre Koproduktion mit dem Titel „Jam & Re“, eine sehr lustige und grafisch wunderschöne Pre-School-Serie von dem Oscar-nominierten Regie- und Produzentenduo Uri Lotan und Amit Gicelter.

„Geschichten, mit denen wir die Welt ein bisschen besser machen wollen“

Reza Memari

Was hat sich Telescope Animation auf die Fahne geschrieben?

Reza Memari: Unser Traum war es von Beginn an, mit Telescope eine Produktionsfirma zu schaffen, die das Geschichtenerzählen in den Mittelpunkt stellt. Geschichten, die berühren, die inspirieren und mit denen wir die Welt ein kleines bisschen besser machen wollen. Daran arbeiten wir mit viel Leidenschaft.

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FEDERATION KIDS & FAMILY TO HIGHLIGHT 20 DANCE STREET AT CARTOON FORUM AND MIPCOM

KidsParis

2025-09-11

Federation Kids & Family will unveil extended footage of the brand-new CGI animated drama series "20 Dance Street" (26x26’) at the upcoming Cartoon Forum and MIPCOM markets. The title is currently in production and scheduled to be ‘fully’ delivered by the fall 2026.

Originally greenlit by broadcasters ZDF and France Télévisions (the latter as part of a pre-sale), "20 Dance StreetT" is produced by Cottonwood Media, along with ZDF, ZDF Studios, France Télévisions, and in partnership with Opéra national de Paris.

A TV adaptation of the hit French children’s book series “20 allée de la danse” by Elizabeth Barféty, "20 Dance Street" (6-11 year old target demo) centres around 11-year-old Maya who leaves the Caribbean to join the prestigious Paris Opera Ballet School, unaware her destiny is about to change forever. Her resilience and altruism shine through as she is plunged into the unknown far from home, whilst moving forward through joys and sorrows, guided by a single dream, to become a prima ballerina. The series blends drama and comedy with a serialized arc that follows Maya during her first year at the ballet school.

Monica Levy, Co-Chief of Distribution, Federation Kids & Family said: “Whilst animation has been a strong staple when it comes to our content, in the last few years we have also expanded into premium kids live-action drama series, and '20 Dance Street' now marks our first animated drama! The series is quite unique as it is produced and serialised in a ‘telenovela’ style. We also worked closely with professional dancers and choreographers from the Paris Opera Ballet to reproduce the animated dance moves realistically using mix motion capture, with key frame animation.”

https://www.formatbiz.it/dettNews.aspx?id=13425 1/7

• 3DVF (FRA)

• ActuKids (FRA)

LIST OF MEDIA INCLUDED

• Animationweek (NLD)

• Animation Ireland (IRL)

• Animation Magazine (USA)

• Animation UK (GBR)

• Audiovisual451 (ESP)

• Audiovisual from Spain (ESP)

• C21Media (UK)

• C21Media - report (UK)

• Cartoon Brew (USA)

• Catsuka (FRA)

• Cinema&video international (ITA)

• Cineuropa (Europa)

• Cluster Audiovisual Galego (ESP)

• CNC (FRA)

• Culture31 (FR1)

• Deadline (USA)

• DR.DK (DNK)

• EBU (SWI)

• Ecran Noir (FRA)

• Ecran Total (FRA)

• Europa Creativa Media (ESP)

• FormatBiz (ITA)

• France Télévisions - report (FRA)

• Icelandic Film Centre (ISL)

• INDAC (GER)

• Kidscreen (CAN)

• Kulttuuritoimitus (FIN)

• La Dépêche (FRA)

• La Vanguardia (ESP)

• Le film français (FRA)

• Little Big Animation (FRA)

• L’Opinion Indépendante (FRA)

• Nordisk Film & Fond (NOR)

• Pictanovo (FRA)

• Radix (ESP)

• Screen Daily (GBR)

• Screen Ireland (IRL)

• Señal News (USA)

• Swissinfo (SWI)

• Te gusta mucho el cine ? (ESP)

• Telepro (POL)

• The European Animation Journal (Europa)

LIST OF MEDIA INCLUDED

• The Sport Media & Film (GER)

• Tivu (ESP)

• TTVNews (Latin America)

• TVKids.com (USA)

• Variety (USA)

• wb images (BEL)