Some of the biggest names in animation were present yesterday at the Annecy Festival to unveil the next original animated productions from Netflix.
In a difficult context, following the redundancies intervened following its significant drop in the number of subscribers, Netflix was nevertheless present at the Annecy Festival to celebrate animation, in the very first “showcase” in its history. On this occasion, big names in animation were present on the Bonlieu stage to unveil the new original productions expected soon on the platform.
Thus, the American rapper Kid Cudi released a preview of their highly anticipated series Entergalactic, whose release will coincide with that of his new album (also titled Entergalactic) on September 30; introspective portrait of a young New York artist described as a “When Harry Met Sally With Colored People”the first excerpts unveiled suggest an extremely ambitious series on the visual level, punctuated by the original compositions of Kid Cudi.
Another expected event, the broadcast of images from the film Nimona by Nick Bruno and Troy Quane. Originally developed by Blue Sky studios (Ice Age), the production of the film had nevertheless been interrupted indefinitely following the closing of the company decided by Disney. Finally picked up by Netflix, the adaptation of the eponymous comic book with phenomenal success is now one of the most promising projects on the platform!
If he was not physically present in Annecy, the legendary Henry Selick (The Nightmare Before Christmas) nevertheless participated in the celebration, via a recorded message to present the very first images of his new film, Wendell and Wild. Inspired by a drawing made a few years ago of his own children, teenagers “adorable but also demonic” according to him, this stop-motion project allowed the filmmaker to collaborate with the duo Key & Peele, “the best comic duo of the past century”.
Besides a featurette of Love, Death + Robots exploring behind the scenes of the episode directed by David Fincher (his very first experience in animation, which allowed him to realize his dream “to have its actors devoured by giant crustaceans”), or the presentations of My Father’s Dragon of Nora Twomey and Japanese anime The Wandering Walls of Hiroyasu Ishidathe Bonlieu stage welcomed the director Chris Williams (Vaiana, the Legend of the end of the world), came to present his new film The Sea Monster.
A tribute to the adventure films that rocked the filmmaker’s childhood (notably citing Indiana Jones, King Kong and Lawrence of Arabia), the feature film which follows the adventures of hunters of giant sea monsters was presented in world premiere yesterday evening ; An impressive sound and light show, The Monster of the Seas will be released exclusively on Netflix on July 8.
“Animation is not a fucking genre. Animation is cinema.”
Finally, last but not least, Guillermo del Toro was also in Annecy to unveil a first glimpse of his long-awaited Pinocchio. Personal rereading of the famous tale of Carlo Collodi Designed entirely in stop-motion, this feature film marks the very first animated film by the Mexican filmmaker.
Ensuring the show thanks to numerous punchlines that delighted the festival-goers present, Guillermo del Toro notably confided that two works describe in his eyes the relationship with his own father: Pinocchio and Frankenstein (sic). It is therefore an understatement to say that this new achievement has a highly symbolic role in his filmography.
Passionate as ever, the director also invited festival-goers to ask him to talk to him about animation (“to justify my big ass coming to Annecy”); his presentation also gave him the perfect opportunity to rant against the clichés that still plague the animation industry: “Animation is not a fucking genre. Animation is cinema!”.
Pinocchio, revisited by the dark and tortured universe of Guillermo del Toro, will be released on Netflix next December.