What Is It Like To Attend MOME Anim, Hungary’s Most Famous Animation School
We speak with some of the school’s graduates to find out what they liked – and didn’t like – about this iconic animation program.
We speak with some of the school’s graduates to find out what they liked – and didn’t like – about this iconic animation program.
Alberto Mielgo’s acceptance speech was as problematic as the other issues of the evening. It denied animation history. It rejected what exists, has existed, and will continue to exist.
Špela Čadež’s visually distinct works deal with tricky themes like addiction and domestic violence with compassion, humor, and no judgement.
Self-taught, Chintis Lundgren quickly made a mark in the animation world with her visually distinct and quirky works that place animal characters in frequently absurd, kinky, and distinctly human situations.
Jansen’s masterful integration of archival footage, audio recording, and animation was key to the success of three-time Oscar-nominated “Flee.”
The school benefits from the involvement of Japanese indie icon Koji Yamamura who helped start the animation program.
Wada is a key figure in Japan’s contemporary indie animation scene.
The Ukrainian director of “The Rugrats Movie” is known by many in the animation community for his personal short films.
The films of “Bordo” were vivid portraits of the “little man” confronted with big problems.
Think of Will Vinton fused with William S. Burroughs, with a dash of “Mad Max” and The Clash. Director Cesar Cabral tells us about the making of his wildly unique animated feature.
What does it feel like to attend an animation festival during the pandemic. One of our writers decided to find out for himself.
These highlights of the year show that animation can tackle any subject, from sexual assault to Chile’s military dictatorship.
Have you ever given a brain massage before?
In the new short film “The Windshield Wiper,” Albert Mielgo attempts to uncover what it is about this thing called love that so enraptures humanity.
This study of undervalued women animators from Russia and the Soviet Union doubles up as a good primer on the history of animation in the region.
“We always want to do funny things, but the results are always terrifying. We seem to be bad comedians.”
Drouin was known for the striking shorts he made at the National Film Board of Canada, such as “Mindscape” and “Imprints.”
An insightful, if sometimes dryly academic, look at the development of abstract in animation, chiefly between the 1950s and 1970s.
Gina O’Melia traces the rise of the American Saturday morning cartoon and the challenge to its supremacy from anime shows.
In a new book, Sam Summers sets out to dissect how the Dreamworks formula, with its pop tunes, celebrity actors, wink-wink gags, differs from Disney’s.