Boat People | Q&A with Thao Lam and Kjell Boersma

by Ben Mitchell | 26 Apr 2023

Blue Zoo receives Epic Megagrant in support of MoPo – a revolutionary new way of rapidly creating animated content using VR in Unreal Engine

by Skwigly | 25 Apr 2023

Lackadaisy | Podcast interview with Tracy Butler and Fable Siegel

by Ben Mitchell | 21 Apr 2023

‘My Neighbour Totoro’ at 35: The Antidote to an Overstimulating World

by Ryan Gaur | 16 Apr 2023

Second Edition of the Skwigly book ‘Independent Animation’ out now

by Skwigly | 11 Apr 2023

The Super Mario Bros. Movie: Can Franchise Storytelling Be Good?

by Ryan Gaur | 31 Mar 2023

FLAMIN Animations premiere at TNB XPO as applications open for next round

by Skwigly | 29 Mar 2023

A+C Studios announce new directorial roster

by Skwigly | 28 Mar 2023

Studio AKA create Scottish Gov health PSA ‘Be the Early Bird’

by Ben Mitchell | 23 Mar 2023

Cinémathèque québécoise announces 2023 Animation Residency cohort

by Skwigly | 23 Mar 2023

Cartoon Movie 2023 Report and Podcast

by Steve Henderson | 17 Mar 2023

International Women’s Day: 2023 Roundup

by Ben Mitchell | 08 Mar 2023

Nexus Studios signs rising star Bonnie Taylor Forsyth to their commercial directorial roster

by Skwigly | 03 Mar 2023

Voice in the Hollow: Pushing Indie Horror and African Talent to the Next Level

by Melanie Cionco | 21 Feb 2023

Remembering The Wombles: 50 Years of Ivor Wood’s Classic Series

by Martyn Warren | 15 Feb 2023

Women In Animation announces recipients of 2023 WIA Scholarships

by Skwigly | 13 Feb 2023

‘Turning Red’ | Q&A with Domee Shi

by Ryan Gaur | 07 Feb 2023

Aardman and Cartoon Saloon among top-tier animation studios for ‘Star Wars: Visions’ Volume 2

by Ben Mitchell | 03 Feb 2023