Presenting episode 102 of the Skwigly Animation Podcast!

In this episode we review and discuss highlights from this year’s Annecy International Animated Film Festival, including standout shorts in competition, Mikey Please and Dan Ojari‘s upcoming Aardman/Netflix special Robin Robin, Erick Oh‘s immersive short Namoo, Marq Evans’s Will Vinton documentary ClayDream, Alberto Vázquez‘s Unicorn Wars, Jorge Gutierrez’s Maya and the Three, Netflix’s adult animation slate including the stop-motion anthology series The House.

We also welcome the legendary filmmaking team of Joanna Quinn and Les Mills to discuss their filmography and working history including their latest short Affairs of the Art, which received the Special Jury Distinction for Direction at Annecy.

With Affairs of the Art, director Joanna Quinn and producer/screenwriter Les Mills continue the series of beloved, hilarious and award-winning animated UK films starring Beryl, a 59-year-old factory worker who’s obsessed with drawing and determined to become a hyper-futurist artiste. We also meet her grown son, Colin, a techno geek, her husband, Ifor, now Beryl’s model and muse, and her sister, Beverly, a fanatical narcissist living in LA. Affairs of the Art provides glimpses into Beryl’s, Beverly’s and Colin’s peculiar childhoods, and we see that obsession is in this family’s DNA.

The first co-production between Beryl Productions International and the National Film Board of Canada, Affairs of the Art features Quinn’s signature hand-drawn animation with attitude and Mills’ raucously humorous scenarios, in an endearing romp through one family’s eccentric addictions.

Also discussed this episode: Reflections on ten years of Skwigly for Ben and Steve, the announcement of Robert Morgan‘s feature film debut Stopmotion, the fiddly UX of online animation festivals and the Manchester Animation Festival’s current call-for-entries.

Presented by Ben Mitchell and Steve Henderson
Interview conducted and edited by Steve Henderson
Edited and produced by Ben Mitchell
Music by Ben Mitchell