“Cartoon Movie is short, intense format designed for concrete results,” says Annick Maes of the animation showcase

Cartoon Movie, the annual co-production and pitching forum for Europe’s feature animation sector, runs March 3–5 in Bordeaux. Its 28th edition showcases 50 projects from 21 countries, selected from a record 150 submissions, up 22% on 2025.

European animation heavyweights such as Ron Dyens, one of the producers of Oscar-winning Flow, two-time César winner Patrick Imbert (The Summit Of The Gods) and Tomm Moore, director of the multi-awarded The Secret Of Kells, will be joined by emerging talents presenting first or second features, such as Nina Gantz (Once Upon An Egg), Quentin Rigaux (Cosmo Princess) and Aline Romero (Tukuy).

Sustaining a robust infrastructure for European animation remains central to Cartoon’s mission. The ecosystem spans Cartoon Movie (features), Cartoon Forum (TV series) and Cartoon Masters, which includes Marseille’s CartoonNext, Madrid’s Cartoon Springboard and Brussels’ Cartoon Business. 

Cartoon Movie’s stated goal is to “forge partnerships and unlock financing for roughly 20 European animated films each year.”

“The event stands out for its exclusive focus on projects,” says general manager Annick Maes. “Neither a festival nor a booth-driven market, it accelerates development and fosters co-production through a short, intense format designed for concrete results.”

Each day begins with breakfast in the main hall of Bordeaux’s Palais des Congrès, bringing together the 800-plus attending industry professionals. Trailers of all selected projects for the day are screened on the main stage before the pitching sessions begin.

“Whereas at other festivals the intention is usually about celebrating the past or recent work, Cartoon Movie is very much future-focused,” says Moore, founder of Ireland’s Cartoon Saloon outfit. “Our very first Cartoon Movie was in 2001. That’s where we met Didier Brunner who we still work with to this day, plus all the major broadcasters and distributors we work with still. We can trace many of them back to the first meeting at Cartoon Movie.”

Pitching unfolds over two days in two theatres, with sessions organised by project stage. In-concept sessions last approximately one hour and typically group around six projects. Development, production and sneak preview sessions run roughly 20 minutes each and feature just one project each.

“As a medium-sized event, Cartoon Movie offers something increasingly rare in today’s industry, a genuine human touch,” Maes suggests. “ This is part of our DNA. The approachable scale encourages spontaneous meetings, open dialogue and meaningful connections.”

The ecosystem accompanies projects over several years. Starseed pitched in concept (2021) and development (2022); Detective Kibbles appeared in development in 2020; Igi in concept in 2021; and Pirate Mo And The Legend Of The Red Ruby first featured in 2023 in development. All return this year at more advanced stages. Meanwhile, Aya In The Desert and Silence Sometimes were first introduced at Cartoon Springboard.

After each session, participants connect at the “Extra Time Corner” and via the dedicated app, which grants temporary access to project materials.

Eleanor Coleman, head of animated feature film acquisition and development at French outfit Indie Sales highlights the event’s curatorial strength and efficiency. “It offers the chance to meet producers and projects at different stages,” she says. “At a moment when lower-budget, artistically ambitious European animated features are gaining international traction, Cartoon remains a vital rallying point for the sector.”

Québec spotlight

For the first time, the event is taking on an international element and companies from Québec are presenting a six-title slate seeking European partners. Two projects are in development and four at the concept stage. 

Among the development titles in this strand are Marguerite And The Duke, produced by 10ᵗʰ Ave Productions, which reimagines a rebellious princess who flees tradition, travelling in a van with her dragon and Lofty Sky Pictures’ Shanghai Ballade which traces pianist Gu Zhen’s life across mid-20th-century China.

Concept-stage projects from Quebec include Embuscade Films’ Jane, The Fox And Me, about an ostracised 11-year-old who finds solace in Jane Eyre; Flying Kraken Creative Studios’ Puddle Jumpers, centred on a teenager whose graphic novel comes to life; Carpediem Film & TV’s The Mountain Of Dreams, which follows 12-year-old Lili, who retreats into comics after her father’s death; and The President’s Daughter, recounting the story of Samia Nkrumah during Ghana’s independence.

Québec has more than 60 co-production treaties worldwide, many with European countries including France, Ireland and Germany. These agreements allow financing structures combining treaty frameworks, tax incentives, public funds and broadcaster presales.

Nancy Savard, president, producer and director of Quebec-based 10ᵗʰ Ave Productions, notes that in recent years, certain parameters have been revised to facilitate co-production, including lowering minimum percentage thresholds required to qualify as a bilateral co-production and adjusting elements of the points-based criteria. British Columbia offers a 16% incentive, Ontario 18%, and Québec up to 40%.

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