Share your work and seek feedback without fear of criticism: MIFA’s head, Véronique Encrenaz, advises young animators

YEREVAN, NOVEMBER 7, ARMENPRESS. During the MarAni Animation Market of the 16th ReA International Animation and Comics Art Festival of Yerevan, held on October 21-24, Armenian audience had the opportunity to attend a talk by Veronique Encrenaz, Head of MIFA (Annecy International Animated Film Market) at the Annecy International Animation Film Festival. Encrenaz introduced MIFA’s platform and highlighted its recent achievements. MIFA offers an expansive range of industry-focused events and networking opportunities, including MIFA Pitches, Market Screenings, Conferences, Industry Panel and more. In its 2024 edition, MIFA welcomed 6,580 delegates from 103 countries and featured over 1,000 exhibiting companies. Here, we present an interview with Veronique Encrenaz covering topics like current animation trends, funding and potential collaborations between MIFA and MarAni.

-As a key player in the animation community, what trends in the global animation industry excite you the most?

For me, what’s exciting in animation is the increasing diversity. More countries are joining the animation field, bringing fresh stories and unique styles. In my presentation, I mentioned African countries, where animators are introducing their own software and techniques, which can create new and exciting things. We also see Latin American and Asian influences with completely different styles and narratives. Another exciting trend is the rise of adult animation. Traditionally, animation has been seen as content for kids, but that's changing as younger generations, who grew up with comics and games, now view animation as part of their culture. They want animated content that resonates with their age and tastes. The demand for adult animation is growing, and this links closely with documentary filmmaking. Animation adds a layer to documentaries, making challenging subjects more approachable while still delivering the story effectively.

-Many creators today are tackling complex issues. How well is animation being used to address societal challenges?

Creators often choose animation for difficult topics. For example, The Most Precious of Cargoes, a film presented here, is directed by a prominent French filmmaker, Michel Hazanavicius, who chose animation to tell a story from World War II. Complex topics like this can be challenging to portray with live actors. Animation allows creators to shape the narrative to convey the intended message powerfully. Sometimes, reality is hard to digest, especially when the subject matter is heavy. You would most probably watch animated documentary rather than just documentary. Animation offers a “filter” that makes it easier to approach these subjects. It brings life to people and events from the past, allowing them to speak again and resonate with audiences.

-What advice would you give to young animators or those new to the field? Where should they begin, and what should they focus on?

I always tell my daughter, who is an artist working on her own projects, that she should share her ideas. Animation is teamwork; you need a big team to produce it, so don’t hesitate to connect with others. Get out of your room, share your work, and get feedback. For example, at Annecy, I encourage young animators to approach producers and studios, because they are always on the lookout for new talent. Don’t take feedback too personally; stay practical and realistic. If someone doesn't like your work, take it as an opportunity to improve; at the very least, you’ll know what didn't resonate. If you're confident in your style, show it, even if it invites criticism. Constructive feedback helps you grow.

-What are your thoughts on current funding in the animation industry? Do you think the field requires more investment?

Platforms are currently facing challenges, with projections decreasing significantly, which has impacted animation. We expect things to improve next year, but increased financing is essential. There’s also a need for broader exposure to content, especially adult animation, which requires support from more channels, platforms, distribution companies, and theaters to reach younger audiences who seek this type of content. As demand for family animation has slowed, hopefully only temporarily, we anticipate this demand for adult animation could help balance the industry.

In France, for instance, we have substantial state funding through CNC, the Center of Cinematography, which serves as a model for supporting cinema. While this funding is extensive, public funding is decreasing in many countries, including France, due to budget deficits. This has created a need for increased private funding. Fortunately, major media companies are beginning to invest in animation and other creative content, but we must maintain a strong level of public funding to support films that may not appeal to mass audiences. This includes films with complex or artistic themes that often cater to niche audiences and may not generate the returns that private investors typically seek. Public funding remains crucial in supporting these types of creative works.

-Annecy is one of the most prestigious animation festivals, offering a diverse program. What do you think is the formula for Annecy and MIFA’s success?

One key to Annecy’s success is its openness to all styles—from the artistic to the commercial. We host large U.S. studios alongside young, independent companies. Each year, we adapt and add new elements to meet the evolving needs of the animation community. We also focus heavily on students, the future professionals of the industry. Annecy becomes a home for animators; once people attend, they usually return. Our ecosystem supports everyone—from students to distributors, and it covers technology, training, and all facets of animation. Throughout the year, we conduct workshops abroad and collaborate with art schools, creating a global support system for animators.

-How do you decide which countries to engage with?

We work closely with French embassies worldwide, guided by audiovisual attachés who monitor emerging talent. They keep us informed and help organize visits when a country shows promising developments in animation. Bringing together animation communities from around the world allows us to create stories that resonate globally. The first time we received projects from Latin America or Africa, they were very localized, beautiful, but hard for global audiences to understand. Over time, these creators adapted their storytelling to appeal to a broader audience. It’s about learning to tell stories that are both deeply personal and universally relatable.

-What potential collaborations do you see between MIFA and MarAni?

Yes, we have discussed this. Though we have not settled on a specific approach, the idea of collaboration is there. Having a presence is one form of partnership. Annecy’s “Best Of” selections could be showcased in MarAni screenings, allowing Armenian audiences to experience award-winning films. Additionally, another way of partnership could be bringing producers, films, or speakers to MarAni. There’s potential for various collaborative efforts, and with Tigran Arakelyan, our resident of Annecy, we are already building closer ties with Armenia.

-As a small country, we often look to international experiences for learning. What unique contributions could Armenia bring to the global animation industry?

Armenia has so much to offer—its rich history, unique art styles, and cultural narratives. Every artist carries the essence of their country’s influence in their stories. When Armenian creators share their stories abroad, they introduce Armenia to the world. At Annecy, we support creators from many countries, bringing their work to the global stage. This is why we advocate for more local funding in countries like Armenia, which allows animators to join festivals, engage with networks, and gather feedback and inspiration.