Monthly Archives: August 2012

Disney puts brakes on Selick’s stop-motion movie

Henry Selick

Henry Selick

The Walt Dis­ney Com­pany is not pro­ceed­ing with Henry Selick’s still-untitled stop-motion ani­mated film, crew mem­bers on the project were told Tues­day afternoon.

Known only as “Unti­tled Henry Selick 3-D Project,” it was sched­uled for release Octo­ber 4, 2013. About 150 San Francisco-based artists were ready to com­plete work on the movie, which started shoot­ing last summer.

I’d heard it just wasn’t com­ing together in a man­ner that pleased the stu­dio,” said Dead­line New York writer Mike Fleming.

Despite the project’s scrub­bing, Selick is being allowed to shop the project to other studios.

Other ani­mated films directed by Selick include The Night­mare Before Christ­mas(1993), James And The Giant Peach (1996) and Cora­line(2009).

He still plans to direct an adap­ta­tion of Neil Gaiman’s children’s fan­tasy novel The Grave­yard Book. Dis­ney acquired the award-winning book in April for a prospec­tive film.

NFB animation spotlighted at Montreal festival



Ani­ma­tion by the National Film Board of Canada will be show­cased at the 36th Mon­treal World Film Fes­ti­val, which runs from August 23 to Sep­tem­ber 3.

The event will screen three NFB ani­mated short films in their French ver­sions, includ­ing MacPher­son, by Mar­tine Char­trand. MacPher­son will be unveiled at the open­ing of the WFF, mak­ing its world pre­miere screen­ing before the fea­ture film, in the World Com­pe­ti­tion category.

Works by young film­mak­ers are also in the pro­gram. Two more NFB ani­mated shorts, The Ban­quet of the Con­cu­bine (Folimage/Foliascope/NFB/Nadasdy Film), by Hefang Wei, and It’s a Dog’s Life (Folimage/NFB), by Julie Rem­bauville and Nico­las Bianco-Levrin, have been selected for the World Com­pe­ti­tion and Focus on World Cin­ema sec­tions, respectively.

The 36th WFF selec­tion marks the come­back of Char­trand, a sea­soned film­maker rec­og­nized for her arti­sanal paint-on-glass ani­ma­tion shot with a 35mm cam­era. Chartrand’s works have been widely acclaimed the world over.

Her most recent film, Black Soul, received 23 awards, includ­ing a Golden Bear in Berlin in the Short Film cat­e­gory (2001) and a Jutra for Best Ani­mated Short (2002). She is back in full force this time with MacPher­son, a trib­ute to the friend­ship between poet Félix Leclerc and Jamaican engi­neer Frank Ran­dolph Macpherson.

In Que­bec dur­ing the early 1930s, poet Félix Leclerc befriended Frank Ran­dolph Macpher­son, a Jamaican-born chem­i­cal engi­neer. He inspired Leclerc to write a song about the log dri­ves; the poet enti­tled it “MacPher­son” in hon­our of his friend. Some­where between doc­u­men­tary and fic­tion, MacPher­son, inspired by the famous song, depicts turn­ing points in his­tory and, with great sen­si­tiv­ity and lav­ish imagery, evokes the deep feel­ings shared by the Jamaican engi­neer and one of the poet’s sis­ters. A film brim­ming with exu­ber­ant, col­or­ful images. Pro­duced by Mar­cel Jean and Bertrand at the NFB.

Mak­ing its world pre­miere, Hefang Wei’s The Ban­quet of the Con­cu­bine deals with jeal­ousy, and pays homage to cal­lig­ra­phy and tra­di­tional Chi­nese painting.

Emperor Li is giv­ing a ban­quet to cel­e­brate the beauty of Yang, his favourite con­cu­bine. How­ever, the evening does not pro­vide the plea­sures that had been antic­i­pated. Unsat­is­fied whims, sus­pi­cions of infi­delity and an unbri­dled imag­i­na­tion lead Yang to bit­ter extremes that noth­ing can appease, not even the deli­cious lychee. An erotic ani­mated film about jeal­ousy, The Ban­quet of the Con­cu­bine recounts one of Impe­r­ial China’s most famous love sto­ries. Pro­duced by Pas­cal Le Nôtre at Folias­cope, Emmanuel Bernard at Folim­age and Julie Roy at the NFB.

It’s a Dog’s Life dis­plays a whim­si­cal cartoon-like style. Aimed at young audi­ences, it’ll have its North Amer­i­can pre­miere at the festival.

Fifi the dog dreams of inter­stel­lar travel and dis­cov­er­ing plan­ets as he does what­ever it takes to make Mom, Dad and the kids happy. At meal­time, the sharp-witted pooch gets pushed around from all sides. He would give any­thing to be left alone in his bas­ket with his nose buried in a news­pa­per arti­cle. But the fam­ily is too wrapped up in its own activ­i­ties to pay atten­tion to Fifi’s emo­tional state, leav­ing the poor dog no choice but to make the best of the sit­u­a­tion. Pro­duced by Jacques-Rémy Gir­erd and Corinne Destombes at Folim­age and Roy at the NFB.

The Ban­quet of the Con­cu­bine and It’s a Dog’s Life are both win­ners of the Folim­age Artist in Res­i­dence Pro­gram, in which the NFB has been par­tic­i­pat­ing for 10 years now.

The three films selected for the 2012 WFF demon­strate the vital­ity of the pro­duc­tive part­ner­ships that the NFB enters into each year with renowned inter­na­tional insti­tu­tions, such as France’s Folim­age ani­ma­tion studio.

Two animated features named winners at Fantasia

Fantasia International Film Festival

Fan­ta­sia Inter­na­tional Film Festival

Asura,” by Kei­ichi Sato, and “A Let­ter to Momo,” by Hiroyuki Okiura, tied for the Audi­ence Award for Best Ani­mated Fea­ture at the 16th Fan­ta­sia Inter­na­tional Film Fes­ti­val, which ended Thurs­day in Montreal.

The L’Écran Fan­tas­tique Prize went to the ani­mated Blood-C: The Last Dark, by Naoyoshi Shiotani. “The amaz­ing edit­ing and hor­ri­fy­ing Love­craft­ian bes­tiary, as well as atten­tion to tex­tures and light­ing, make this pro­duc­tion a great ani­ma­tion film which caters as much to fans of fan­tasy hor­ror as Japan­ese ani­ma­tion,” the L’Écran Fan­tas­tique jury said.

The King of Pigs, by South Korea’s Yeon Sang-ho, won two awards.

The First Fea­ture Jury gave the film a Spe­cial Men­tion: “The jury wanted to high­light this reward­ingly intense, mer­ci­less and gru­el­ing look at bul­ly­ing and vio­lence that pro­vides a pow­er­ful mes­sage that’s still sadly rel­e­vant today, in any culture.”

And the Ani­ma­tion Jury gave The King of Pigs the Satoshi Kon Award for Achieve­ment in Ani­ma­tion “for its shock­ing and haunt­ing nar­ra­tive, finely tuned screen­play and con­fi­dent visual style, punc­tu­ated with acidic hal­lu­ci­na­tory visions. A dis­tinc­tive and pow­er­ful vision of school-as-hell, and its dev­as­tat­ing effects on later life.”

It’s Such A Beau­ti­ful Day, by Don Hertzfeldt, was named Best Ani­mated Short Film by the Ani­ma­tion Jury “for its per­fect mar­riage of form and con­tent — an amaz­ing trip of a film that cre­atively uses ani­ma­tion to explore mem­ory, mor­tal­ity and all of those lit­tle fears about our lives that sneak up in the early hours of the morn­ing when we can’t sleep.”

Patrick Bouchard’s Bydlo scooped the Spe­cial Award for Tech­ni­cal Accom­plish­ment in the Ani­ma­tion cat­e­gory. It was the sec­ond award in a week for the ani­mated short, which has been selected to screen at the Toronto Inter­na­tional Film Festival.

Pro­duced by Julie Roy of the National Film Board of Canada, Bydlo offers a ter­ri­fy­ing vision of human­ity inspired by the fourth move­ment of Mussorgsky’s Pic­tures at an Exhi­bi­tion. To cre­ate his film, Bouchard sculpted, mod­eled and ani­mated over 500 kg of Plas­ti­line, an earth-toned mod­el­ing clay.

The Ani­ma­tion jury was com­posed of film­mak­ers Robert Mor­gan, Patrick Doyon and Erik Goulet.

Bydlo also won the spe­cial Coup de cœur (ani­ma­tion) award fol­low­ing the Fan­tas­tique week­end du court métrage québé­cois, the Fan­ta­sia Film Festival’s yearly trib­ute to short films made in Que­bec. The film had the honor of open­ing the fes­ti­val July 19.

The Que­bec shorts jury con­sisted of film­mak­ers Chloé Robichaud and Ben­jamin Lussier and actor Daniel Thomas. The award was the first to be won by Bydlo, which pre­miered June 7 at the Annecy Inter­na­tional Ani­ma­tion Film Fes­ti­val in France.

Director Brenda Chapman leaves Pixar for Lucasfilm

Brenda Chapman

Brenda Chap­man

The first Amer­i­can woman to direct an ani­mated fea­ture film from a major stu­dio has left Pixar to become a con­sul­tant for Lucas­film Ani­ma­tion.

Brenda Chap­man, a direc­tor of Dream­Works’ The Prince Of Egypt (1998), left Pixar as of the end of July.

She began at Pixar when Cars was in pro­duc­tion, and cre­ated the story behind this year’s Brave. She was Brave’s first direc­tor, let­ting Mark Andrews take on the job in the final stages of production.

Story super­vi­sor for 1994’s The Lion King, she pro­vided story work for Beauty and the Beast (1991) and Fantasia/2000 (1991). As well, she did addi­tional story for Chicken Run (2000).

Chap­man was unable to pro­vide any details about the project that Lucas­film Ani­ma­tion is work­ing on.

Essayist and journalist David Rakoff dies at 47

David Rakoff

David Rakoff

Canadian-born essay­ist, jour­nal­ist and actor David Rakoff, a writer for The New York Times Mag­a­zine and many other pub­li­ca­tions, died Thurs­day evening. He was 47.

Rakoff was in the voice cast of the 2009 Williams Street ani­mated pilot Snake ‘n’ Bacon. Based on the cre­ations of Amer­i­can car­toon­ist and illus­tra­tor Michael Kup­per­man, it aired on Car­toon Network’s Adult Swim channel.

Born in Mon­treal on Novem­ber 27, 1964, he was a grad­u­ate of Colum­bia Uni­ver­sity. He obtained dual Canadian-American cit­i­zen­ship in 2003, and lived in New York City. His brother Simon is a stand-up comedian.

His essays appeared reg­u­larly in Vogue, Salon, Wired, Conde Nast Trav­eler, Out­side, and GQ, for which Rakoff served as a writer-at-large. He also was a fre­quent con­trib­u­tor to the radio pro­gram This Amer­i­can Life on Pub­lic Radio International.

Rakoff’s essays were col­lected in the books Fraud and Don’t Get Too Com­fort­able, and are largely auto­bi­o­graph­i­cal and humor­ous. Both col­lec­tions were New York Times best-sellers in non-fiction and received Lambda Lit­er­ary Awards for Humor.

He was openly gay, and his writ­ings have been com­pared to those of essay­ist and friend David Sedaris. Rakoff was even mis­taken for Sedaris once while per­form­ing in a store­front win­dow; both authors wrote about this inci­dent in their books.

Rakoff was fea­tured in the This Amer­i­can Life episode 305, the hol­i­day show, on Decem­ber 23, 2005, and episode 156, “What Remains,” broad­cast 21 March 2000. He is the only indi­vid­ual to host in place of Ira Glass a This Amer­i­can Life episode (Episode 248 — “Like It Or Not”). Rakoff made sev­eral appear­ances on The Daily Show, and voiced the read­ing part of Thomas Jef­fer­son for Jon Stewart’s Amer­ica (The Book): A Citizen’s Guide to Democ­racy Inac­tion.

Rakoff’s act­ing roles included the Off-Broadway com­edy play The Book of Liz, authored by friends David and Amy Sedaris; the film Strangers with Candy, also co-written by Amy Sedaris, and a cameo in the film Capote.

He received the 2011 Thurber Prize for Amer­i­can Humor. His writ­ing also appeared in Details, Harper’s Bazaar, Wired, New York Mag­a­zine and The New York Observer.

As an actor and direc­tor, he appeared in Cheryl Dunyé’s film The Water­melon Woman, por­trayed Lance Loud on stage, Vladimir Mayakovsky on pub­lic tele­vi­sion, and Sig­mund Freud in the win­dow of Barney’s depart­ment store.

He guested on The Late Show with David Let­ter­man, Late Night with Conan O’Brian and The Daily Show with Jon Stew­art. Rakoff wrote the adap­ta­tion for and starred in the 2010 Acad­emy Award-winning short film The New Ten­ants.

ALF ready to touch down at Sony Pictures Animation



Hav­ing just com­pleted a deal to acquire rights to the 1980s sit­com ALF, Sony Pic­tures Ani­ma­tion will turn it into a fea­ture film com­bin­ing CG ani­ma­tion and live action.

Jor­dan Kerner, pro­ducer of last year’s sim­i­larly hybrid The Smurfs, is now on board.

Kerner will pro­duce the project with series cre­ators Tom Patch­ett and pup­peteer Paul Fusco. Fusco is ready to repeat his TV role as the voice of the extrater­res­trial houseguest.

In the orig­i­nal series, ALF stood for alien life form. The sit­com aired for 102 episodes from 1986 to 1990. The crea­ture — whose name was later revealed as Gor­don Shumway — was a friendly furry pup­pet who crash-landed on Earth, mov­ing to the home of the sub­ur­ban Tan­ner fam­ily. The sar­cas­tic ALF liked to eat cats and was pur­sued by gov­ern­ment forces.

DiC Enter­prises and Saban Enter­tain­ment co-produced a car­toon  ALF series, which ran for 26 half-hour episodes in 1987–88. Fusco said in a May inter­view with The Hol­ly­wood Reporter that he hoped an ALF movie would finally be made.

The exec­u­tive pro­duc­ers of the new movie are Ben Haber of Kerner Enter­tain­ment Co. and Ken­neth Kauf­man. Nei­ther a direc­tor nor a writer has been attached.

Kauf­man, Patch­ett and Fusco run Alien Pro­duc­tion and have the rights to ALF. A for­mer TV-movie pro­ducer, Kauf­man is a for­mer pro­duc­ing part­ner of Kerner’s. Their busi­ness part­ner­ship helped spark the upcom­ing fea­ture film.

A long­time pro­ducer, Kerner has worked on the fea­ture films Charlotte’s Web, The Mighty Ducks and Inspec­tor Gad­get. His most recent movie, The Smurfs, grossed over $563 mil­lion around the world.

Kerner and SPA have just com­pleted pro­duc­tion on The Smurfs 2, set for a July 31, 2013 release.

Animation on view during “Short Cuts” in Toronto

Toronto International Film Festival

Toronto Inter­na­tional Film Festival

The Toronto Inter­na­tional Film Fes­ti­val is set to present 44 world-class Cana­dian short films, includ­ing four with ani­ma­tion, in this year’s Short Cuts Canada program.

With a lineup as diverse in themes and cul­tures as the coun­try itself, six engag­ing pro­grams will rep­re­sent the styles of both accom­plished and emerg­ing direc­tors from across Canada. From strong social state­ments to dead­pan humor, Short Cuts Canada pro­gram­mers Alex Rogal­ski and Mag­ali Simard received nearly 700 entries — the most sub­mis­sions to date for the pro­gram — indi­cat­ing steady growth in film tal­ent in Canada.

Pro­gram­ming Short Cuts Canada is more and more chal­leng­ing each year because of the level to which Cana­dian film­mak­ers are ele­vat­ing the qual­ity of short films,” said Simard. “It is a very excit­ing time for us as pro­gram­mers, and the future never looked brighter for Cana­dian shorts.”

Films in this year’s pro­gram have global reach and will appeal to audi­ences world­wide,” said Rogal­ski. “This year’s films are short in length, but long on impression.”

Films in the Short Cuts Canada pro­gram are eli­gi­ble for the Award for Best Cana­dian Short Film. This year’s jury includes jour­nal­ist and author Matthew Hays, jour­nal­ist Kat­rina Onstad and film­maker Regi­nald Harkema.

Among the films being screened:

Aubade (L’Aubade)
Carla Susanto, Ontario
2 min.
World Pre­miere
Engrav­ings from century-old med­ical text­books become an ani­mated back­drop to a man’s lov­ing good­bye dur­ing his final moments. The fleet­ing flicker of the mono­chro­matic images res­onates with the narrator’s quick­en­ing jour­ney as he tran­si­tions from one world to another.

Patrick Bouchard, Que­bec
9 min.
Toronto Pre­miere
Inspired by Russ­ian com­poser Mod­est Mussorgsky’s “Pic­tures at an Exhi­bi­tion,” Bydlo is a stag­ger­ing visual ren­der­ing of the lum­ber­ing wooden Pol­ish ox-cart pic­ture. Tech­ni­cally com­plex (Bouchard ani­mates plas­te­line) and artis­ti­cally fiery, Bydlo depicts the cycles of life, the power of man and beast, and both the beauty and hor­ror of labor.

Joda (Apart)
Theodore Ushev, Que­bec
4 min.
World Pre­miere
Poetic and polit­i­cal, Theodore Ushev’s lat­est ani­mated work cul­ti­vates his incred­i­ble tal­ent to call for the lib­er­a­tion of impris­oned Iran­ian film­mak­ers and to focus atten­tion on the plight of Jafar Panahi. Draw­ing inspi­ra­tion from raw footage of the Green Wave upris­ing to com­pose densely lay­ered roto­scoped images embed­ded with Farsi text, the result is a pow­er­ful piece of activism that is both per­sonal and profound.

Let the Day­light into the Swamp
Jef­frey St. Jules, Ontario
35 min.
World Pre­miere
The St. Judes ori­gins in the lum­ber camps of north­ern Ontario lead to a splin­tered fam­ily and a spot­ted his­tory filled with ques­tions and half answers. With a mix of ani­ma­tion, re-enactments and archival evi­dence, Jef­frey St. Jules assem­bles a three-part 3-D doc­u­men­tary col­lage that explores the con­se­quences of par­ents who make the dif­fi­cult deci­sion to give up their children.

The Fes­ti­val offers the TIFF Choice five-screening Cana­dian Pack, includ­ing fea­tures and shorts ($80 for adult, $68 stu­dent and senior). Pur­chase Fes­ti­val ticket pack­ages online 24 hours a day at, by phone from 10 a.m. to 7 p.m. ET week­days at (416) 599-TIFF or 1–888-599‑8433, or visit the box office in per­son from 10 a.m. to 10 p.m. ET at TIFF Bell Lightbox.

The 37th Toronto Inter­na­tional Film Fes­ti­val runs from Sep­tem­ber 6 to 16.

Profit at Disney’s movie studio leaps to $313M

Walt Disney Studios

Walt Dis­ney Studios

Strong ticket sales to such films as “Brave” helped third-quarter profit at Disney’s movie stu­dio zoom to $313 mil­lion from $49 mil­lion a year ago.

But stu­dio rev­enue rose only 0.3 per­cent to $1.63 bil­lion, off from the $1.77 bil­lion that ana­lysts expected. A major fac­tor was smaller rev­enue from DVD and Blu-ray disc sales than a year earlier.

Dis­ney reported an over­all profit of $1.83 bil­lion ($1.01 a share) for the quar­ter ended June 30, up from $1.48 bil­lion (77 cents a share) a year ear­lier. Rev­enue rose 3.9% to $11.09 billion.

Mean­while, Walt Dis­ney Com­pany CEO Bob Iger said that atten­dance at Dis­ney Cal­i­for­nia Adven­ture made up about half of the vis­its to its Ana­heim, Cal­i­for­nia parks, up from only a quar­ter in 2011. The increase came shortly after the June unveil­ing of an over­haul cost­ing at least $1 bil­lion that included the addi­tion of an area based on Pixar’s Cars.

Rev­enue in the parks and resorts sec­tor was up 9 per­cent to $3.44 bil­lion, aided by a full quar­ter of oper­a­tions of the Dis­ney Fan­tasy, its newest cruise ship, greater Dis­ney­land atten­dance and higher ticket prices. Parks results were hurt last year by the earth­quake and tsunami in Japan.

Net income for the three months ended June 30 rose 24 per­cent to $1.83 bil­lion, or $1.01 per share. That beat the 93 cents per share expected by ana­lysts polled by Fact­Set. Rev­enue rose 4 per­cent to $11.09 bil­lion, well short of the $11.32 bil­lion expected by analysts.

Iger said that he thinks Disney’s movie stu­dio will see bet­ter results.

We feel good about our slate. We do believe were going to con­tinue to improve returns on that busi­ness led by the fran­chises and the big brand power of our films,” he said Tues­day in a con­fer­ence call with analysts.

Bar­clays ana­lyst Anthony DiClemente said that the studio’s strong results and good expec­ta­tions for its upcom­ing lineup are impor­tant because movie prof­its are usu­ally unpredictable.

It’s the gift that’s going to keep on giv­ing. The more opti­mistic view is to look at this studio-driven beat as being higher qual­ity than it would nor­mally be,” he said.

Disney’s shares fell 44 cents to $49.39 in after-hours trad­ing. They closed in reg­u­lar trad­ing up 16 cents at $49.81 before the report.

Kung Fu Panda 3 to be U.S.-Chinese co-production

King Fu Panda 3

King Fu Panda 3

The third install­ment of Dream­Works Animation’s Panda series, “Kung Fu Panda 3″ will be made in China as a co-production with DWA, a new Chi­nese joint ven­ture announced Monday.

This is the first time that any major Hol­ly­wood ani­mated fea­ture film has been co-produced with a Chi­nese firm.

Kung Fu Panda 3, set for global release in 2017, will be the first ani­mated fea­ture to be pro­duced by Shanghai-based Ori­en­tal Dream­Works. The enter­tain­ment firm was launched in Feb­ru­ary to develop and pro­duce Chi­nese ani­mated and live-action mate­r­ial for dis­tri­b­u­tion in China and worldwide.

With­out ques­tion, China has what is needed to make great ani­ma­tion film.… this is a per­fect fit for us at Dream­Works,” DWA CEO Jef­frey Katzen­berg told a news conference.

Ori­en­tal Dream­Works is a joint ven­ture between Glen­dale, California-based DWA and China’s three largest media com­pa­nies, China Media Cap­i­tal, Shang­hai Media Group and Shang­hai Alliance Invest­ment Ltd.

Major Hol­ly­wood co-productions with China include the live-action The Expend­ables 2 and the upcom­ing Iron Man 3 from Disney/Marvel Studios.

Ori­en­tal Dream­Works announced the co-production dur­ing a cer­e­mony mark­ing the open­ing of its Shang­hai headquarters.

The joint ven­ture added that it will invest $3.14 bil­lion (20 bil­lion yuan) to open “Dream Cen­ter,” a shop­ping, din­ing and enter­tain­ment hub, in the Xuhui dis­trict of Shang­hai. It’s sched­uled to launch by 2016. China Media Cap­i­tal chair­man Li Ruigang said he hoped that it would become the Chi­nese equiv­a­lent of New York’s Broad­way or London’s West End.

Last year, the Walt Dis­ney Com­pany broke ground on its planned Shang­hai Dis­ney­land. The Shang­hai theme park is esti­mated to cost 24.5 bil­lion yuan, with hotels and other facil­i­ties cost­ing an addi­tional 4.5 bil­lion yuan.

Rhode Island Film Fest shows off animated short

Rhode Island Film Festival

Rhode Island Film Festival

The Rhode Island Inter­na­tional Film Fes­ti­val hosts an unfor­get­table show­case from across the globe in “Where Dreams Are Born,” a two-hour col­lec­tion of ani­mated shorts from Britain, Spain, Aus­tralia, Ger­many and the United States.

Nine ani­mated films will be seen this Sat­ur­day, August 11 at The Vets, 1 Avenue of the Arts in Prov­i­dence. Show­time is 2:15 p.m.

Here’s what will be screened:

The Hunter (6 min.; dir. Marieka Walsh; Aus­tralia, 2012)
New Eng­land Pre­miere
A boy goes miss­ing in the snow cov­ered wilder­ness, feared taken by wolves. A hunter under­takes a jour­ney to find the boy; dead or alive. As the hunter tracks the boy into the moun­tains, he dis­cov­ers that his instincts can no longer be trusted. Here, far from civ­i­liza­tion he must make deci­sions that will for­ever change his rela­tion­ship with the wilder­ness he has always feared. The Hunter is a haunt­ing stop-motion sand ani­ma­tion by emerg­ing direc­tor Marieka Walsh.

The Boy In The Bub­ble (8 min.; dir. Kealan O’Rourke; Ire­land, 2012)
Rupert, a 10-year-old boy, falls hope­lessly in love for the first time. When it all goes ter­ri­bly wrong, he wishes never to expe­ri­ence heartache again. Turn­ing to a book of magic, he invokes a spell to shield him from emo­tion forever.

A Tooth Tale (6 min.; dir. Ron Fleis­cher; U.S.A., 2012)
World Pre­miere
This tra­di­tion­ally ani­mated short tells the story of Tommy Mal­loy, a 6-year old boy who loses his first tooth. When he learns that the Tooth Fairy will give him money for it, he hatches a plot to trap and shake her down for all her loot. The rhyming dia­logue and art direc­tion pay homage to the car­toons of the 1950s and 1960s.

Cadaver (7 min.; dir. Jonah D. Ansell; U.S.A., 2012)
The whim­si­cal story of a shy, first-year med stu­dent (Tavi Gevin­son) whose scalpel cut sparks a cadaver (Christo­pher Lloyd) back to life. When he begs her to take him on a jour­ney to say a last good­bye to his wife, they sneak out of the lab and embark on a road trip, only to dis­cover a truth in death tha tthe cadaver didn’t know in life.

The Man With The Stolen Heart (7 min.; dir. Char­lotte Boulay-Goldsmith; United King­dom, 2011)
A sur­real tale about a man who wakes up one day, only to dis­cover that his heart has left. This forces him on a jour­ney of self-discovery as he tries to find his heart.

The Mon­ster of Nix (30 min.; dir. Rosto; Belgium/France/Netherlands, 2011)
Life is good in the idyl­lic fairy­tale vil­lage of Nix… until an all-devouring mon­ster appears. Young Willy has to fight it. Alone.

Jamón (Ham) (8 min.; dir. Iria Lopez; United King­dom, 2012)
North Amer­i­can Pre­miere
Jose is a teenage pig liv­ing in a Span­ish town, and he is the only pig in his fam­ily. One day a new neigh­bor moves in next door, and Jose starts to come to terms with who he really is.

Ris­ing Hope (10 min.; dir. Milen Vitanov; Ger­many, 2012)
New Eng­land Pre­miere
All know the way, but few actu­ally walk it. Ris­ing Hope, once the fastest horse in the world, dares to be one of the few.

SNAP (6 min.; dir. Thomas G. Mur­phy; Belgium/United King­dom, 2012)
East Coast Pre­miere
The Water Hag­gis live an idyl­lic life in their beau­ti­ful under­wa­ter cav­ern. Sadly, for a young Hag­gis called Snap, life isn’t so idyl­lic. But when he meets a cool frog called Fred­die, Snap makes an unlikely new friend. Together they show that some­times you to have to think dif­fer­ently to solve a prob­lem and to beat the bul­lies… smarts are always gonna be bet­ter than brawn.

The Rhode Island Inter­na­tional Film Fes­ti­val takes place from Tues­day, August 7 to Sun­day, August 12. For ticket infor­ma­tion, visit