Animated Events: Ottawa International Animation Festival, 2025 edition

It's Fall and the leaves are changing here in the Midwest. I've received that odd psychological surge of renewal that comes this time of year. After twenty-one years of schooling, September has always felt like the beginning of the year to me. Every year since grad school, walking outside to see the colors reminds me of one of those epiphanies provided to me by my professor Marla Schweppe. We were talking about abstract animated films and how I didn't see the purpose of them. Marla suggested that I go outside, look at a tree with its colorful foliage, then defocus my eyes. I did so, and the purpose became immediately evident. With my eyes defocused, all form and structure was gone and what was left were these vibrant patterns of color. One key to why people create abstract animated films was now firmly lodged into my consciousness.

Speaking of Fall and abstraction animated films, it was time for my yearly pilgrimage to the Ottawa International Animation Festival.

I was looking forward to this trip in particular as I had purchased a new (used) car several weeks prior and it was time to break it in with the 18-hour round trip drive to and from Canada's capital. The foliage was in full color mode. The weather was clear and sunny. And Ottawa was as beautiful as I remember.

Much like in previous years, my colleague Jim Middleton shared a hotel room and drove out to the festival. We talked film and animation history and photography and gaming the entire way there and the entire way back!

Moving from venue to venue, more often than not I found myself soaking up the scenery--trying to be a little more observant of my surroundings, not for security or anything like that, but looking at architecture, foliage, even the little signs that people posted on telephone poles. One of the things that stood out to me was a city-wide art project.

Back in 2017, Ottawa had a program to cover junction boxes with artwork. It's been eight years and I had difficulty finding one or two that hadn't been defaced in some shape or form. More than just youthful mischief, some of the artwork I saw had the eyes scratched over. It hurts my heart to know that some people are so broken that they have to destroy beautiful things instead of just appreciating them. But I made it a point to photograph every one that I could find, if for no other reason than to enjoy them in later years and hopefully find some inspiration for my own art projects.

Well at the festival, it looks like the torch for the annual Friday animators picnic had been passed. No longer sponsored by Cartoon Network, this year it was sponsored by NetFlix. Along with the annual pumpkin carving contest, I had my own personal reunions as I caught up with some ASIFA Central members that I don't get to see very often as well as my fellow former R.I.T. graduates Glenn and Sarah.

On the walk back from the picnic, I had the opportunity to stop by a used book store and meet the store cat: "Milo". Whenever presented with the opportunity, always engage in a little fuzz therapy.

"Milo" at 'Barely Bruised Books New & Used'

Didn't see as many friends and colleagues as I had hoped. Wanted to talk to Steven Woloshen about his film conservation work. Was really hoping to catch up with J.J. Sedelmaier about his progress on turning his historical animation tools exhibit from the Grohmann museum into a travelling exhibit. Was of those years, I suppose. It happens. The film selection this year was pretty broad. Lots of different stories and animation techniques. Some of my favorites this year were:

Fusion by Richard Reeves: This abstract experimental animation hit all the marks: not too long, not too short, audio complimented the visuals, and the visuals reminded me a lot of the films that my former professor Stephanie Maxwell created. Not surprising since this was a direct-on-film animation. Was hoping to share a trailer but was pleasantly surprised to find an interview with Mr. Reeves regarding his creation.

I Beg Your Pardon by John W. Lustig was one of those slow-burn comedies where in every scene you keep expecting one thing to happen only to have your expectations subverted.

The Girl Who Cried Pearls was a hauntingly beautiful film by Chris Lavis and Maciek Szczerbowski. And as good as the visuals and animation is in this film, it's the story that really hooked me and kept me riveted from beginning to end. As this is an NFB film, I can't wait until the festival run is over and they put it on their website and YouTube channel. Looking forward to sharing this film with friends.

Existential Greg by Will Anderson. Well... that was... something. I spent the majority of the film baffled by what was going on and flooded with memories of my aunt's weird showcats. The slow reveal of the cat's expressions are what really got me. This turned out to be a really fun film to experience.

@will.i.anderson Trailer for new short film EXISTENTIAL GREG 🙀 #b3d #blender #3danimation #geometrynodes #mocap ♬ original sound - Wi🤘 Anders👌n

Unfortunately, I couldn't fit any of the features into my schedule. Was hoping to see Yasuhiro Aoki's film ChaO. As ChaO was Produced by Studio4°C, I knew that it was going to be a visual feast. Hopefully GKIDS will pick it up for North American distribution.

And before I knew it, the week was over and we were on our way back home to the States.

Next year: the 50th anniversary of the Ottawa International Animation Festival

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