The animation landscape in South Asia is poised for an unprecedented transformation, courtesy of a group of innovative filmmakers who have forged alliances with international producers, film festivals, and funding agencies. A film debuting at the prestigious International Film Festival of Rotterdam, several first-time projects in the pipeline, and a proposed web series by an industry veteran are just some of the examples marking this exciting shift. These projects mark a departure from the traditional fare of children’s cartoons and mythological stories that have long dominated the regional animation scene.
The shift towards seeking international funding arises from a noticeable hesitation among domestic producers to invest in animated features. Mumbai producer-director Soumitra Ranade expressed the struggle faced by animators: “Our animators have been ready for many years, but there just was no funding available.” He shares the heartbreak of turning down young directors due to funding constraints.
Amidst these challenges, some have found success. Baroda-based director Ishan Shukla is premiering his debut feature, Schirkoa, at the Rotterdam festival on January 28. The film, a collaboration with producers from France, Germany, and India, dives into the narrative of a virtually perfect city where citizens wear paper bags over their heads to avoid societal differences. The status quo is shaken when a newly elected council member inadvertently starts a revolution.
Shukla reflects on how internationally-influenced producers have upscaled his project, with French producer Bich-Quân Tran propelling the film’s ambition and bringing onboard an impressive voice cast including Golshifteh Farahani and Gaspar Noe, and others. Leveraging Tran’s connections, parts of the film’s production took place in France’s animation hub, Angouleme.
In 2016, Shukla created a 14-minute version of Schirkoa, which gained international festival success and even made it to the long list for the Academy Awards. This initial triumph convinced Shukla of the viability of pitching animation projects internationally. He emphasizes the global talent pool working with him, drawing on skills from China, Iran, and France to bring his vision to life.
Echoing this global outlook, Kolkata animator Upamanyu Bhattacharyya credits his progress to international experiences, such as his time with Spanish animator Isabel Herguera and a residency at France’s Annecy Festival. His feature debut, Heirloom, a fantasy story set in 1960s Ahmedabad, was born from this cross-cultural synergy.
Pakistani animator Usman Riaz is also making waves with his first hand-drawn 2D animation film, The Glassworker, expected to be released in April. The film already has international acclaim with India’s Apoorva Bakshi and Spanish producer Manuel Cristobal contributing, and Paris-based sales agency Charades handling international rights. The story focuses on a father-son duo’s glass workshop, profoundly affected by the onset of war and the arrival of new characters in their town.
On the web series front, Ranade is crafting Itch, a ten-part series that explores the impact of urban living on individuals across ten megacities. Each episode promises a unique aesthetic reflecting the city’s culture and the narrative’s nature. Itch joins the ranks of Schirkoa and Heirloom in targeting an adult audience.
Technological advancements, like the WYSIWYG system, are revolutionizing the production process, enabling more accurate realizations of the film’s final look, as illustrated by Schirkoa’s development in a game engine.
Innovative approaches also characterize these animated features. Bhattacharyya’s Heirloom, for instance, merges embroidery and digital animation in a way that pays tribute to India’s rich textile heritage and incorporates Gujarat’s traditional craft techniques.
Ranade sees the evolving animation industry through the lens of opportunity, despite advances in AI threatening jobs in the sector. He predicts that the impending redundancy may incite a creative renaissance, propelling Indian storytellers to prioritize original content.
Bhattacharyya remains hopeful, encouraging a supportive environment where animation can be viewed as a viable career. By nurturing short films, distributing them, and allowing for creative risk-taking, a solid foundation can be laid for future feature-length projects.
This comprehensive report traces the inspiring journeys of South Asian animators venturing into the global market and highlights the potential for a vibrant regional animation industry fortified by international collaboration and technological innovation. As these storytelling pioneers navigate new horizons, the dawn of a new era in South Asian animation appears brightly on the horizon.
