EFM Animation Days Unveils Diverse 2026 Slate

The EFM Animation Days 2026 has launched with a robust lineup of 28 animated projects, offering far more than a preview. In fact, it delivers a full-course showcase of the medium’s global vitality. While Cannes’ Annecy Animation Showcase serves as a refined appetizer ahead of June’s Annecy Festival, this inaugural Berlin event functions as a hearty breakfast: substantial, energizing, and rich in creative promise.

Beyond the five titles highlighted in Annecy’s official presentation, organizers have carefully curated an additional 23 projects. Producers will present works at various stages—from early development to near-completion—but each offers something distinctive. Moreover, all selections reflect strong artistic vision and commercial potential. As a result, the slate appeals to both arthouse sensibilities and mainstream markets.

Teams range from small independent studios to established animation powerhouses. They all use the Berlinale as a strategic platform to demonstrate animation’s expanding reach and market appeal. Furthermore, they reaffirm the medium’s capacity to blend artistry with audience engagement across genres and geographies.

Our top picks reveal the industry’s remarkable range. These projects not only push creative boundaries but also embrace bold storytelling choices. Below are highlights from the official Annecy EFM lineup and Spotlight selections.

Annecy EFM Selections

“A Door to the Woods” (Poland/France/Czech Republic/Belgium)
Directed by Jola Kudela, this historical drama weaves real events into an emotional journey. Specifically, it follows two young Poles separated by war and oppression—Antek in Breslau, Wiktor in a Soviet gulag—who reunite decades later through Antek’s granddaughter, Jola. The film traverses Europe under Fascism, Stalinism, and Communism. Using 2D, 3D, and rotoscope techniques, it aims for a 2028 completion. Producers include Opus Film and Les Films Du Poisson Rouge.

“Granny is a Tree!” (France/Luxembourg)
Hugo de Faucompret directs this whimsical comedy about Jane, who defies her mother to honor her grandmother’s final wish: natural organic reduction, or “humusing.” With Granny Onion’s mischievous ghost by her side, Jane embarks on a surreal escape. Hand-painted 2D backgrounds enhance its playful tone. Laïdak Films and Dandelooo produce, targeting 2028.

“MouMoush – The King of Plastic” (Hungary)
From Milorad Krstic, director of Ruben Brandt, comes this eco-conscious fantasy. Two Parisian siblings time-travel in Transylvania to stop MouMoush, a tyrant plotting world domination through plastic. Blending humor, environmental themes, and adventure, the film mixes 2D and 3D styles. Mumus Production LLC leads, with a 2028 delivery goal.

“Pesta” (Norway/Germany/France)
Set in plague-ravaged Norway (1349), Hanne Berkaak’s romantic folk horror tells of Astrid, a noble girl in love with Ilkka, a heathen accused of witchcraft. Truth becomes dangerous in this tale that blurs reality and myth. Rendered in 2D, it promises a chilling dive into Nordic folklore. Mikrofilm and Knudsen Pictures produce, aiming for 2029.

“Zako” (Armenia/France/Lithuania)
Tigran Arakelyan adapts the graphic novel about Armenian painter Sargis Mangasaryan (“Zako”), who survived Nazi POW camps by drawing his captors. Later stifled under Soviet rule, he found inspiration in Picasso’s Guernica. The film will merge VR and classical CG to forge a new visual language. OnOff Studio and Sacrebleu Productions lead, targeting 2028.

Spotlight Projects

Additional highlights further illustrate the diversity of the slate. For instance, Chris Landreth’s “Fifteen Dogs” (Canada), based on André Alexis’s Giller Prize-winning novel, explores philosophical questions through Toronto dogs granted human intelligence. Copperheart Entertainment produces this thought-provoking drama.

Meanwhile, “Acorn’s Adventure” (Czech Republic/Germany), by Filip Mašek, features forest characters designed by children. Quido, a boy made of acorns, searches for purpose in a quirky woodland village. Pure Shore and Fabian & Fred back this family-friendly CG film, which carries a gentle message: be yourself, even if you don’t yet know who that is.

Similarly, “The Pirate King” (Netherlands/Taiwan), presented by Submarine, marks a rare co-production blending myth and friendship in a 3D fantasy adventure. This project reflects Submarine’s ongoing commitment to globally collaborative storytelling.

Germany’s “Treasure Island” reimagines Stevenson’s classic with Jane Hawkins—a cat tired of boarding school—who joins a pirate quest. Little Dream Entertainment crafts this musical CG adaptation, which could resonate strongly with global family audiences.

Finally, the U.K.’s “Reds & Grays” by Two Daughters Entertainment turns the real ecological clash between red and grey squirrels into a Romeo-and-Juliet-style tale of romance and rebellion. Despite its fluffy premise, the film tackles universal themes of identity, belonging, and resistance.

Together, these projects underscore why the EFM Animation Days 2026 matters. They prove that animation continues to evolve—not just as entertainment, but as a powerful vehicle for history, ecology, identity, and hope. For producers, buyers, and creators alike, Berlin has become an essential stop on the road to Annecy and beyond. Consequently, this new showcase may well become a cornerstone of the international animation calendar.

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