Animation Is Film 2026 Unveils Lineup With First-Ever Series

Animation Is Film (AIF) has announced the complete lineup for its ninth edition, marking a historic shift by opening with an animated series for the first time in festival history. The event will run from October 16 through 19 at the TCL Chinese 6 Theatres in Hollywood, featuring world premieres, award-winning titles, and studio presentations from animation’s most celebrated voices.

The festival will commence with the first theatrical presentation of the opening two episodes of Dana Terrace’s Knights of Guinevere, following the online debut of its second episode. Terrace, creator of one of the most beloved animated series of this decade, will attend the screening and participate in a conversation about the Glitch Productions theme park-set sci-fi thriller. This unprecedented opening represents AIF’s evolving recognition of episodic animation as a major creative force in the medium.

“We’re thrilled to kick off another lively, animated weekend of the year’s very best with a special theatrical presentation of Dana Terrace’s Knights of Guinevere,” said Matt Kaszanek, Animation Is Film’s Director. “Dana is the artist behind one of the most beloved animated series of this decade. So naturally, it is with otherworldly excitement that we embrace her return to showrunning with a big-screen presentation of this visionary series.”

Competitive Slate Features Award-Winning International Titles

The competition lineup includes nine features representing diverse voices and styles from across the globe. Iron Boy, directed by Louis Clichy, leads the competitive slate after winning the Un Certain Regard Special Jury Prize at Cannes and three awards at Annecy. The coming-of-age film joins The Violinist, directed by Ervin Han and Raúl García, which captured this year’s prestigious Annecy Cristal.

Cartoon Saloon returns to AIF with Julián, directed by Louise Bagnall, an adaptation of Jessica Love’s picture book Julián Is a Mermaid. The Irish studio continues its tradition of bringing literary works to animated life with distinctive visual storytelling. Also competing is Tangles, Leah Nelson’s adaptation of Sarah Leavitt’s graphic memoir featuring a star-studded voice cast including Abbi Jacobson, Julia Louis-Dreyfus, Bryan Cranston, Seth Rogen, Beanie Feldstein, and Samira Wiley.

North American Premieres and International Discoveries

The festival will host the North American premiere of Ghost – End of Night, the first original feature from Sonny Boy director Shingo Natsume. The Cannes selection Jim Queen, an adult comedy from French studio Bobbypills directed by Nicolas Athané and Marco Nguyen, will also screen in competition alongside Brazilian road movie O Filho da Puta (Son of a Bitch) from directors Otto Guerra, Érica Maradona, Tânia Anaya, and Sávio Leite.

Rounding out the competition are two distinctive directorial visions: Masanao Kawajiri’s formally playful romantic comedy Cherry and Virgin and Viva Carmen!, Sébastien Laudenbach’s reinterpretation of Bizet’s opera through the eyes of street children in 19th-century Seville. Laudenbach’s previous feature, Chicken for Linda!, won both AIF’s Grand Jury Prize and Audience Award in 2023, establishing his reputation for inventive, emotionally resonant storytelling.

Partnership With Annecy Strengthens Global Animation Network

Mickael Marin, CEO of CITIA, emphasized the continued collaboration between the festivals and their shared mission to champion bold animation worldwide. The partnership between AIF and Annecy extends the international journey of films and talents celebrated at the French festival, creating a vital pipeline for animated works to reach American audiences. This relationship has proven essential in elevating animation as a serious artistic medium beyond commercial studio releases.

“Continuing our commitment alongside Animation Is Film is a wonderful opportunity to extend, in Los Angeles, the international journey of the films and talents revealed and celebrated in Annecy,” said Marin. “We are delighted to contribute to their encounter with new audiences and to see AIF pursue, with this new edition, its essential mission in support of animation that is ever more bold, creative and free.”

Studio Presentations and Special Events Expand Festival Scope

Beyond competitive screenings, the festival’s lineup includes studio presentations, retrospective screenings, filmmaker talks, and works-in-progress sessions. Audiences can expect a behind-the-scenes look at Walt Disney Animation’s upcoming Hexed as well as a theatrical presentation of Paramount’s Avatar Aang: The Last Airbender. The program also features screenings of Yoshiaki’s Vampire Hunter D: Bloodlust and a preview of Matt Braly’s Clara and the Below, offering festival-goers rare glimpses into both classic works and developing projects.

These studio presentations represent AIF’s commitment to bridging independent animation and major studio productions, creating dialogue between different sectors of the industry. The inclusion of works-in-progress sessions provides emerging filmmakers with valuable exposure while giving audiences insight into the creative development process. This programming strategy has become a defining characteristic of AIF’s approach to celebrating animation in all its forms.

Festival Logistics and Access

The main programming will take place at TCL Chinese 6 Theaters in Hollywood, with the festival organized in partnership with GKIDS. Tickets are available now through the festival’s official website at AnimationIsFilm.com. The ninth edition continues AIF’s tradition of presenting animation as a diverse, sophisticated art form deserving of theatrical exhibition and critical attention equal to live-action cinema.

The festival’s evolution to include episodic content alongside feature films reflects broader changes in how audiences consume animation and signals growing recognition of streaming series as artistically significant works. By opening with Knights of Guinevere, AIF acknowledges that some of animation’s most innovative storytelling now happens outside traditional theatrical features. This programming choice positions the festival at the forefront of conversations about animation’s expanding creative boundaries and distribution models.