ANNECY: With Hungarian animation in the spotlight at MIFA this week, C21 explores the projects from the country that were unveiled and pitched to delegates in Annecy.

Hungarian pitches get under way at MIFA

Hungarian animation took centre stage at this week’s Annecy International Animation Film Festival & Market (MIFA), where the annual Alpine animation event celebrated the Central European country as its official Focus nation. In a showcase of Hungary’s century-plus tradition in animated storytelling, the festival presented five standout new projects yesterday that revealed the nation’s creative vitality and global ambitions.

Annecy first highlighted the country’s rich animation legacy through a Homage to Hungarian Animation. This section honoured classics such as Johnny Corncob (1973) and Son of the White Mare (1981), iconic works from Pannonia Film Studio that have long shaped global appreciation for Hungarian storytelling. But the festival’s emphasis wasn’t merely retrospective. In a nod to the fresh wave of national talent, Hungary’s presence at Annecy moved beyond archived classics to include a powerful slate of contemporary works.

Fairyheart was pitched within Annecy’s Work in Progress section

These opened with Fairyheart (1×100’), a sleek 2D animated film coproduced by Hungarian toon shops Mythberg Films and Cinemon Entertainment, Canada’s Lakeside Animation and Storyteller Pictures, and German partner Traumhaus Studios.

Presented as part of Annecy’s Work in Progress segment, the family project is directed by Anita Doron and promises a narrative layered with mythic storytelling and visually luminous style. By integrating cross-border production teams, Fairyheart represents a roadmap for Hungary’s positioning on the international stage and is due to start production in 2028.

Another Work in Progress entry was The Quest (Csongor és Tünde), a distinctly Hungarian feature presented by directors Mali Csaba and Pálfi Zsolt. Drawing on classic national literature, the film marks an effort to elevate home-grown IP for a global audience. Its progression through Annecy’s development pipeline marks the first steps toward full international sales and potential coproduction agreements. The 1×83’ film is being produced by Cinemon’s Reka Temple, based on a script from Krisztián Balassa and David Speier.

Tulip centres on a young woman readjusting after a hospital stay

Yesterday, MIFA also showcased five standout new projects to delegates as part of its Hungarian Pitch: a gripping horror short, a vibrant web miniseries about embracing life, a poetic tale of three generations of women, a playful preschool adventure and a heartwarming Christmas special.

Among the pitches was Tulip, a series coproduced by French prodco Avec ou sans Vous and Hungarian/Italian director Júlia Tudisco. The project follows a young woman adjusting to life after a transformative hospital stay. Produced by Valentin Maupin of Avec ou Sans Vous, the project blends intimate storytelling with 2D computer animation.

Also pitched was Three Wishes (Három Kívánság), a Christmas special directed by Katalin Glaser and produced by Orsolya Sipos for Hungary’s Salto Films. The 70-minute story centres on three children who, amid family tensions during the holidays, are granted three wishes by a magical Christmas carp. The production uses a mix of paper drawing, 2D computer and other techniques.

Christmas special Three Wishes is being produced by Orsolya Sipos for Salto Films

In the short film category, Witches’ Sabbath (Boszorkányszombat) brought a darker tone. Directed by Réka Szakály and produced by Gábor Osváth for Hungarian prodco Boddah, this 12-minute 2D piece portrays an ancient ritual that binds three women across generations – one of whom is already dead. With its enigmatic premise and atmospheric style, the short taps into folklore and psychological depth and is due to start production in 2026.

The preschool space was represented by Little Ollie & the Tiny Legs (Piciláb Meséi), a series of five-minute episodes for young children. Directed by Krisztina Murányi and produced by Bella Szederkényi Gray and Bálint Gelley of Cub Animation of Budapest, the show follows a three-year-old fascinated by vehicles of all kinds. As he tackles small, everyday challenges, his favourite toys come to life to help him navigate the world around him. The series uses 2D computer animation to create a playful and relatable environment for its preschool audience.

Preschool series Little Ollie & the Tiny Legs follows a three-year-old fascinated by vehicles

Rounding out the pitches was Ergot, a short horror film about a worker in a wheat mill who is haunted by the loss of his child, in the form of a demon, which leads to a catastrophic end. The 12-minute black and white film is from director Damjan Lazin and producer Zsuzsanna Vincze (MOME).

Within Annecy’s marketplace, Hungary also established a strong presence. The country’s National Film Institute (NFI) maintained its prominent booth, where it engaged with buyers, distributors and coproducers from across Europe and North America. The vendor stalls reflected Hungary’s ambitious positioning as both a creative export and strategic production ally, especially with recent coproductions like Cinemon’s toon movie Four Souls of Coyote winning international acclaim in 2023.

Although it premiered at Annecy two years ago, Four Souls of Coyote’s presence this week – as part of an ongoing international roll-out supported by France’s Gebeka International – gave delegates a good example of what Hungarian animation can accomplish in terms of awards, financing and cross-border partnerships.

Annecy 2025’s focus on Hungarian animation underscores an identity that is both rooted and forward-looking. The classics, restored and celebrated, stand alongside the next wave. That the NFI’s storytelling tradition spans 110 years and continues to spawn projects from national mythology to cross-disciplinary media makes Hungary an animation case study worth watching.

As Marcel Jean, artistic delegate of the Annecy Festival, said when Hungary was announced as country in focus for the event: “Despite political upheavals, the rich history of Hungarian animation has never wavered. In 1981, Ferenc Rofusz won the Oscar for Best Animated Short Film for The Fly, while in 2005, Géza M Tóth’s short Maestro was nominated in the same category.

“Over the past 20 years, numerous student films have heralded the arrival of a true new wave. Recent successes from filmmakers like Flora Anna Buda, Balázs Turai, Nadja Andrasev and Áron Gauder further confirm this and demonstrate the cultural dynamism and deep originality of the country’s animation production,” Jean added.

This year’s Annecy spotlight confirms Hungary’s role as an increasingly visible force in European animation. And as Hungary enjoys its moment in the international animation spotlight, these projects exemplify its growing creative confidence and export potential.