Tweening the Scene

Slovenian Animated Film in 2025

In recent years, the field of animated film in Slovenia has taken significant steps not only towards improving the sector but also towards professionalisation. What was once seen as a niche or isolated artistic endeavour has grown into a lively, multidisciplinary sector spanning cinema, visual arts, design and storytelling – with increasingly strong international visibility. The year 2025 marks a pivotal moment for Slovenian animation, as celebratory achievements have illuminated what is possible, despite the persistent structural gaps that seem to remind us how far there still is to go. In this article, we’ll take a look at those achievements and explore ways to bridge the gaps.

Why Animated Film Matters: Creatively, Culturally, Economically

More than a genre or a medium, animated film is a language of its own, a form of expression that allows creators to express complex ideas, emotions and experiences that might otherwise be unreachable through live action film. For artists, animated film practices offer a space to blend craftsmanship and technology, narrative and metaphor, humour and critique. For audiences, animated films open imaginative worlds that often carry subtle yet powerful cultural, social and even political messages. For producers, the field presents both unique challenges and opportunities, which we will address in this article.

In a country like Slovenia, where live-action filmmaking resources are limited, animated film provides AV creators an additional platform for international collaboration and recognition. Animated films can be made in small studios across borders, often demanding less physical infrastructure despite the required additional time, skill and imagination. Such skill and imagination are why a growing number of Slovenian animators are earning attention at animation festivals such as Annecy and Zlín and even film festivals such as Berlinale or being nominated for European and US Academy Awards – and why it is worth asking what else is needed to turn such individual successes into a sustainable ecosystem.

First, let’s talk numbers to help us position the sector both within Slovenia and the larger European landscape.

The pivotal Strategic Plan for the Development of the Audiovisual Industry in Slovenia by 2030, produced in 2023 by the Slovenian Federation of Filmmakers’ Guilds, reports that in the period 2015–2019, the number of feature animated films in the EU grew by 10% compared to the previous period 2010–2015, from 50 to 55 per year. This data from the European Audiovisual Observatory (2022) points to a hopeful trend in the growth of the importance of animated film.

Looking at the numbers provided in the Strategic Plan, we see that in 2022, animated film represented a solid number of AV works created in Slovenia: 7 feature films, 12 feature documentaries, 21 animated (short) films and 6 live-action series (in addition to over 500 commercials and 400 music videos).

Likewise, the Strategic Plan also reveals findings from the European Audiovisual Observatory that, in 2021, Slovenia spent only half as much on overall film production as the EU average. Despite that, the AV industry is a consumer of goods and services as well as a generator of revenue. Studies show that “persons employed in the AV industry in Slovenia generated 73 thousand EUR in revenue per 1,000 residents in 2020.” If we apply this to Slovenia’s population, the total revenue would be approximately 146 million EUR. Considering the significant potential for the animated film sector, imagine the possibilities if Slovenia were to increase its investment to match the EU average! There’s a reason why certain countries are known for their AV industries: plain and simple, they invest in them at the national level, thus meaningfully contributing to a national film culture and heritage.

Slovenian Creators in the International Spotlight

Expanding on our overview of the scene from 2021, we see that, since then, creators of Slovenian animated film have continued to harness notable international breakthroughs:

Urška Djukić’s Granny’s Sexual Life (2021, production: Studio Virc; co-production: ARTE France, Ikki Films (FR)) received the European Film Academy Award for Best Short Film in December 2022. In February 2023, the film also received the prestigious César Award for Best Animated Short Film.

Špela Čadež, already one of Slovenia’s most internationally recognised animators, continued her string of successes with her acclaimed short Steakhouse (2021, production: Finta Film, co-production: Fabian&Fred, RTV Slovenia and Miyu Productions), a psychologically dark 10-minute short which swept through the worldwide festival circuit (2021–2023), winning won more than 30 awards, including the prestigious Short Film Jury Award in Annecy and several grand prix, as well as awards for best script, best director and best animation technique. Consistently praised for its unique hybrid style and intimate storytelling, it was also shortlisted for an Academy Award nomination for Best Animated Short Film.

Anja Resman’s Beyond the Face (2023, production: SPOK Films; co-production: School of Arts, University of Nova Gorica (UNG), Antitalent (HR), ZVVIKS, Tramal Films, RTV Slovenia) explores themes of identity and perception through a visually layered and introspective animation style, using the face as a symbolic space of transformation and tension between the seen and the felt.

Zarja Menart’s Three Birds (2024, production: Finta Film; co-production Adriatic Animation (HR) and RTV Slovenia) marked this artist’s directorial debut. Created using poetic cut-out animation, the film combines handcrafted visuals with emotional and psychological depth as it follows the story of a young girl guided through the dark landscapes of her inner world. Three Birds received numerous accolades, including the Special Jury Award at Animafest Zagreb 2024, the Vesna Award for Best Animated Film at the Festival of Slovenian Film (FSF) 2024, and Best Film at the Supertoon International Animation Festival. Distributed internationally by Bonobostudio, it has also been screened at major festivals including those in Krakow, Uppsala, Edinburgh and Ottawa.

Both Beyond the Face and Three Birds reflect the increasing maturity and diversity of Slovenia’s new generation of animation creators, many of whom are emerging through strong educational and co-production frameworks.

No doubt, this year’s gem is Tales from the Magic Garden, with its international premiere at the 2025 Berlinale marking a significant milestone. This stop-motion animated anthology, co-produced by studios from the Czech Republic, Slovakia, France and Slovenia (ZVVIKS), tells stories of childhood grief, memory and imagination through handcrafted puppet animation. Other festival appearances in 2025 have already taken it to Zlín, Seattle, Munich and Annecy …

The Slovenian presence at Annecy in 2025 was complemented by UNG School of Arts student Melita Sandrin’s film Arachnophobia and Fačuk by Croatian director Maida Srabović (a Slovenian minority co-production with URGH! production company, represented by Viva Videnović, and Octopics, represented by Damir Grbanović).

More young talents, such as Ana Čigon, Sara Bezovšek, Sandra Jovanovska, Darko Štante and Lea Vučko, many trained at the University of Nova Gorica School of Arts (UNG), the University of Ljubljana’s Academy of Fine Arts and Design or Academy of Theatre, Radio, Film and Television or through hands-on initiatives organised by the DSAF and CEE Animation, are entering the field with short films, concept art and animated experiments, some of which have won attention through regional showcases like CEE Animation Forum and AnimatekaPRO.

Success for creators would not be possible without the growing skills of production studios and producers (often creators themselves!) who are also utilising a wide variety of capacity-building opportunities and networking events to expand their skillsets and circles of collaboration.

CEE Animation Workshop – this international year-long training and networking programme for the development of animated projects and the advancement of producing skills is the only specialised training initiative in the field of animated film in the EU that is co-funded by the Creative Europe – MEDIA programme. The Slovenian Animated Film Association (DSAF) has been implementing the programme as the lead partner since 2017.

CEE Animation Labs is a series of short, five-day workshops for international participants, held alongside major international festivals and markets such as the Clermont-Ferrand International Short Film Festival (FR), DOK Leipzig (DE), When East Meets West (IT), and MIA – Mercato Internazionale Audiovisivo (IT). The labs are aimed at training newcomers in the field of animated film production or in the production of animated documentaries.

For projects further along in their development, the CEE Animation Forum attracts animated projects seeking co-producers, sales agents, broadcasters and funding to this annual marketing and pitching event held in the Czech Republic.

DSAF Animation Hub – multi-day workshops focused on developing skills in the field of animation. With the support of established international experts, participants explore a range of techniques, software tools and production processes used in animation, such as Quill, TV Paint and others. Many workshops are even geared towards beginners in the field.

DSAF Inkubator – This international initiative, launched by DSAF, supports the development and realisation of animated film projects by emerging authors through collaboration with production companies and established filmmakers and producers. It fosters talent development, professional advancement and breakthroughs in both the domestic and international animation landscape.

DSAF Residency: In collaboration with Magelis and with the support of the French Institute, DSAF runs an artist exchange programme in the field of animation with the city of Angoulême, France’s second-largest animation hub.

Exhibitions: DSAF also organises a number of exhibitions related to animated film, designed to promote Slovenian animation and explore alternative modes of exploitation and distribution. On 30 September 2025, they are set to open an exhibition on the Tales of the Magic Garden at the Slovenian Cinematheque.

Distribution: As the distributor of around 100 Slovenian animated films, DSAF curates thematic short film compilations, which are screened for school groups in cinemas across Slovenia. In 2024 alone, these screenings reached around 17,000 children, which reflects the equivalent of reaching one to two classrooms of children per day.

Kratka Scena – An intensive six-month workshop initiated by Kraken Film Society dedicated to the development of screenplays for short live-action and animated films. The programme covers both the theory and practice of screenwriting, guiding participants through idea development, scriptwriting and preparation for public project presentation (pitching).

This momentum is not accidental. It reflects years of grassroots organising, international networking and advocacy. However, sustaining it will require more than talent and recognition – it necessitates infrastructure, institutional support and a long-term vision.

Says Matija Šturm of DSAF, Tales of the Magic Garden is an “excellent example of a project finding its way through the extraordinary passion and commitment of the producers and animators involved. The film took eight years to make it from sketch to screen; ideally, with proper mechanisms in place, such a project would take less than four years.”

“Despite everything, the scale and limitations of production capacities in Slovenia currently allow only for co-productions of more demanding projects. We continuously inform decision-makers at the national and European levels about the need for strategic support to develop the capacities of the animation film industry – especially in small territories – where there is still tremendous untapped potential that could also yield significant economic impact.”

Professionalisation: Filling in the Missing Keyframes

Slovenian animated film has never lacked creative and innovative talent, a fact we can trace through a brief outline of this medium’s history in Slovenia or in the 2025 RTV Slovenia documentary Slovenian Animated Film. However, until recently, creators often worked in isolation, and few considered working in animated film a viable long-term profession, one capable of earning a consistent and decent living. Those missing keyframes have begun to emerge in recent years, thanks in part to the growing international visibility of Slovenian works, as well as targeted efforts to connect, support and professionalise the scene at home.

As shown above, DSAF has become an essential connector – organising events, linking animators with producers, training producers and coordinating Slovenia’s presence at international forums. Through its close engagement in CEE Animation, it is also a key driver of the international co-development mechanism currently in the advanced stages of being drafted.

The Slovenian Film Centre (SFC) has supported development and production with dedicated calls that recognise the specific timelines and resources required for animated film.

Through its strong leadership and international collaborators, AIPA, Slovenia’s collective rights management organisation for AV creators and producers, has helped members of the animation industry receive compensation for the use of their works. AIPA’s dedicated funds for Social, Cultural and Educational purposes have also supported professional development activities in the animation industry.

The School of Arts, University of Nova Gorica, through its first and second level degree programmes and production support, continues to train new generations of animators, often with an interdisciplinary or experimental edge.

There’s also a considerable number of students from the Academy of Fine Arts and Design of the University of Ljubljana who find their way into the field of animation, especially those from the Department of Sculpture. Students in both first and second-level cycles can work in animation with the professional mentorship of ALUO faculty members.

Ad hoc educational opportunities may provide additional skills, but do not usually lead to certifications or employment. For example, the DSAF Animation Hub skill-oriented workshops and residency programme … Likewise, the Public Fund for Cultural Activities of the Republic of Slovenia offers summer theatre and film workshops led by professionals in the field with various themes and skills that are sometimes related to animation or related activities (puppetry, film editing, etc.)

Animateka International Animated Film Festival continues to offer AnimatekaPro, a rich programme with educational and networking opportunities for creators of different generations and skill levels. Likewise, Stoptrik International Film Festival provides an important platform for stop-motion animation as well as a vital programme in Maribor.

Nevertheless, the sector remains precarious. Most studios are micro-sized. There are few salaried positions. Funding is almost always project-based. Moreover, while some co-productions offer lifelines, they rarely support the kind of long-term studio growth or employment continuity that a professional sector requires.

On the plus side, the timeline view of producers on Culture.si is helpful for tracing the steady growth – and staying power – of studios predominately focused on animated film, such as Finta Film (2003), INVIDA Internet Video Agency (2004), Strup Productions (2004), Bugbrain Studio (2006), ZVVIKS (2009), Tramal Films (2009), Temporama Film Society (2012), SPOK Films (2016), URGH! (DATE), Octopics (DATE) – proof of how animated film producers have played an important role in building the scene in the last several decades.

Animating Across Borders as a Growth Strategy

The animated film industry in Slovenia is an excellent case study in how vital international collaborations are to the field’s success. Fortunately, regional platforms and co-production networks have been expanding.

As previously mentioned, the CEE Animation provides a professional home for Central and Eastern European animated film producers and creators, helping projects gain visibility, partners and funding. This year’s special event, CEE Animation Conference GO!2025, was a critical moment in bringing together key industry leaders from film funds, production studios, festival programmers, educational institutions and researchers to discuss the possibilities for a co-development fund and a sector-wide statement on green animation.

International co-productions are on the rise, allowing Slovenian studios access to larger budgets, distribution networks and specialised expertise – particularly in stop-motion, sound design and 2D/3D hybrid workflows. Tales from the Magic Garden is a great case study. The production involved Slovenian studio ZVVIKS alongside MAUR Film (CZ), Artichoke (SK) and Vivement Lundi ! (FR).

While projects at Finta Film and Invida are increasingly integrating cross-border collaborations.

Participation at festivals such as Animafest Zagreb, Supertoon, Anifilm and industry events such as When East Meets West in neighbouring or regional countries and at Ljubljana’s Animateka continues to connect Slovenian creators with a broader professional community.

Still, except for CEE Animation, many of these relationships are often informal or dependent on project-specific ties. Continuing to develop a strategic approach – including shared training schemes, mentorships and cross-border studio hubs – is a vital factor in helping to elevate the entire region’s capacity.

Closing the Gaps: Aligning Structural Factors for a Smoother Flow

Despite progress, several structural factors stand in the way of full professionalisation. Even the attempt to outline them shows how intricately they are intertwined in a scenario that affirms how a shift in one has the potential to create a shift in the other, provided the necessary will and momentum.

The first factor is a funding issue. A few years ago, the animated film sector succeeded in establishing animation as a separate funding category within the Slovenian Film Centre (SFC), with a predetermined annual amount explicitly allocated for different stages of support for animated films: script development, project development and production. Despite this vital change in the right direction, the available funds do not allow for feature-length animated films or entire series to be produced on an annual basis. Minority co-productions are still tricky to pull off in this funding scheme, and majority co-productions are out of the question.

In addition, ongoing programming challenges at RTV Slovenia have limited the national broadcaster’s ability to expand its commissioning and/or broadcasting of homegrown animated works. Considering the wealth of potential for children’s content and cultural programming, supporting more than ten projects per year could have a substantial impact on the sector. That said, RTV Slovenia has been a co-producer of many of the most recent animated film successes, including Steakhouse and Three Birds, and there are more opportunities here that could be further fine-tuned.

Low production volume is both a symptom and a cause of the sector’s fragility. Only a handful of animated shorts are produced annually, while feature-length and serial content remains rare. This lack of continuity makes it nearly impossible to develop stable employment, attract investment or offer graduates clear career paths. As a result, many talented young animators and producers shift to advertising, gaming or leave the country altogether.

With a small domestic market and limited distribution opportunities, Slovenian producers are forced to look abroad for co-productions – often competing in high-stakes international environments without the structural backing enjoyed by peers in larger countries.

The current system, while rich in creativity, remains fragile – too often sustained by the passion and perseverance of individuals rather than a shared long-term vision supported by stable institutions and strategic coordination.

What’s Next? From Pipe Dreams to Production Pipelines

If Slovenian animation is to thrive – not just as an art form but as a sector – professionals in the field see implementing the following tasks as priorities:

1. Develop a National Animated Film Strategy, with input from DSAF, the SFC and the creators themselves.

2. Career Pipeline Development: structured internships, apprenticeships and mobility schemes to help graduates transition into sustained and sustainable employment.

3. Improve engagement with RTV Slovenia by creating incentives for airing Slovenian animation, especially for children’s and cultural content.

4. Support Studio Infrastructure, investment in shared facilities for sound, editing, CGI and hybrid animation techniques.

5. Continue Internationalisation, not only through festival participation but via targeted co-productions, cross-border residencies and educational exchanges that expand market reach, professional networks and skills.

The above priorities are drawn from public statements and strategies discussed by DSAF, the Slovenian Film Centre, sectoral recommendations from CEE Animation workshops, and comparative practices in neighbouring countries (Austria, Croatia, Italy, Germany), as well as feedback from Slovenian animators and producers in interviews and festival panels (e.g., AnimatekaPRO, Festival of Slovenian Film).

Matija Šturm sees the implementation of an international co-development prize for animated film as a first step in creating the necessary seed for advancing the sector, not just in Slovenia but regionally and internationally. Following the recent CEE Animation Conference GO!2025, animated film associations, producers, and national film centres are moving closer to implementing this new international mechanism.

Conclusion: From Keyframes to Continuity

Just as in animation – whether stop-motion or 2D – where individual frames rely on what comes before and after to create smooth and realistic movement, so too can coordinated efforts serve as a model for the broader macrocosm of Slovenia’s animated film sector. With strategic coordination, sustained momentum and well-orchestrated mechanisms, isolated successes could be connected into a coordinated and resilient system.

In 2025, the Slovenian animated film sector finds itself at a pivotal keyframe. With bold storytelling, refined craft and growing international audiences, the field has incredible potential. However, professionalisation cannot rely solely on passion – it requires thoughtful policy, targeted investment and integration across institutions.

Now is the time to celebrate achievements, address gaps and build the structures that will enable animation in Slovenia not just to exist, but to thrive. For the creators whose ideas need movement, for the audiences who deserve extraordinary stories and for a national cultural landscape ready to leap from sketch to screen.

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