ANIMATION AWARD: Singapore-Produced Film Selected for International Competition
Why It Matters
The Annecy nomination validates Singapore’s animation capabilities, attracting global partners and elevating the country’s cultural export profile.
Key Takeaways
- •The Violinist selected for Annecy, Singapore’s first animation entry.
- •Co-directors blend Disney experience with local talent for authentic storytelling.
- •Production spanned a decade, with hand‑drawn 2D animation preserving timelessness.
- •International co‑production across ten countries secured funding and global appeal.
- •Film’s WWII music theme underscores resilience, aiming to resonate with Singaporeans.
Summary
The short film “The Violinist,” a hand‑drawn 2D feature set in Singapore and Malaya during World War II, has been chosen for competition at the Annecy International Animation Film Festival – the first time a Singapore‑produced animation has reached this prestigious stage. Co‑directed by Ervin Han and veteran Disney animator Raul Garcia, the project marks a milestone for the local industry and showcases the nation’s storytelling ambition.
Development stretched over ten years, with the final three to four years of intense production at Robot Playground Media. Garcia brought Disney Renaissance expertise, while Han supplied local cultural insight. Funding came from a blend of Singapore’s IMDA seed support and a global village of co‑producers in Spain, Italy and eight other countries. Music, composed by Golden Horse winner Ricky Ho and recorded with the Singapore Symphony Orchestra, was designed to be transformative and emotionally resonant.
Ervin praised his team’s perseverance, noting the hand‑drawn technique adds a fragile, timeless quality that suits the film’s themes of courage, resilience and the unifying power of music. Justin Deemon highlighted the cross‑border collaboration that overcame bureaucratic hurdles, emphasizing the universal appeal of a story about two childhood violinists separated by war. The narrative spans 90 years of Singapore‑Malayan history, positioning the film as both a love letter to the nation and a human‑focused wartime drama.
The selection signals Singapore’s emergence as a credible player in high‑end animation, potentially unlocking further international co‑production deals, talent pipelines and festival exposure. It also demonstrates how culturally specific stories, when paired with universal themes and classic hand‑drawn artistry, can compete on the world stage.
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