About
the festival

In February, a group of young people from Espinho came up with the bold idea of creating an exhibition dedicated to animated films and comics: CINANIMA was born. With no financial guarantees, but with an innovative and decentralizing spirit, this initiative put Espinho on the animation map. In November, took place the rehearsal that would give rise to the first major international event exclusively dedicated to animation cinema, in Portugal.

From November 23 to 27, the first edition of CINANIMA - International Animation Film Festival took place, marking the beginning of a tradition that would become the oldest film festival, in Portugal, and the third oldest, in the world, in the animation category. The jury, composed of prominent figures at the national level, such as Álvaro Costa (the "spiritual father of the Festival") and Vasco Granja, together with internationally recognized names such as René Laloux, Hélène Blanc, and Gaston Roch, a lifelong supporter of the Festival, helped to consolidate its reputation from the outset.

CINANIMA began to establish strategic partnerships with renowned festivals such as Annecy, Zagreb and Ottawa. With a modest stand of just 10 posters in Annecy, Espinho was already making its mark on the global animation circuit. In 1978, the festival launched one of its most enduring experiments: the workshops led by Belgian professor Gaston Roch. In the competition, “Amir and the Princess”, by Nouredine Zarrinkelk, generated heated debates in the foyer of the Cine-Teatro São Pedro.

The film “The Bomb”, which comes from Japan, shares the line-up with productions from Holland, England and the USA. CINANIMA has gained a major new ally: UNESCO, joining other international organizations such as ASIFA, BILIFA and FICC.

In the last edition under the direction of the founding team, the festival opened up to lesser-known cinematographies, such as China, Turkey, Austria, Venezuela and Iceland. The spirit of CINANIMA began to assert itself: a festival free of political or economic pressures, centered on art and conviviality.

This year marked the break-up of the organizing and corporate committee, which was going through difficult times. António Gaio took over the running of the festival, beginning a long period of growth and recognition. CINANIMA received unprecedented media coverage and consolidated animation as an interventional and creative art.

CINANIMA's program expanded with workshops, seminars and exhibitions. For the first time, the competitive sessions were held at the Solverde Casino. The first animated generic for the festival also appeared, based on João Machado's poster.

CINANIMA surprised us with a remarkable program of retrospectives, revisiting great classics and paying homage to the evolution of animated cinema.

The Academy of Motion Pictures Arts and Sciences and ASIFA - International Animated Film Association, officially recognized the festival, elevating it to the status of an international reference. This year also saw the birth of the first Portuguese Animathon, a pioneering initiative for schoolchildren in Espinho. This intensive competition, with 20 hours of work spread over two days, challenged teams of six participants to plan, draw and film a thousand drawings, resulting in one-and-a-half minute short films based on a common soundtrack. The event took place in the Noble Hall of the Municipal Swimming Pool and was permanently attended by Gaston Roch, one of the great mentors of the CINANIMA workshops.

In its 10th edition, CINANIMA received a jury of excellence: Alves Costa (Portugal), Angel Puigmiquel (Spain), Borg Ring (Holland), Gyorgy Matolcsy (Hungary), Nicole Salamon (France). CINANIMA 86 highlighted great films, such as the Portuguese “Evasão” (Fernando Galrito, Joana Rebelo and Paulo Simões), “The Big Snit”, by Canadian Richard Condie, and “O Tocador de Flauta”, by Czechoslovakian Jiri Barta.

This year was marked by the death of Alves Costa, CINANIMA's “spiritual father”. However, the festival never ceased to surprise, and kept pace with the evolution of digital animation with the presence of specialist Robi Roncarelli.

To celebrate outstanding contributions to animation, the festival has created the António Gaio Award, a tribute to its longtime director, which is given to the best film in the national competition.

The number of films submitted exceeded two hundred for the first time, reinforcing the impact and relevance of the festival.

With more than 350 films entered and a program of renowned retrospectives, CINANIMA attracted nine of Europe's biggest television channels, including the BBC, Canal Plus and ZDF.

The festival celebrated 20 years of dedication to animation, establishing itself as one of the most important in the world. The film that stood out with the Grand Prize was “L'année du daim” by Georges Schwizgebel.

For the first time, the program included several renowned female directors, such as Faith Hubley, Caroline Leaf and Lesley Keen, signaling a paradigm shift in the role of women in the animation industry.

CINANIMA hosted ASIFA's annual meeting, strengthening its position on the world animation scene.

The festival inaugurated the Centro Multimeios and the Fórum de Arte e Cultura de Espinho, FACE, creating an innovative space dedicated to cinema, multimedia and higher education in the field of animation.

Michael Dudok de Wit's “Father and Daughter”, which was recognized with the CINANIMA Grand Prize in 2000, won the Oscar™ for Best Animated Short Film, a recognition of the festival's importance on the international scene.

CINANIMA celebrated a historic moment in Portuguese animation by recreating “O Pesadelo de António Maria”, the first Portuguese animated film. This milestone symbolized the rebirth of a tradition that was shaped by the pioneering spirit of António Maria. The project was a crucial step in the revitalization and development of animation in Portugal, bringing back to life a fundamental work of animated cinema.

CINANIMA took a big leap forward, expanding to several cities in Portugal. This growth marked a new phase for the festival, which began to have screenings and events in different locations, thus increasing its visibility and impact on the national film scene. The idea was to bring animation closer to a wider audience, making the festival a reference event for all lovers of the seventh art.

CINANIMA celebrated 30 years of dedication to animation, reaffirming its role as one of the leading festivals on the national and international scene.

In 2010, CINANIMA focused on training and education as the foundations for the future of animation. Launching an innovative educational program, the festival began actively collaborating with schools and universities, promoting animation literacy and encouraging emerging talent. This initiative was a way of nurturing a new generation of creators and preparing them for the demands and opportunities of the animation world.

CINANIMA has intensified its links with academia, promoting a showcase of the best of the world's animated auteur cinema. Currently, the festival has reached 18 academic partners across the country, bringing three screening programs that bring students and teachers closer to the artistic richness of animation. This initiative reinforces CINANIMA's role as an essential platform for the dissemination and appreciation of animation cinema in Portugal.

In 2015, CINANIMA bids farewell to António Gaio, its main figure for 35 years. With dedication and passion, Gaio was the soul of the festival, shaping it as a pillar of Portuguese and international animation. His legacy lives on in the film community, reflecting his unwavering commitment to art and to promoting new talent. The festival continues to honor his vision, celebrating animation with the same spirit he cultivated over the decades.

CINANIMA celebrated 40 years of history with a special edition full of retrospectives, masterclasses and exhibitions highlighting the evolution of animation. The 40th anniversary poster, created by João Machado, often hailed as the master of the poster, received international recognition with three GRAPHIS awards, reinforcing the festival's connection to design and visual art. In the same year, CINANIMA has also launched "Crianças Prime1rº", an innovative educational program that brings filmmakers to schools to create animated films with pre-school and primary school children. The initiative, supported by the National Film Plan, promotes active and multidisciplinary learning, allowing students to participate in all stages of film production.

Award-winning director Regina Pessoa, one of the most recognized names in Portuguese animation, gave a masterclass at CINANIMA. With a unique insight into visual narrative and animation techniques, she shared her experience with a new generation of animators, reinforcing the festival's role as a space for learning and inspiration.

In a year of unprecedented challenges, CINANIMA adapted to the reality of the pandemic and brought animation to the public through an online format. For the first time, the films were screened virtually, allowing viewers from all over the country to continue enjoying the festival safely, in the comfort of their own homes.

CINANIMA returned to in-person screenings and events in Espinho, bringing back the unique experience of movie-going. Pedro Serrazina took over the artistic direction of the festival, and the first Symposium “Olhares sobre a Animação Portuguesa” was held, reinforcing the commitment to reflection and discussion on the animation sector.

For the first time, a Portuguese film has been nominated for an Oscar™ in the category of Best Animated Short Film. Ice Merchants, by João Gonzalez, received the CINANIMA Honorable Mention for Best Sound Design and achieved worldwide recognition, putting Portuguese animation in the international spotlight.

CINANIMA marked a significant moment in the history of Portuguese animation by holding an exhibition celebrating 100 years of this artistic medium, in Espinho. The exhibition highlighted the most remarkable moments, the creators and the works that defined a century of animation cinema in Portugal. The exhibition reaffirmed CINANIMA's commitment to promoting, preserving and inspiring the art of animation, further consolidating the festival as a reference point for animation lovers around the world. CINANIMA's Grand Prix winner, “Our Uniform”, Yegane Moghaddam, was also nominated for an Oscar™ in the Best Animated Short Film category.

CINANIMA 2024 highlighted “Beautiful Men” with the Grand Prize and the City of Espinho Award, guaranteeing it qualification for the Oscars™. The festival also highlighted the feature films “Memoir of a Snail” and “Flow”, the latter of which achieved worldwide prominence by winning Best Animated Feature Film at the European Film Awards and received multiple awards in Annecy, New York and the National Board of Review. For the first time, the prestigious British animator Joanna Quinn conducted a masterclass “in loco” and filled the António Gaio room. The festival also promoted the first debate on Artificial Intelligence in Animated Film. As part of the celebrations for the 50th anniversary of April 25, “E se um dia a Liberdade” was shown, a film made by four school groups from Espinho and Ovar, in collaboration with the Escola Profissional de Música, celebrating the revolution through animation.ategory.