COMPETITION
Endless Cookie
Original：Endless Cookie
Director: Seth Scriver, Peter Scriver
Reason for selection
This film is a compelling work that skillfully weaves together personal narrative, creative process, and commentary on native Canadian culture. At its heart, the film is a story about family, offering an intimate look at the core unit while allowing the audience a peek into the very process of its creation. This meta-narrative, where the “insight within how you create animation” becomes a “story within itself,” deepens the viewer’s engagement and highlights the artistic bravery of the creators to “veer off from the intended story or structure” and “allow for happy mistakes” or “creative digression.” A powerful element of the film is its “Connection with native culture.” It approaches the difficult topic of “how fragmented it has become,” with the creative choice to mirror this societal brokenness in the film’s structure itself. This thematic density is balanced by a unique tone—a “Serious tone surrounded by absurd humor.” The “quirky design lends to the balance ensuring the weighty issues are digestible and engaging. With storylines like the arrested kid whose lawyer is depicted as a snake offering a grim choice, or the mention of a daughter who tragically killed herself, handled without being generic or sentimental. Crucially, the film manages to “Brings social issues to light without being overly emotional or pandering.” It employs a “unique way to talk about serious issues surrounding generational trauma and cultural displacement. The experience makes the audience “felt welcome to be part of the family,” allowing them to “Learn about their plight and celebrate their victory,” making “family history” a central, emotionally resonant theme.
A Story About Fire
Original Title: 燃比娃 Ran Bi Wa
Director: Wenyu Li
Reason for selection
This work of exceptional artistry and thematic depth goes beyond the scope of a simple origin myth to explore profound questions of inheritance and transformation. It is not a story about the origin of humans, but a powerful reflection on what it means to become human. The narrative reframes the journey as one of transmission and rupture, where a human mother passes on intention—warmth and fire—rather than mere biology, a concept naturally embedded in the name’s suggestion of “a being that is becoming human, touching fire, and standing on the border.” This approach modernizes an ancient story, ensuring nothing is obvious or predictable. The film’s visual and technical execution is masterful. The artwork and its fantastical elements, immediately sets it apart with a unique class. The viewer can feel the tactile quality of the art, noticing the deftness of brush strokes, the paper texture, and the inclusion of diverse materials like embroidery, pieces of rock, and shadow puppets. The overall quality of the animation, from the movement of the humans and animals to the snow effects, is brilliant and masterfully executed, demonstrating an impressive diversity of techniques. Compositionally, the film is stunning; each frame looks like a painting, with well-thought-out shots that are never systematic or repetitive. The dramatic tension is elevated by the strategic use of gray and black until the reveal of the lava within. The narrative holds the suspense with drama, balanced by ample humor, which helps the audience become emotionally attached to the beautifully executed characterizations of the monkey, dogs, and wolves.
100 METERS (Hyakuemu.)
Original Title: ひゃくえむ。
Director: Kenji Iwaisawa
Reason for selection
The selection was determined by votes cast by audience members who viewed the films in the Competition section.
General Commentary
The inaugural edition of the ANIAFF showcased an exceptional breadth of artistic expression and storytelling, a testament to the discernment of the selection committee. The curated lineup was not only artistically driven but also remarkably accessible to a wide audience, ensuring that no film felt too obscure or distant. Every title offered a profound lesson and felt wholly original, steering clear of generic narratives. A defining characteristic of this year’s selection was the prevalence of universal themes regarding humanity—such as introspection, family bonds, and cultural identity—which resonated deeply across different cultural backgrounds. Films like Olivia and the Invisible Earthquake used a mainstream form to explore real-life themes of poverty and depression, while others ventured into more complex territory. For instance, we were introduced to social issues previously unfamiliar, such as First Nation issues in Canada, as seen in Endless Cookie, and the plight of indigenous people in Brazil as depicted in Nimuendaju, demonstrating the program’s commitment to global awareness. The selection was a truly international affair, with entries hailing from all corners of the world and no single region dominating the competition. This great variety in animation expressions ensured that all titles touched upon important themes, leaving a lasting impression. It was a privilege to share this diverse cinematic experience with the community of Nagoya, where the audience’s real-time reactions enhanced our understanding of the films. The winning works ultimately distinguished themselves by their ability to emotionally resonate with the jurors long after viewing. They were films that fully leveraged the unique possibilities of the animation medium, presenting visuals that looked new and fresh while simultaneously exemplifying the enduring strength and beauty of traditional animation techniques. It has been an honor to be part of the first edition of the ANIAFF, and we are confident that the high tone and artistic standard set by this selection will serve as a foundational benchmark for future ANIAFFs.
FILM FESTIVAL LOGO
The Aichi–Nagoya International Animation Film Festival considers the development of the next generation to be one of our main missions. The festival is committed to supporting young talent across all areas of creation related to animation.
The logo, which is an essential piece in communicating the festival’s image, was selected through an open call targeting students studying graphic design in Nagoya, Aichi Prefecture. Following a rigorous and careful review process, the design submitted by Ms. Yuika Koyamada and Ms. Marin Seko of HAL Nagoya, CG, Design & Animation Four-Year Program, CG Designer Major, was chosen for adoption.
Japanese Ver. (Horizontal)
English Ver. (Horizontal)
Japanese Ver. (Vertical)
English Ver. (Vertical)
COMMENT
Comment by Yuika Koyamada
I am truly honored to have been given the opportunity to design the logo for this festival. Using the "Shachihoko," a symbol of Aichi Prefecture as the central motif, I aimed for a pop and character-like design that would also appeal to younger generations. While preserving the unique arched posture of the Shachihoko, the overall shape is arranged into a round silhouette, representing the Japanese flag. Also, by incorporating reel perforations and related patterns to symbolize the elements of film, I ensured that both the host location and the theme of the event are conveyed naturally through the design. I would be delighted to see this logo embraced by many people and help make the festival even more appealing. Thank you very much.
Comment by Marin Seko
I am truly grateful to have been given the opportunity to take part in creating the logo, and I have approached the work with great care. This festival is an event that I have also been eagerly looking forward to, and in designing the symbol that represents it, I tried to express the sense of excitement and anticipation that animation inspires. To ensure the logo would feel approachable to all visitors, I designed it with a rounded and pop-like impression overall, while also hoping that through its logo, it would naturally draw attention to the uniqueness of Aichi, the host location. I hope that this logo will be cherished by many and continue to be loved alongside the festival for years to come. Thank you so much for this invaluable experience.
JURIES
Pénélope Bagieu
Born in 1982 in Paris to Corsican and Basque parents, Pénélope Bagieu studied at the École Nationale Supérieure des Arts Décoratifs in Paris, where she specialized in multimedia and animation. After graduating, she began working as an illustrator on major advertising campaigns, book covers, and press publications. Her blog, ‘Ma vie est tout à fait fascinante’, in which she humorously and sharply portrays her daily life, became a publishing success after its online popularity. Her work, translated into many languages, has received numerous awards and accolades: the SNCF Prize at the Angoulême Festival and the BD Award for Best Humour Album in 2011 for Cadavre Exquis, the Harvey Award for Best European Book in 2018 for California Dreamin, the Eisner Award for Best U.S. Edition of International Material in 2019 for her two-volume Brazen, which has been translated into twenty languages, the Babelio Comics Prize in 2020, and the Quebec Booksellers’ Youth Comics Prize in 2021 for her adaptation of Roald Dahl’s The Witches. Her success has been phenomenal. The first two volumes of her Joséphine trilogy were adapted into films in 2013 and 2016, starring Marilou Berry in the lead role, and Brazen was adapted into an animated TV series in 2020. Pénélope Bagieu was named a Chevalier des Arts et des Lettres in 2013.
Aubry Mintz
Aubry Mintz has worked as a feature animator (ILM, Square USA) and directed projects for Smirnoff, McDonalds, MuchMusic and General Mills and the Canadian rock band Rush. His short-animated film “Nothing to Say” narrated by celebrity Danny Aiello screened at 41 festivals around the globe and won awards at Australia Independent Film Festival, Arctic Film Festival (a United Nations SDG Initiative), Palm Springs International Animation Festival, Anchorage Film Festival, NFMLA, and Canada Shorts. Mintz is also a co-author for the book “Ideas for the Animated Short 2nd Edition” and writer for Cartoon Brew, Animation Magazine, AnimationScoop.com and IndieWire.com. Mintz presented at Disney Feature Animation, Blue Sky Animation Studios and DreamWorks Animation, San Diego Comic Con, SIGGRAPH , Lightbox Expo, and Wondercon. Aubry was also guest host on TV’s Turner Classic Movies (TCM) for a 4-hour program on the animated short films from the National Film Board of Canada and he was featured in the documentary “Autism Goes to College” Mintz is Professor of Animation at California State University Long Beach and the Executive Director of ASIFA-Hollywood.
Shuzo John Shiota
Shuzo John Shiota was raised in the United States and is a graduate of the Sophia University Faculty of Law, Department of International Legal Studies. After joining the Nippon Steel Corporation in 1991, Shiota went on to participate in the launch of Dream Pictures Studio in 1997. He moved to Polygon two years later and in 2003 assumed the position of President and CEO. As studio head Shiota has spearheaded efforts to cultivate Polygon’s overseas presence, helping the studio to become a leading developer of TV series and content targeted at the foreign market. Shiota has also served as a judge at major Japanese and international film festivals including Prix Ars Electronica (AUS), SIGGRAPH (U.S.) and the Annecy International Animation Film Festival (France). He also presided as conference chair for SIGGRAPH Asia in December 2021, and in 2022 received a Special Achievement Award at the 25th Japan Media Arts Festival. In 2023, he received a Hall of Fame Award from Animation Magazine in the U.S. He is a member of the Academy of Motion Picture Arts and Sciences (AMPAS). His hobbies include playing in a band.
CREDITS
Organizer
Aichi Nagoya International Animation Film Festival Executive Committee
General Producer
Taro Maki
Festival Director
Shinichiro Inoue
Artistic Director
Tadashi Sudo
Planning and Production
GENCO inc.
Co-hosted by
Nagoya City, Aichi Prefecture
Cooperation
Nakanihon KOGYO Co., Ltd., Tokyu Recreation Co., Ltd., Shinto Tsushin Co., Ltd., Japan Educational Foundation – Nagoya Mode Gakuen & HAL Nagoya, animate, BV Communications Co., Ltd., Toei Company, Ltd., Toho Co., Ltd., Shochiku Co., Ltd., KADOKAWA Corp., Nippon Animation Co., Ltd., Bones inc., Avex Pictures Inc., Pony Canyon Inc., Aniplex Inc., khara, Inc., Tatsunoko Production Co., Ltd., DMM.com LLC, Tms Entertainment Co., Ltd., Good Smile Company, Inc., Warner Bros. Japan LLC,, Studio Pierrot Co.,Ltd., CHIZU, Inc., MAPPA Co.,Ltd., Bandai Namco Filmworks Inc., New Deer Inc.
Sponsor
Institut Français, Alps Alpine Co., Ltd., Hijikata Clinic Miyata Branch, Netflix
Special Cooperation
AASIFA-Hollywood, Women in Animation
COMMENTS
Taro Maki (General Producer)
With the distinguished support and efforts of Governor Hideaki Ōmura of Aichi Prefecture, Mayor Ichirō Hirosawa of Nagoya City, and all other parties concerned, we are honored to announce the inauguration of the Aichi–Nagoya International Animation Film Festival.
Animation, one of Japan’s most representative cultural industries, traces its origins to film. Since then, with each transition in media—from television to home video and, more recently, to online streaming—it has achieved remarkable development, steadily expanding its global audience. The advancement of digital technologies has further diversified not only artistic and technical modes of expression but also the thematic messages conveyed through animated works.
Through this festival, we aspire to serve as a driving force in disseminating, enhancing, and continuing the evolution of the value embodied in this increasingly diverse field of animation.
Shinichiro Inoue (Festival Director)
For the past three years, I have served as Festival Director of the Niigata International Animation Film Festival with a strong desire to elevate the status of animation, revitalize regional cities through its power, and expand networks of people both domestically and internationally through animation.
Thanks to the support of many, the Niigata International Animation Film Festival has seen increasing attendance year by year and a marked enrichment of its program. Through this experience, I have witnessed firsthand the potential of animation to contribute to regional revitalization. In Niigata, animation culture has firmly taken root.
I had considered my role there complete after three years. However, I was recently invited to contribute to the launch of a new animation festival in Aichi Prefecture and Nagoya City.
Nagoya is Japan’s third-largest city. Tokyo is the administrative hub, and Osaka is the commercial center. In contrast, what should Aichi Prefecture and Nagoya aspire to become? I believe that "culture and the arts" represent the ideal image to pursue.
The region’s renowned creativity and craftsmanship in the automotive, steel, and machinery industries resonate with the spirit of pop art. As Yoshiyuki Tomino, director of Mobile Suit Gundam, once described himself as "a man of the town," animation—like any craft—is supported by the dedication and skill of those working on the ground.
Through animation, I believe it is possible to create a new fusion of industry and culture in this region. The newly established Aichi–Nagoya International Animation Film Festival (ANIAFF) holds this potential. Its accessible location, convenient both for visitors from Kanto and Kansai as well as international guests, positions it as a festival brimming with opportunities for cultural exchange.
I am determined to contribute to the creation of a new animation culture here and to work alongside all of you to make ANIAFF a vibrant success. I sincerely hope for your support and cooperation in this endeavor.
Tadashi Sudo (Artistic Director)
"Globalization," "borderlessness," and "next-generation technology"—the world is undergoing profound change. Animation, at the forefront of visual expression, is often the first to reflect these cultural and societal shifts. By asking, "Where is animation headed?" and "Where should it go?", we gain a glimpse into the culture of the future.
The Aichi–Nagoya International Animation Film Festival aims to be a new kind of festival that captures and presents the emerging trends in the world of animation at the earliest opportunity. Cutting-edge animation culture from around the world will converge here, creating connections between the local community and the global stage.
Over the course of six exhilarating days, we hope to offer experiences filled with excitement and wonder—moments unlike any before. Our goal is to create a festival where something truly special happens, something that will be remembered.
Hideaki Omura (Governor of Aichi Prefecture)
I am truly delighted that an international animation film festival is being held for the first time in Aichi Prefecture. Our prefecture is not only known as the birthplace of many creators, such as Akira Toriyama, author of the globally popular manga “Dragon Ball”, and Kōhei Horikoshi, author of “My Hero Academia,” but is also deeply connected to animation culture through attractions like "Ghibli Park," which captivates fans from around the world, and the "World Cosplay Summit," one of the largest cosplay events in the world. By leveraging these regional strengths and welcoming talented creators from around the world, who bring diverse worldviews and exceptional creativity to their work, I am excited to see Aichi become a central hub of international cultural exchange and for the vibrancy of the entire local community to continue growing. I hope that through this film festival, visitors from around the world will experience memorable moments and meaningful encounters that are unforgettable.
Ichiro Hirosawa (Mayor of Nagoya City)
On the occasion of the inaugural Aichi-Nagoya International Animation Film Festival, I would like to extend my greetings on behalf of the host city, Nagoya.
This film festival is being held with the aim of gathering animated works from around the world and contributing to the development of Japan’s animation culture and industry, as well as talent discoveries and development through screenings, awards, and various related programs.
I would like to express my deep gratitude to all parties involved for their understanding and support in hosting this festival.
Nagoya is the birthplace of the World Cosplay Summit, and as a city, we have declared ourselves a "Cosplay Host Town" in our effort to become the best place in Japan to enjoy cosplay and anime and the world’s most welcoming city for fans. Moreover, our region is home to Ghibli Park—a one-of-a-kind park that expresses the unique world of Studio Ghibli, one of Japan’s proudest cultures honored globally—making animation already one of the key fascinations of this area.
By leveraging this animation culture, we will ensure and support this film festival to share the cultural value of animation with the world, foster diverse cross-border cultural exchange, and enhance the brand image of "Japan—the great animation nation."
I would like to conclude my congratulatory address by sincerely wishing for the success of this film festival and the animation industry to continue growing.
AWARDS
[ ANIAFF Awards Overview ]
As part of our mission to promote the development of animation culture, ANIAFF has established an awards program. We believe that animation culture is built upon the creative dedication of the production staff. Currently, opportunities for these staff members to have their talents and achievements recognized are rare. Through these awards, we hope to help bring their vital contributions to wider public attention.
We have established three distinct awards: two Individual Awards (the Iris Prize and the Lily Prize) and one Studio Award (the Red Maple Prize).
[ What is the Iris Prize? ]
The name of this prize originates from the Japanese iris, the prefectural flower of Aichi Prefecture.
[ What is the Lily Prize? ]
The name of this prize originates from the lily, the municipal flower of Nagoya City.
[ What is the Red Maple Prize? ]
The name of this prize originates from the Japanese red maple, the prefectural tree of Aichi Prefecture.
Iris Prize
Kenji Iwaisawa
[ Profile ]
Director Kenji Iwaisawa, who rose to prominence with "Music," now turns to depict men who devote themselves to the 100-meter sprint. Its powerful story is truly tear-jerking. The film also stands out for its ambitious use of animation techniques, including rotoscoping and hand-drawn expression.
[ Reason for selection ]
An Individual Award – The Kakitsubata Award, named after Aichi Prefecture’s official flower, will be presented to Kenji Iwaisawa. His 2020 indie film, "On-Gaku: Our Sound," earned widespread acclaim internationally. Not only did he single-handedly complete every major creative role—director, screenwriter, animation director, and art director—but the film’s avant-garde expression, bold artistic approach, and innovative use of rotoscoping techniques were remarkable achievements in themselves. In 2025, he released "100 METERS", further demonstrating his ability to create dramatic storytelling and showcasing the breadth of his filmmaking skills.
Lily Prize
Kiyoshi Hirose
[ Profile ]
A film editor and President of EDITZ Inc. After working at GONZO and SANZIGEN, he became independent. His major editing credits include the DAN DA DAN series, Your Color, Look Back, BLUE GIANT, INU-OH, Children of the Sea, the Ranking of Kings series, and the JoJo’s Bizarre Adventure series.
In recent years, he has been utilizing DaVinci Resolve to improve editing workflows and asset-sharing methods in close collaboration with production and direction teams.
In addition to animation, he has extensive experience in live-action editing and direction, as well as concert footage and music videos. He brings the perspectives and methodologies gained from working across these diverse fields into the production process.
[ Reason for selection ]
An Individual Award – The Yuri Award, named after Nagoya City’s official flower, will be presented to Kiyoshi Hirose. As the CEO of Edits Inc., Hirose has overseen editing for numerous acclaimed anime titles, including "Dandadan," "Look Back," and "BLUE GIANT." Considering the crucial role that editing plays in anime production, it’s no exaggeration to say that the success of modern Japanese animation would not exist without his contributions. We are honored to recognize Hirose, a leading figure in the field, for both his outstanding achievements and his efforts to showcase the importance and artistry of editing to the world.
Red Maple Prize
P.A. WORKS Co., Ltd.
[ Profile ]
Founded in November 2000 and celebrating its 25th anniversary this year, this animation studio is headquartered in Nanto City, Toyama Prefecture. The company is known for producing many original-story works and for taking on a wide range of genres. Guided by its philosophy of "creating lights that illuminate the future," the studio strives to create works that inspire both creators and viewers to feel, "I can do my best again tomorrow."
Since 2018, the studio has also operated the "P.A. Training School," placing a strong focus on nurturing the next generation of creators.
Major works include true tears, CANAAN, Angel Beats!, Hanasaku Iroha, TARI TARI, SHIROBAKO, The Eccentric Family, Ya Boy Kongming!, and Skip and Loafer.
[ Reason for selection ]
A Studio Award – The Hanano-ki Award, named after Aichi Prefecture’s official tree, will be presented to P.A. Works Inc. Since its founding in 2000, the studio has built an impressive record in both planning and production, consistently showcasing exceptional creativity across its works, from original titles to adaptations of manga, novels, and games. Furthermore, at a time when very few animation studios operated outside the Tokyo area, the company established its headquarters in Toyama Prefecture, setting a new model for what an animation studio could be and influencing many studios that followed.
ACCESS
ACCESS
Midland Square Cinema, Midland Square Cinema 2, 109 Cinemas Nagoya, Nagoya Convention Hall, Winc Aichi
ACCESS TO NAGOYA STATION AND SURROUNDING AREA
・Train
Trains: A total of nine railway lines serve Nagoya Station (JR Tokaido Shinkansen, JR Tokaido Main Line, JR Chuo Main Line, JR Kansai Main Line, Nagoya Municipal Subway Higashiyama Line, Nagoya Municipal Subway Sakura-dori Line, Kintetsu Nagoya Line, Meitetsu Nagoya Line, and Nagoya Rinkai Rapid Transit Aonami Line).
・By Air
Air Route: As fast as 28 minutes from Chubu Centrair International Airport to Nagoya Station (when using the Mu-SKY Limited Express).
・By land
Land Route: From the Tokyo area → Approximately 4 hours via the Tomei Expressway
From the Osaka area → Approximately 2 hours 30 minutes via the Meishin Expressway or Shin-Meishin Expressway