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Could Short People Have an Advantage When It Comes to A-Fib?

TUESDAY, Nov. 19, 2019 — Tall folks might be able to reach that high top shelf, but there’s a price — they may be more likely to develop a potentially dangerous abnormal heart rhythm than shorter folks.

New research finds that a person’s risk of atrial fibrillation (a-fib) increases by about 3% for every inch over the average height of 5-foot-7.

Further, it appears that certain genes linked to height also are associated with a-fib, said lead researcher Dr. Michael Levin, a cardiology fellow at the University of Pennsylvania Perelman School of Medicine.

Atrial fibrillation is a quivering or irregular heartbeat that increases a person’s risk of stroke fivefold. It also raises risk of blood clots, heart failure and other heart-related diseases, the American Heart Association says.

Knowing that tall folks are at increased risk of a-fib could help prevent deaths and disease related to the heart condition, Levin said.

“While we can’t change your height, we may be able to modify other risk factors for a-fib in taller individuals and be more aggressive about controlling blood pressure or diabetes or cholesterol,” Levin said.

For this study, Levin and his colleagues analyzed genetic data from two international databases.

They looked specifically at genetic variants associated with height in one group of more than 700,000 people, and then identified mutations associated with a-fib in another group of more than 500,000 people.

Statistical analysis revealed that genetic variants linked with height were also strongly associated with a-fib, the researchers found.

Taking it a step further, they then analyzed medical data on nearly 7,000 individuals enrolled in a biobank at the University of Pennsylvania.

They found that height — and the genetic variants associated with height — are both strongly associated with an increased risk of a-fib.

However, they’re still at a loss for an explanation why, Levin said, and the study did not prove cause and effect.

One theory has held that tall people have larger hearts, and the size of the heart might increase a-fib risk, he said.

“We were able to adjust for that, and it doesn’t seem to be related to heart size,” Levin said.

Even without an easy explanation, the identification of genes associated with both height and a-fib opens up new doors for future research, said Dr. Michael Valentine, who reviewed the findings. He is immediate past president of the American College of Cardiology and a specialist in cardiac rhythm.

“I thought it was fascinating when they separated all other genetic factors, that height turned out to be a positive factor in the development of atrial fib,” said Valentine, a senior cardiologist at the Stroobants Cardiovascular Center of Centra Health in Lynchburg, Va.

“With the epidemic of a-fib we see in the world and an aging population, we’re going to need earlier and more effective genetic markers to determine where we can have impact on the disease earlier in life,” Valentine said.

The findings were presented this weekend at the American Heart Association’s annual meeting, in Philadelphia. Such research is considered preliminary until published in a peer-reviewed journal.

More information

The American Heart Association has more about atrial fibrillation.

© 2019 HealthDay. All rights reserved.

Posted: November 2019

Drugs.com – Daily MedNews

Planting and Taking Care of Cannabis Seeds – A Short Guide

We all love cannabis, right?

Most of us who live in legal areas smoke marijuana regularly. But how many of us have ever wondered about how these sweet, heart-melting green fluffs of heaven are made?

It is quite easy to take the marijuana bud, crush it, grind it, and smoke it. But if you go behind the scenes and try to find out how much goes into growing a healthy cannabis plant, you will be surprised.

Don’t worry!

We aren’t here to write long paragraphs and bore you!

We are just going to tell you a little about how to grow marijuana yourself at home. It’s not rocket science, but you should have basic knowledge before you jump into it and start the journey yourself.

So where should you start?

First!

You need marijuana seeds. Getting high-quality seeds is easy if you know where to look. Make sure you don’t buy seeds from dodgy people around your neighborhood.

There are so many different marijuana seed banks that ship to the USA. Just order whichever strain you like from them, and they will make sure it gets delivered safely to your doorstep.

Easy, yeah?

So now that you have cannabis seeds, you will need to germinate them. Generally, the germination process can take two days for marijuana seeds.

But how would you know that the seed is germinating?

Basically, you notice that small sprouting happens through your cannabis seeds. Once these sproutings are between ½ and ¾ inch in size, you can consider it as germination phase end.

The newborn sprout should be white in color. Make sure you handle it with care and transfer it into a growing medium.

You find growing mediums online if you want or you can use a mixture of sterile soil and compost. Another great sprouting medium is a rooting cube. These are usually made out Rockwool and are great as they hold both water and air inside it.

Still with us? Don’t worry! It will be worth it. READ ON.

Keep this medium moist at all times as your cannabis seed loves a moist environment.

Now it will time to plant these seeds inside the soil. Make sure that the soil is fluffy and airy. We don’t want a huge rock-solid lump of soil.

Without touching the sprouts with bare hands, take them, and gently put them in the soil. You can use sterilized tweezers to do the transferring.

Make sure you don’t keep the germinated seed in the open air for too long, do this step quickly and carefully.

Pre-digging smalls holes in your soil will help you place the seeds directly into it.

Pretty easy stuff, huh?

Cover these seeds with a layer of soil no more than ¼ inch. Anything more and the sprout may struggle to come out the soil. We need a very bare minimum layer of soil on the seed.

Now you need to wait and keep an eye on the soil. It should not get dry, keep spraying water very lightly and keep it moist.

This is the delicate part!

Shortage of moisture will make the seed die, and too much of moisture will drown it. Make sure it all in balance.

Light watering once or twice a day is generally enough, but this will change depending upon your environmental conditions.

The small marijuana seedlings don’t like sunlight, so make sure you don’t give them direct sunlight. Although, you can place them in a cool light and warm atmosphere.

When the seedlings start to grow and change into a small plant, we would call it vegetation plant phase.

In the vegetation phase, you would need specific lighting conditions, nutrition input, and environment. We would not bore you will all the details right now, but after the vegetation stage, you plant will beout of danger zone.

A little bit of caring will make the plant grow vigorously and go into flowering stages and give you those awesome cannabis buds at the end.

See, didn’t we tell you? It’s not rocket science! XD

Shane Dwyer
Author: Shane Dwyer
Shane Dwyer is a cannabis advocate who isn’t afraid to tell the world about it! You can find his views, rants, and tips published regularly at The 420 Times.

Marijuana & Cannabis News – The 420 Times

BFI Launches Short Form Animation Fund Supporting UK Creatives

The British Film Institute has launched a new Short Form Animation Fund, offering support for higher-budgeted animated works from U.K.-based teams, Animation UK reports.

“Short animated films are the bedrock of our animation industry,” commented producer Phil Davies or Astley Baker Davies / The Elf Factory Ltd. / Gastons Cave Ltd. “Be it stunning visuals or challenging shorts of the avant-garde, all have a home in this wonderfully eclectic art form. They not only act as a driver for the animation film and TV industries, but have also established themselves as an essential art form in themselves. Some of the purest story telling you’ll ever see.”

Two years ago, Animation UK set out to support growth in the sector and a secure production base by lobbying for further investment in the nation’s globally respected animation industry. In addition to vigorous support for the Young Audience Content Fund, and increased commitments from broadcasters in response to the Children’s Content Review, Animation UK joined the BFI’s consultation on support of the sector, which was identified as a priority in their five-year strategy BFI2022. The organization gathered evidence on the impact of reduced dedicated support for animation over the last decade and made a case for a support for animated shorts.

The resulting BFI Short Form Animation Fund is a vital part of the investment program, which will fill the vacuum left by previous schemes for investment in our animation creative talent and provide the next step on from the BFI NETWORK, which funds smaller projects at entry-level across the U.K.

“This new Fund is a result of us listening to the industry, and filmmakers, and working with them to develop something which celebrates excellence and creativity at a point when talent need is most,” said Ben Roberts, Deputy Chief Executive of the BFI. “Huge thanks to everyone we consulted on this work for their time and expertise, particularly Animation UK, Animation Alliance UK, and Helen Brunsdon, Director of the British Animation Awards. Our animators have long led the way in driving forward this art form, and we are thrilled to be offering funding which aims to back U.K. animation talent from a host of backgrounds, and through a variety of traditional and innovative media.”

The fund is for high-budget, U.K.-based animation teams, providing funding of £30,000 to £120,000 per project, to help support these teams in creating work which can open-up new opportunities, and gain them better recognition. It can support narrative short form projects in any animated technique or genre and for any platform, from cinema to online to TV (not work intended focally for broadcast TV), and more. The fund is intended for work that is unlikely to be fully commercially financed and would therefore benefit from National Lottery support. The call for applications will take place once a year.

Ruth Fielding, Joint Managing Director of Lupus Films, observed, “Animated short films provide a valuable talent ladder for directors and writers to move from short form to longer form work be it series, one-off specials or features. Securing funding from the BFI, together with the support of existing established production companies, will help propel the talent of tomorrow towards the tipping point in their careers. We at Lupus Films as well as Animation UK welcome this initiative with open arms.”

The BFI Short Form Animation Fund will also offer the funded projects access to insight from a BFI Executive, and allocation of support from a dedicated animation specialist if required. Although the fund will not provide distribution support for projects, in some cases the BFI may take up a consultation role for funded teams in giving advice on distribution, exhibition, festival strategies, and methods of promotion.

“Huge credit should go to Animation UK and the BFI for creating this opportunity to access funding for short animated films, giving the next generation of filmmakers the opportunity to develop ideas, styles, techniques that all add to the ecosystem of our industry. Blue-Zoo already runs a successful in-house shorts program and hopes to support this initiative and the individuals who apply,” said Oli Hyatt, Managing Director and Co-Founder, BlueZoo.

Applications for projects for directors and writer-Director teams are open through November 5, 2019. Further details and guidelines for the BFI Short Form Animation Fund are available online.

Animation Magazine

Disney Flies First Look at 2nd VR Short ‘a kite’s tale’ at SIGGRAPH

Walt Disney Animation Studios, for the second year in a row, will debut an all-new VR short film at the SIGGRAPH conference (July 28-August 1, Los Angeles). Part of the third annual SIGGRAPH 2019 VR Theater.

Directed by Bruce Wright, a kite’s tale combines classic hand-drawn animation and the latest innovations in virtual reality to tell a whimsical tale of two kites — a playful puppy (with a wagging tail) and a pompous dragon — who clash, tangle and ultimately must learn to live with one another subject to the winds of fate.

“I’m thrilled that a kite’s tale is premiering at SIGGRAPH 2019’s VR Theater,” said Wright. “Virtual reality has the ability to bring us into new worlds of story, and touch the hearts of the audience in never before dreamt of ways. It’s an honor to showcase our film at SIGGRAPH for the innovators and artists who are shaping the future of this medium.”

a kite’s tale was created within Disney Animation’s innovative Short Circuit program, which gives anyone within the studio the opportunity to participate in a blind submission and be selected for the opportunity to direct their short film idea. The program has produced 20 short films thus far, with a kite’s tale being the second VR film (the first, Cycles debuted at SIGGRAPH 2018).

“We’re still on the cusp of a powerful new medium, and I cannot wait for audiences to experience what Disney has done with its second VR short,” said SIGGRAPH 2019 VR Theater Director Maxwell Planck. “It’s encouraging and exciting to see studios and artists with proven success in more traditional computer graphics contribute to the next evolution of storytelling, and further proves that the seeds we are planting are strong.”

Born in Los Angeles, and raised in Redondo Beach and Lomita, California, Bruce Wright’s interest in animation was awakened in 1985 when, as a high school newspaper reporter, he attended a special screening of the Disney classic Fantasia, followed by a discussion with legendary Disney animators Frank Thomas and Ollie Johnston. Inspired, he purchased a Super-8 film camera and started making movies. After attending Cal State Long Beach, where he majored in film and television studies, he went on to work at Paramount Pictures, where he founded an experimental desktop graphics and visual effects lab, and contributed to such projects as Addams Family Values and Star Trek: Generations.

Wright began his association with Disney in 1996 as a live-action visual effects animator at Dream Quest Images, where he worked on Armageddon and George of the Jungle. His Disney Animation feature credits include effects animation on Tangled, Wreck-It Ralph, Big Hero 6, Zootopia, Ralph Breaks the Internet and, most recently, Frozen 2. Bruce and his wife, Tekla, have a teenage daughter. An accomplished magician, he can often be found dabbling in sleight of hand as a member of the world-famous Magic Castle.

Animation Magazine

How Protect Against Short- and Long-Term Sun Damage

FRIDAY, July 5, 2019 — Don’t invite skin cancer to your holiday weekend.

As you celebrate America’s independence at beaches, pools or backyard parties, remember that the sun’s damaging rays are strongest between 10 a.m. and 3 p.m. — and protecting yourself is a must.

“When it comes to sunscreen, people in general don’t put on enough, and they don’t put it on as often as they should,” said Dr. William Huang, a dermatologist at Wake Forest Baptist Health in Winston-Salem, N.C.

“I tell my patients that it should become routine, like brushing your teeth. You’d feel strange if you didn’t brush your teeth every day, and it should feel strange if you’re not using sunscreen every day,” he said in a health system news release.

The sun emits two types of ultraviolet radiation, and both do skin damage. UVA rays contribute to premature wrinkling and aging. UVB damages surface skin cells and contributes to sunburn.

But even if you don’t get a sunburn, ultraviolet radiation causes changes in skin DNA that can lead to cancer, Huang said. And everyone — not just people with fair skin — is at risk.

“We see skin cancer in people of all ages and skin types,” Huang said. “Ultraviolet radiation is a carcinogen.”

And when it comes to skin cancer, UV radiation poses a bigger risk than smoking does for lung cancer, he said. Once your skin is damaged, it’s damaged for life, Huang added.

“Much of the skin cancer that we see in people in their 50s, 60s and beyond is from sun damage they had when they were in their 30s, 20s or even younger,” he said.

Basal cell carcinoma and squamous cell carcinoma account for about 97% of all skin cancers. Both appear on sun-exposed areas. When caught early, both can be removed and rarely spread to other parts of the body.

Melanoma is the most common serious skin cancer. About 200,000 Americans get it each year, and some 7,000 die from it.

“If you leave a melanoma unchecked long enough, there is a high chance it will spread,” Huang said. “On the other hand, if a melanoma is identified early it can be removed without complications in most cases.”

Check your body for new bumps, spots, scaly patches or other abnormalities, and look for changes in moles, freckles or birthmarks. These are the best ways to find skin cancer before it gets out of hand.

“Skin cancer is one of the most preventable forms of cancer out there, and there’s greater overall awareness today that overexposure to the sun isn’t good for your health,” Huang said. “But we still see lots of people engaging in risky behaviors.”

To reduce your risk, the American Academy of Dermatology recommends:

  • Limiting sun exposure between 10 a.m. and 3 p.m., when the sun is strongest.
  • Wearing protective clothing — long-sleeved shirt, long pants, wide-brimmed hat and sunglasses.
  • Avoiding tanning beds and sunlamps.
  • Using water-resistant sunscreen of SPF 30 or higher.

More information

The Skin Cancer Foundation has more details about skin cancer.

© 2019 HealthDay. All rights reserved.

Posted: July 2019

Drugs.com – Daily MedNews

Regina Pessoa Talks About Her Annecy Prize-Winning Short ‘Uncle Tomas’

Regina Pessoa’s latest animated short Uncle Thomas: Accounting for the Days, a co-pro between Ciclope Filmes (Portugal), NFB (Canada) and Les Armateurs (France), won the Best Animated Short Jury Award at the Annecy Festival this past Saturday. The talented Portuguese animator, whose other acclaimed shorts include Tragic Story with Happy Ending (2005) and Kali the Little Vampire (2012) spoke to us recently about the making of her new project:

Animag: Congrats on your fantastic new shows. Can you tell us a little bit about the inspiration and the making of this project?

Regina Pessoa: It’s been a while since I first decided to make a film from my childhood memories based on the peculiar personality of my uncle. I had a special affection for him because it was with him that I started drawing on the walls of my grandmother’s house, where he lived. I also like the fact that he was considered a “marginal” person, who was not “celebrated” and he did not follow what’s considered standard behavior for a man —  “family, work, competition.” But he was a good man who was always kind and generous towards nephews. Everything in this film is true, all these scenes really happened: When I was a little girl, I used to draw next to Uncle Thomas while he was doing his calculations; I used to draw with him on the walls with charcoal from the fire place. That bike ride really took place in the month of May, long time ago.

He had had misfortunes in the family and that had broken him, accentuating his obsessive character. It was a sad truth that he was not respected. I said to myself, “Why couldn’t my Uncle Thomas be celebrated as he was? Many of the people we all admire are sometimes so mean… And my Uncle, he was good. I want to show that it is not necessary to do extraordinary things to be important in our lives. That became my moto.

How long did you work on it?

There were 22 months of effective production. But before that, there was a long period before we got all the necessary funds and co-productions.

What was your budget?

I have to check with Abi Feijó, my producer, but I think it was close to 400000 euros.

How was the animation produced?

R: This film is a co-production between: Ciclope Filmes – Portugal; NFB-Canada and Les Armateurs – France. We also had the fundamental participation of Phil Davies (Peppa Pig) as our exec producter. The various artistic stages of the film were in fact executed in each country involved in the Co-production: a part of the animation in France – in the Ciclic; all preparation, animation, final art and compositing in Portugal and finally, the soundtrack, color balance, online, sound mixing, FTP were done in Canada.

What tools do you use to create the animation?

R: I used mix media for this film: I wanted to keep developing my personal animation 2D style but I also wanted to animate some scenes with real drawings on the walls and to make some stop motion as well, animating the notes, diaries, objects and the material I had kept from Uncle Thomas. So, my ambition was to combine all this different techniques and visuals and create an aesthetic coherence between all these media. I used Photoshop for all the 2D animation and also for its integration with the stop motion scenes.

What would you say was the toughest part of making this short?

Technically and artistically, the biggest challenge was managing to combine all this different techniques and visuals and create an aesthetic coherence between them. Emotionally, the biggest challenge was to be able to find a narrative and cinematographic structure from the autobiographical material I had and not disappoint or embarrass myself and honor my uncle’s memory.

Of course the big challenge is what any animator faces: keeping the strength and perseverance for all the hard work, overcoming the obstacles and disappointments, finding solutions and getting the movie finished.

What do you hope audiences will take away from the short?

I once heard someone say, “we all have a half-crazy uncle.” I suppose many will recognize their own loved ones in this portrait, although my short focuses my unique and singular Uncle Thomas. The moto that accompanied me and motivated to make the film could be felt and lived: I wanted to show that it is not necessary to do extraordinary things to be considered important in our lives.

What do you love most about working in animation?

I love the stage of research and development, where everything is possible and impossible, when one seeks, one loses and execution finds oneself, one dreams. Then, I hate the long, exhausting step of execution …And I like it when the film is over and one is happy with the result.

What was the animated film/short/TV show that changed your life?

R: I grew up in a small village in Portugal, in the 1970s, without a television, no cinema, very far from any kind of moving image. Then, when I was four years old, a mysterious man appeared in a car with a projector. He installed it in the local village theater which was close to my house. It was free and the entire village came to see. The film he showed was in black and white like the huge faces that uncle Tomás used to draw. In the film, there was a house balancing on the edge of a cliff, then the main character ate his own boots with such relish that I whispered to my sister: “It’s chocolate!!” It was the first film I saw and will never forget it: It was Charlie Chaplin’s The Gold Rush, and it was a very good introduction to cinema!

You can watch the trailer for the short here:

https://vimeo.com/336669756

Regina Pessoa

Regina Pessoa

Animation Magazine

$1M Father-Daughter Sci-Fi Short ‘The Shipment’ Lands at Tribeca

Among the many intriguing projects charting a course to the Tribeca Film Festival this month is official selection The Shipment, a million-dollar science-fiction adventure written, executive produced and directed by VFX artist/3D animator Bobby Bala. The live-action project, which also stars the director’s daughter, relies on high-quality CG work to create a galaxy of environments and effects, populated by humanoids and stranger creatures created with FX makeup.

The 27-minute film tells the story of a widowed cargo hauler — played by Aleks Paunovic (War for the Planet of the Apes, Battlestar Galactica, SyFy’s Van Helsing) who finds himself stranded with his daughter Zohra (Ishana Bala) on a wretched spaceport after their old ship breaks down. Faced with an unscrupulous offer to escape, he faces a difficult dilemma that puts his morality to the ultimate test as he tries to provide a better life for his family.

Ahead of the Tribeca fest, the short has made official selection lists at Fantasporto, Bermuda, Miami, Sarasota, Berlin Sci-Fi and other film festivals, and picked up Best of Fest, Best Child Actor (Ishana Bala) and Best Foreign Featurette at California’s Idyllwild International Festival of Cinema.

The Shipment_Trailer from Bobby Bala on Vimeo.

The Shipment is the culmination of two decades of Bala dreaming of directing his own film — making ends meet in San Francisco as a VFX artist didn’t leave many funds to launch a filmmaking career, though. Bala later found more financial freedom after operating a successful theater seating business.

“After scrimping and saving for many years, I finally had enough money set aside to pursue this dream. I was undecided if I should make a simple feature film with no VFX, or a 30 minute sci-fi featurette with advanced VFX which would better showcase my abilities,” says Bala. “Since indie features can’t always guarantee a financial return, I thought it would be a wiser investment to make a high quality proof-of-concept featurette that would stand out, rather than a feature which would have little to no VFX at all. My thinking was, If I’m going to most likely lose money, I might as well tell the story I want to tell and have fun while doing it.”

The film ended up taking four years to create, surpassing the $ 1 million budget mark to become one of the most expensive live-action shorts on record. “After three years into the production, the budget was completely depleted and to get us over the finish line I had no choice but to sell my home. It was a very difficult decision to make, but a necessary sacrifice to save the film. Too many people around the world had already put so much into this project. I couldn’t let them down,” Bala concludes.

The Shipment was shot almost entirely on green screen (95% of 350 shots). Bala gathered a large crew of VFX wizards, CG artists, and FX make-up artists who contributed to enhance the live action performances recorded in an empty food warehouse in Vancouver, BC. While this less than ideal set caused many unforeseen challenges, Bala was able to tap his experience in CG visuals to smooth the process.

“With a background in computer animation, I was able to create a full previz animation of the film complete with music and dialogue before we started shooting the film. This was an invaluable tool which I was able to show the crew so they could visualize all the shots and the story we would be telling,” Bala explains. “The previz also allowed me to edit and visualize the film so that I could see if the story and the various cuts were working. It’s also a great way for people to get excited about the project. I feel that every filmmaker should use some form of previz no matter the genre.”

One of the CG creatures featured in the film is a sort of sci-fi answer to the psychedelic toad. “The creature is called a Skyck (pronounced skik) and it’s a snake-like alien creature that wraps itself around the arm of the user and injects its addictive venom,” the director reveals. “The venom does not kill the user, but instead produces a drug-like high. There are many variants of Skycks which produce different types of highs.”

Amid the fantastical sci-fi imagery of The Shipment, the film is concerned with the weight of real-world human relationships — both the strength and challenge of a father-daughter bond, as well as the big social questions of the day.

“The migration of people and border crossings are urgent issues right now. There are people crossing borders for survival and there are people working as human smugglers. Their lives are complicated and often subjected to negative stereotypes,” says Bala. “The protagonist of this film is in the moral dilemma of transporting alien slaves in order to save his daughter. He is a flawed but noble character who is driven by the desire to protect his family and serve the greater good. His story needs to be told because it challenges the idea that human migration is a clear-cut issue. Right or wrong is not always easy to define.”

See screening times for The Shipment at Tribeca Film Festival here.

[Source: ChicArt]

The Shipment: © Naim Sutherland

The Shipment: © Naim Sutherland

The Shipment: © Naim Sutherland

The Shipment: © Naim Sutherland

The Shipment: © Naim Sutherland

The Shipment: © Naim Sutherland

The Shipment: © Naim Sutherland

The Shipment: © Naim Sutherland

The Shipment: © Naim Sutherland

The Shipment: © Naim Sutherland

The Shipment: © Naim Sutherland

The Shipment: © Naim Sutherland

Bobby Bala (director) and his daughter Ishana Bala (Zohra). Photo: © Nadim Hejeili

Bobby Bala (director) and his daughter Ishana Bala (Zohra). Photo: © Nadim Hejeili

Animation Magazine

Annecy Selects 80 Short Films in First Program Announcement

The Annecy International Animated Film Festival has issued its first round of official selections, with 80 shorts picked out from more than 3,000 films from 86 countries. The best represented nations were the U.S., France and the U.K.

The Official Competition films are split into 40 for the Short Film Competition, eight in the Off-Limits category, 23 in the Perspectives category, and nine for Young Audiences. The festival has achieved its second-highest proportion of films directed or co-directed by women this year, at 45% — the festival and MIFA market pledged last year to achieve gender parity. Also noteworthy, the 2019 selections include 15 films from Asia, which is an all-time high for Annecy.

“The exceptionally high standard is reflected in the Short Films selection 2019. An international competition where everyone rubs shoulders, Annecy Cristal Award winners (Regina Pessoa, Dahee Jeong, Franck Dion), with award-winning filmmakers, who were just students (Wiep Teeuwisse, Nadja Andrasev, Jenny Jokela and Michael Frei), competition regulars (Xi Chen, Chintis Lundgren, Jean-Claude Rozec, Donato Sansone and Mirai Mizue) and genuine discoveries that we can’t wait to show you (Valerie Barnhart, Canadian; Di Liu, Chinese; Pedro Casavecchia, Argentinian; Aria Covamonas, Mexican and Nykyta Lyskov, Ukrainian),” said Annecy artistic director Marcel Jean.

View the complete Short Films in Competition selections here.

The Graduation Films and TV and Commissioned Films official selections will be revealed at the end of March. Feature Films in competition will be announced during the press conference on April 15, along with the VR Works.

The official selection for the Festival is carried out by Artistic Director Marcel Jean and the Films & Programming team: Laurent Million, Yves Nougarède and Sébastien Sperer, accompanied by Peggy Zejgman-Lecarme, director of Cinémathèque de Grenoble.

Toomas Beneath the Valley of the Wild Wolves

Toomas Beneath the Valley of the Wild Wolves

Tio Tomas

Tio Tomas

The Dawn of Ape

The Dawn of Ape

Hideouser and Hideouser

Hideouser and Hideouser

Animation Magazine

FDA Fell Short in Preventing Fentanyl Abuse Crisis, Report Claims