The annual Kaboom Animation Festival, a cornerstone event for the animation community, concluded its 2026 edition, leaving a lasting impression with its compelling theme, "The Human Touch." Held from March 13-16 at Slachstraat Cinema in Utrecht, followed by Industry Days at Hogeschool voor Kunsten Utrecht (HKU) on March 17-18, and culminating with public screenings at The EYE National Film Museum in Amsterdam and online from March 19-22, the festival this year navigated the complex relationship between artistry and artificial intelligence.
In an era increasingly dominated by discussions of AI’s pervasive influence and the omnipresence of digital devices, Kaboom’s deliberate focus on "The Human Touch" served as a timely and thought-provoking exploration. The festival delved into the future of handcrafted arts, posing crucial questions about their potential disappearance or evolution in a technologically saturated world. This overarching theme resonated through a diverse program of screenings, workshops, and industry events, highlighting the enduring value of human creativity and manual skill.
A Visual Identity Rooted in Craftsmanship
The festival’s visual identity, a critical element in setting the tone, was masterfully crafted by Spanish illustrator and comic book author Bea Lema. Her work, which skillfully integrates drawing with embroidery, manifested in both the festival’s trailer and posters. The trailer, a particular standout, featured an industrious spider meticulously weaving its web, a poignant metaphor for the intricate and patient process of animation creation. This visually stunning piece was widely lauded for its artistry and was a recurring delight for attendees. The accompanying posters echoed this theme, prominently showcasing embroidery, a testament to Lema’s unique artistic approach and a direct reflection of the festival’s thematic concerns.
Exploring the "Fibers of Feeling"
One of the standout programs directly aligning with the "The Human Touch" theme was "Fibers of Feeling," a dedicated showcase of textile animation. Within this segment, Isolda Milenkovic’s short animated documentary, "Warp and Weft," emerged as a particularly resonant work. Clocking in at 3 minutes and 45 seconds, the film offered a deeply personal and loving tribute to traditional textile crafts and the artisans who continue to practice them. Milenkovic herself stated that the impetus for creating "Warp and Weft" stemmed from a profound fear that these invaluable art forms are gradually fading from societal consciousness, a consequence of a world that increasingly overlooks the significance of the human hands that bring them to life. The film’s intimate portrayal of these crafts served as a powerful reminder of the tangible connection between creator and creation.
The festival’s commitment to an immersive and participatory experience extended to its programming. In a unique initiative, a screening of "Warp and Weft" was designed to be "hand-craft friendly." The theatre lights were only partially dimmed, allowing audience members to comfortably engage in their own textile projects, such as knitting or embroidery, while simultaneously enjoying the film. This innovative approach fostered a unique sense of community and shared creative engagement, blurring the lines between passive viewing and active participation.
A Celebration of Ink and Ingenuity
The "Signed In Ink" screening provided a nostalgic and insightful journey into the history of animation, particularly celebrating the tactile art of pen and ink. This program resonated deeply with the festival’s thematic explorations, echoing the writer’s personal preference for traditional writing methods. The screening commenced with a screening of the 1921 classic "Out of the Inkwell: Invisible Ink," a seminal work from the iconic "Out of the Inkwell" series by Dave and Max Fleischer. This 8-minute film introduced audiences to the beloved character Koko the Clown, who famously emerged from an inkwell to interact with the real-life animator Max Fleischer. The series, which ran from 1919 to 1927, was a groundbreaking example of integrating animation with live-action, showcasing the early pioneers’ ingenuity in bringing drawings to life through meticulous hand-drawn techniques.
Hands-On Creativity at the Kaboom Bar
Beyond the screenings, the festival actively encouraged attendees to engage in hands-on creative activities. The festival bar transformed into a hub of tactile artistry, offering opportunities to build characters from clay and yarn. A particularly popular attraction was the sock puppet character workshop, led by Mathijs Stegink, widely known as "Mr. Cardboarder" for his engaging cardboard creation workshops. Stegink’s expertise extended to bringing everyday objects, like socks, to life. Tables overflowed with an array of materials – socks, fabric, buttons, glue guns, and countless other embellishments – providing attendees with everything needed to craft their own unique "sock person."
The writer, in collaboration with Dutch animator Junaid Chundrigar, participated in the sock puppet workshop, creating an original character from a woolen glove. The creative process culminated in Mathijs Stegink’s "It’s Alive! Show," an interactive performance where participants could showcase their handmade puppets. Stegink’s energetic presentation and playful interactions added an element of theatrical flair, making the experience both fun and memorable.
"Field Notes": Animation Born from the Elements
The "Field Notes" screening offered a captivating glimpse into animation created entirely outdoors, where filmmakers embraced the unpredictable challenges of natural environments. This program celebrated the spirit of "field-recorded animation," where weather conditions, shifting sunlight, and the ambient sounds of the real world became integral elements of the creative process. The screening featured works by renowned animators, including Juan Pablo Zaramella’s 2011 classic "Luuminaris," Jane Aaron’s "In Plain Sight," and Pes’s "Human Skateboard." The latter, a 2007 stop-motion commercial for Sneaux Shoes, showcased a dynamic and inventive concept of a person using another individual as a skateboard to perform high-speed tricks. The program underscored the resilience and adaptability of animators who find inspiration and create art amidst the elements.
Inaugural "YASS QUEEN" Series: Honoring Pioneering Women in Animation
A significant new initiative launched at this year’s Kaboom Festival was the "YASS QUEEN" series, dedicated to celebrating pioneering women in animation. This series emerged from a recognized need to acknowledge and honor the contributions of female animators, whose work has often been overlooked or recognized only posthumously. The festival’s commitment to celebrating these artists while they are alive and able to participate in their own tributes was a heartwarming aspect of the event.
The series commenced with a presentation by Hungarian animator Réka Bucsi. In her relatively short career, Bucsi has amassed an impressive body of work, garnering numerous accolades. Her graduation film from Moholy-Nagy University of Art and Design in 2013, "Symphony No. 42," achieved significant critical success, including an Academy Award shortlist nomination in 2014. Her subsequent films have graced prestigious international festivals, premiering at the Berlinale and securing awards worldwide. Bucsi’s artistic style is characterized by its surreal and experimental nature, often drawing inspiration from nature and animals. Her approach to filmmaking involves building films from "small, intuitive details in sound, color, and rhythm" to form a cohesive system. She is currently developing her first feature film, "The Great Silence."
The second "Queen of Animation" honored was the celebrated French animator Florence Miailhe. Renowned for her distinctive direct animation technique, employing paint, pastels, and sand under the camera, Miailhe has received numerous awards throughout her career, including an Annecy Honorary Crystal in 2015 for her outstanding contributions to animation. In 2020, she completed her first feature-length film, "The Crossing," a deeply personal narrative inspired by her family’s history of fleeing persecution. The film, which took over an hour and twenty-four minutes to unfold, was painstakingly animated by painting directly onto glass plates, a technique she has honed over years of short film production.
Miailhe’s recent work, "Papillon (Butterfly)," earned her a prestigious Academy Award nomination in the Short Animation category. This poignant 15-minute film recounts the true story of Alfred Nakache, a French Jewish swimming champion whose life was tragically impacted by the Nazi occupation. Stripped of his nationality and banned from competitions, Nakache and his family were arrested by the Gestapo. While he survived Auschwitz, his wife and daughter perished. Despite his profound loss, Nakache returned to swimming, even competing in the 1948 London Olympics. The film’s title refers to the butterfly stroke, for which Nakache was famous. The labor-intensive animation, executed in oils and pastels on glass, took approximately 100 days to complete. "Papillon" also received a César nomination and the prestigious André Martin Award at Annecy, recognizing its excellence in animated filmmaking and aiming to promote its visibility within the industry.
The final honoree in the "YASS QUEEN" series was the esteemed British animator Joanna Quinn. With a career spanning numerous short films and commercials, Quinn has amassed an impressive array of awards, including four BAFTAs, three EMMYs, and two Oscar nominations. Her debut film, "Girl’s Night Out," garnered three major awards at Annecy in 1987. In 2025, she was presented with an Honorary Annecy Cristal for her significant contributions to animation.
Quinn, alongside her screenwriter husband Les Mills, also authored a book detailing their studio, creative process, and their iconic character, Beryl. Introduced in "Girl’s Night Out," Beryl has evolved into one of animation’s most recognizable and strong female characters. Across three subsequent films, audiences have followed Beryl’s journey, from confronting workplace sexism to exploring artistic pursuits, culminating in her self-expression in the 2021 film "Affairs of the Art." Quinn’s work with Beryl has consistently been described as amusing and delightful, forging a deep connection with audiences. Beyond her filmmaking, Quinn is a dedicated educator, conducting workshops and lectures globally. Her presence at Kaboom included a Masterclass where she shared insights into her creative process, showcased original artwork, and provided a live drawing demonstration.
The festival also paid tribute to Dutch animator Monique Renault, a pioneer whose work has consistently explored feminist themes and celebrated independent female protagonists. Renault, who moved to the Netherlands in 1976, began her career with playful and politically charged films like "Long Live The Sexual Revolution" (1983), co-directed with Ellen Meske. This film critiqued patriarchal approaches to intimacy by depicting a man planning sexual encounters without considering his partner’s feelings or desires. In her later work, Renault’s films became more intimate, yet her female characters, often drawn with colored pencils, retained their essence as independent, sensual, and free-spirited individuals.
A special screening of Renault’s work featured several of her beloved films, including "Borderline 1 & 2," which posed questions about gender equality in the workplace and women’s perspectives. Another highlight was "Pas à Deux," co-animated with Gerrit van Dijk, a classic film where historical figures engage in various dance styles before morphing into one another. Renault’s artistic versatility was also showcased through a selection of her paintings and drawings, which were available for purchase. The salute to these four exceptional women was a collaboration with The Eye, Museum for Film and the Art of Moving Image in the Netherlands, and involved the digitization of some of Renault’s early films to ensure their preservation.
A Multifaceted Festival Program
Beyond the thematic highlights and special tributes, Kaboom presented a comprehensive program that included numerous other screenings, five short film competition programs, three programs of Dutch shorts, two documentary screenings, and feature films in competition. The "New Directions" series offered a platform for animators from less frequently represented countries like Guatemala and Pakistan, fostering global diversity in animation. "Poetry In Motion" explored the intersection of animation and poetry, while "Bonkers Shorts" delivered a dose of the bizarre and unconventional, leaving audiences entertained and bewildered.
The Nancy Award and Critical Recognition
Each year, the festival bestows "The Nancy Award," an honor selected by the writer to recognize a film deserving of public attention, even if it might not be a mainstream favorite. This year’s selection process involved narrowing down choices to three films. The first consideration was Chris Lavis and Maciek Szczerbowski’s "The Girl Who Cried Pearls." Praised for its exquisite animation and compelling narrative, the film was deemed a strong contender, but its recent Academy Award win for Best Short Animation made it less in need of the award’s promotional support.
The second film under consideration was Jan-Dirk Bouw’s animated documentary "Breaking Walls." Bouw’s previous work, "I Love Hooligans," about a homosexual football hooligan, had left a lasting impression. "Breaking Walls" delves into the public fight of journalist and activist Hoi Yi against surveillance and censorship in China, while simultaneously navigating the suppression of his queer identity from his family. The film poignantly depicts his struggle to reconcile his life in the Netherlands with the societal expectations of his family in China, culminating in a deeply emotional coming-out experience during a family gathering. The writer lauded the film as a powerful statement on freedom of expression and a crucial piece of animated documentary filmmaking that deserves wider dissemination.
Ultimately, the Nancy Award was presented to Canadian half-brothers Peter and Seth Scriver for their feature film "Endless Cookie." Developed over ten years through recordings between Seth, an animation filmmaker, and Peter, the film also features interruptions from Peter’s seven children and nine dogs. "Endless Cookie" explores the complex bond between the two half-brothers, who share the same father but have different mothers, one white and the other Cree Indigenous. Through a series of vignettes, the film contrasts their upbringing in Toronto with life in the isolated First Nations community of Shamattawa. It addresses themes of indigenous resistance to colonization, racism, spirituality, and family dynamics, offering both humor and a stark reminder of the persistent realities of racism and bigotry. The writer expressed hope that the film would find a broad audience and a theatrical release.
Industry Days: Cultivating the Next Generation
Kaboom’s Industry Days provided a crucial platform for professionals and emerging talent within the Dutch animation community. The event commenced with "Kaboom Camp," a program tailored for young individuals entering the industry and students. This day featured a "Best of Show Reel Contest," where recent graduates presented their work to industry recruiters and professionals. A jury of experts provided feedback and awarded Bram Fokkens the "Best Show Reel Award," an all-expenses-paid trip to the Annecy Animation Festival. The day also included "Debutants Meet Studios" sessions, talks by Amsterdam-based studio personnel, and roundtable discussions with experts from the Dutch Film Fund. Additionally, participants gained insights into film distribution from Kaboom Film Distribution and learned about opportunities within the Dutch Directors’ Guild.
"Kaboom Pro," the second day of Industry Days, focused on professionals and featured the Benelux Animation Pitch. Nine projects from the Netherlands and Belgium were presented, with "The Spaghetti Ladies," directed by Leticia van Neerven and produced by Baran Sedighian, securing the winning pitch and a prize of 5,000 Euros. The program also facilitated meetings with French producers, offering opportunities for co-production discussions. A closed session addressed current issues within the Dutch animation sector and explored strategies for collaborative growth. The day concluded with "Industry Drinks" and the Benelux C-Production Dinner.
A Festival of Dual Personalities
The Kaboom Animation Festival’s structure, with its distinct phases in Utrecht and Amsterdam, allows it to cater to different segments of the animation ecosystem. The initial screenings in Utrecht engage the public, while the subsequent Industry Days at HKU foster professional development and networking. The move to Amsterdam for the final public screenings at The EYE amplifies the festival’s reach and cultural impact.
Festival co-directors Aneta Ozorek and Annabet Langkamp, along with their dedicated staff and volunteers, were instrumental in orchestrating a successful and impactful festival. Head Programmer Maarten van Gageldonk was also acknowledged for his role in selecting compelling films for review.
The dates for the next Kaboom Animation Festival are yet to be announced, but information regarding film submissions, volunteering opportunities, and future events can be found on the festival’s official website at www.kaboomfestival.nl.
Award Winners
Audience Awards
- Best Feature: Allah is Not Obliged by Zaven Najjar (Belgium/Canada/France/Luxembourg, 2025)
- Best Short: Beef Tomato (Vleestomaat) by Patty Stenger, Yvonne Kroese (Netherlands, 2025)
- Best Experimental: Merrimundi by Niles Atallah (France/Chile, 2025)
- Best Commissioned: Where Wool Speaks, and We Must Listen (Desi Oon) by Suresh Eriyat (India, 2025)
Jury Awards
- Nancy Award Winner: Endless Cookie by Seth Scriver & Pete Scriver (Canada, 2025)
- Kaboom Award for Best Documentary: Their Eyes by Nicolas Gourault (France, 2025)
- Kaboom Award for Best Dutch Student Short: Error Connection Lost by Uliana Gromyko (Netherlands, 2025)
- Kaboom Award for Best Dutch Short: Murmuration by Janneke Swinkels & Tim Frijsinger (Netherlands/Belgium, 2025)
- Kaboom Award for Best Student Short: SH by Qi Duan (China, 2024)
- Jamie Bolio Award Winner: Boundaries by Seun Yee (South Korea, 2025)
- Kaboom Award for Best International Short: What We Leave Behind by Jean-Sébastien Hamel, Alexandra Myotte (Canada, 2025)
