We’ve finally reached the end of my Cardiff Animation Festival 2026 coverage and I want to begin by saying a huge huge thank you to Lauren and the team for hosting yet another amazing and successful festival and allowing me to cover press.
As an avid animation fan, I am always amazed by the skill and craftsmanship that goes into making a film and CAF did not disappoint. It was great to speak with some of the filmmakers and talk to them about their processes and inspiration.
The final slot of the festival is the awards show and, this year, it was hosted by film critic, Ali Plumb, who did a wonderful job of MC’ing and engaging with the audience.
In this roundup, I’ve listed the winners from the Festival’s award show and will conclude with my top 3 films from the festival.
Ali Plumb hosting the awards show
CAF 2026 Award Winners
Here are the winners from the CAF 2026 awards show:
Best Micro Short
Boglach directed by Sarah Benson
Young Jury Award
Lost Marble – The Shortcut directed by Laura Quinn Geyer
Best Student Short
Foreign Bodies directed by Lysander Wong
Student Special Mention
Pear Garden directed by Shadab Shayegan
Best Short Film
And Granny Would Dance directed by Maryam Mohajer
Special Mention
A Night at the Rest Area directed by Saki Muramoto
Audience Award
The Undying Pain of Existence directed by Oscar Jacobson
CAF’s adorable mascot, Dotty, and the the beautiful puppet from Chloe Herbert’s Aster.
Small Pics CAF 2026 Picks
Top Pick
Boglach directed by Sarah Benson
Special Mentions
PASALUBONG! directed by Sophia Uy
Pear Garden directed by Shadab Shayegan
That concludes my CAF 2026 write ups. What a fantastic year filled with talented filmmakers from all over the globe.
Well done to the team at CAF for another successful year!
It’s finally here! The third segment of my CAF 2026 reviews. A lot of these films demanded reflection as there were concurrent themes of change, identity, and acceptance.
Before diving in, I just want to mention that it has been an absolute privilege to be able to review and discuss talented filmmakers from all over the world.
Here is the final group of review write ups:
Shorts 2: Pause
This collection of shorts celebrate the peaceful moments in life. Featuring playful characters and plenty of whimsy, this selection boasted some of the strongest offerings of the weekend.
Sarah Benson’s Boglach is a charming micro-short that follows a small community that creates clouds, which in turn generates rain and helps the land flourish. The design of the people is reminiscent of Ponyo and its environmental discussions did remind me of Studio Ghibli because of this. Benson achieves a fully realised world within a couple of minutes which is an incredible achievement and it is for this reason that this was my highlight from this selection.
I also enjoyed The Sycamore by Jared D. Weiss which is a fable about two friends who seek shade from the titular tree. Based on “The Travellers and the Plane Tree” by Aesop, The Sycamore tells the story from the point of view of the tree and gives metaphorical voice to nature and its frustrations with mankind.
Boglach – Sarah Benson
Small Pics highlights:
Boglach directed by Sarah Benson (Ireland)
The Sycamore directed by Jared D. Weiss (USA)
Shorts 3: Rewind
As the name suggests, these films are about turning back the clock and reflecting on memories past. Whether that is looking at generational trauma or personal growth, these are shorts that showcases the lessons and tribulations in life.
My personal favourite from this batch was Polliwog which follows a prepubescent girl who is struggling with the sudden changes in her body. During a school trip, she encounters a polliwog and relates to the changes it is going through. The warm colour palette and vivid shapes ensure that the shared experience is perfectly conveyed.
While Polliwog presents change from an individual’s perspective, Memoria Colectiva explores the devastating affects of the Peruvian Armed Conflict in the Ayacucho region of Peru and the toll it took on the community, especially the women. It is one of the longer shorts of the festival and it’s easy to understand why. Film is one of the best mediums to share and educate on major events and the directness of the storytelling and the way documentary elemts are combined with animation gives us a look into a regime that took a lot away from the Ayacucho communities but also showcased the women’s courage and resilience.
Polliwog – Julia Skala
Small Pics highlights:
Polliwog directed by Julia Skala (Germany)
Memoria Colectiva directed by Cristina Colmenares and Manuel-Antonio Monteagudo (Colombia, France, Peru)
Family Shorts
The last set of shorts I watched was the Family Shorts. As the name suggests, these are films that have been made with younger audiences in mind. Don’t be fooled, however, as these films may be family-friendly, but that doesn’t mean that they shy away from difficult topics. A lot of the films dealt with isolation, identity and finding your place in the world. There was plenty of whimsy and bright colour palettes scored with an undertone of these deeper themes.
My highlight from this bunch was Marion Jamault’s Filante, a predominantly silent film (save for the singing of some sparkly mermaids) that follows a young girl who has lost her pet rat and befriends a bat during her quest to find him. The textures in this film are stunning, especially when Jamault makes use of the sparkling elements and the colour palette is vivid and dreamy, immersing the audience from the first frame.
Another strong offering in this selection was Chloe Herbert’s, Aster. This is a stunning stopmotion that features some of the most intricate puppet design I’ve seen. The film follows an ethereal being that shifts and changes shape, manipulating the space around it. What Herbert achieves is incredible, especially the scenes in which the being becomes a dragon. I was mesmerised and moved by the originality and fearlessness on display.
Filante – Marion Jamault
Small Pics highlights:
Filante directed by Marion Jamault (France)
Aster directed by Chloe Hebert (UK)
That concludes my film reviews, but I’ll be posting a final roundup which includes the CAF Award winners, plus my overall personal picks, so stay tuned!
Please go and seek the films out if they pique your interest and remember to celebrate and push independent filmmakers, especially in the animation space!
It’s been a while since I have attended a film festival and the lovely folks at Cardiff Animation Festival let me stretch the old critic legs and enjoy a weekend full of brilliant and quirky films made by students and professionals alike.
As ever, CAF was excellent from beginning to end. I saw a lot of familiar faces and met lots of talented filmmakers. It was truly a privilege to watch the result of months of hard work and passion, so it’s only fair I celebrate the work by spreading it out across several posts rather than a single long posts.
Here is Part I of my Cardiff Animation Festival coverage:
Shorts 5: Home
There we 13 films in this category with each bringing their own visual style and perspective on the theme. Interpretations of home ranged from a personal residence to a whole community or country, exploring themes including homesickness, hoarding, and how our home shapes our identity.
We were treated to beautifully abstract works in Homesickness which boasts vivid oil pastels to full narrative stories such as the wonderful stop-motion piece, Two Black Boys in Paradise, is a visual poem exploring two young men’s journey to self-acceptance.
For me, the standouts were Sophia Uy’s PASALUBONG! and Qianhui Yu’s Statue in the Garden. PASALUBONG! explores the friendship of two Filipino children in an airport mall before one of them moves to the USA. In Statue in the Garden, a young woman finds a statue of a dog in the garden of her new home and discovers its history.
PASALUBONG! – Sophia Uy
Small Pics highlights:
PASALUBONG! directed by Sophia Uy
Statue in the Garden directed by Qianhui Yu
Shorts 6: Shuffle
Shuffle had 10 films which were all about bringing the unexpected and experimenting with the medium. Thematically, these films are abstract.
There are films that explore the nuances of everyday life to those that deal with external crises. Ostrich and How to Build a Sand Castle are fast-paced vibrant pieces that explore identity and finding one’s voice in a very personal way, while De Imperio is an intense glimpse into imperialism and the struggles to fight against it.
My highlights in this selection were Shadab Shayegan’s Pear Garden in which a six-year-old girl visits her grandma following the latter’s mastectomy. Not fully understanding the situation, the little girl chases grandma’s shadow at night to try and get her breasts back. One of my favourite shorts of the entire festival, the animation was stunning and had a childlike quality and perspective. Shayegan’s use of mismatched colours and shapes that seem out of place convey the confusion and plight faced by the child.
Ovary-Acting is a comical stop-motion film following a young woman who is frustrated with people pressuring her to have baby. When she unexpectedly gives birth to her reproductive organs in the bathroom, the two talk through societal expectations through a brilliant musical number.
Pear Garden – Shadab Shayegan
Small Pics highlights:
Pear Garden directed by Shadab Shayegan
Ovary-Acting directed by Ida Melum
Different Voices Short Films
Different Voices is an ongoing program developed by Biggerhouse Film that provides neurodiverse filmmakers the opportunity to create and present their work. Before the screening, we got to hear from some of these wonderful filmmakers and the selection was incredibly strong.
Fawn by Molly Mayhew follows the eponymous character returning to her childhood home and dealing with the trauma she experienced growing up at the hands of her parents. We see adult Fawn encounter her child self and come to terms with what has happened, literally and figuratively confronting the trauma and comforting her inner child.
Marco Luke Drago’s The Man, the Moth, the Legend is a mockumentary following American folklore legend, Mothman, and his life in Point Pleasant, West Virginia. In two minutes, we see watch Mothman recount his life as an outcast and the unexpected celebrity he became later.
Fawn – Molly Mayhew
Small Pics highlights:
Fawn directed by Molly Mayhew
The Man, the Moth, the Legend directed by Marco Luke Drago
The subsequent parts will follow in the coming days, so stayed tuned. I’m going to be stretching and celebrating this as long as possible because the festival is such a major platform for many of these artists and filmmakers and I had such a blast.
And remember: support independent filmmakers and artists!
Cardiff Animation Festival was founded on a love of short films. This year’s festival showcased over 100 short films from all over the world, giving voice to emerging and veteran filmmakers. Falling into the latter category is Joanna Quinn, a seasoned animator who has brought her much-loved character Beryl back in her latest short film, Affairs of the Art.
The story follows Beryl as she discusses her life and the obsessive nature she and her family have when it comes to certain hobbies, with fascinations ranging from art to pet taxidermy. With big heart and bravura, it’s no surprise that Affairs of the Art has taken the world by storm, winning not only a slew of awards (including the Audience Award at the Cardiff Animation Festival), but also receiving a BAFTA and Academy Award nomination.
Directed by Joanna Quinn and written by Les Mills, Affairs of the Art is the latest film to star Quinn’s signature character Beryl since 2006’s Dreams and Desires – Family Ties. The film only spans 16 minutes, but in this short amount of time we come to understand Beryl’s obsessive nature and that of her family, (especially in relation to her older sister, Beverly, whose early fascination with death grows into a successful pet taxidermy business). The film flits between Beryl in the present day and her childhood in the 1960’s, giving the audience an insight into Beryl that we haven’t seen before. One particularly standout scene sees Beverly having a childhood dream of meeting Lenin in a bizarre sequence that brings us into the chaos of Beverly’s mindset.
Menna Trussler returns as the voice of Beryl and showcases her brilliant timing, bringing out Beryl’s nuances. The scenes in which Beryl grows increasingly frustrated are where Trussler really shines, her voice encapsulating restraint and regret. One of the piece’s funniest moments comes when Beryl is standing at the bus stop and reflects on where her life has led her and what she wants to be. The delivery of the lines here is not only pitch-perfect in timing but evocative in reaching those feelings of sincere dread and worry.
A small supporting cast is featured, with Brendan Charleston taking on the voices of all the male characters in the film from Beryl’s ever-confused husband, Ifor, to her precision-obsessed son, Colin, right through to Lenin in the aforementioned dream sequence. Quinn proves herself multi-talented, providing the voice of Beverly, confidently moving through the nuances of both the childhood segments into scenes of life as an adult.
One of the most stunning segments of animation documents Beverly’s plastic surgery transformation following a career as a successful taxidermist in California. Not only is it a scene steeped in drama – the moment naturally contrasting the respective sisters’ lives – but it’s also beautifully rendered, the transformation portrayed in fluid and vivid detail.
Of course, the whole short also benefits from its score which is composed by Benjamin Talbott. Talbott has a knack for creating piercing intensity, especially in the scenes involving Beverly and her various experiments. Due to the quick pace of the film, the score is – on the whole – understated and simple, but does exactly what its meant to in complimenting, rather than overpowering, the intricate visuals of the beautiful animation.
Affairs of the Art not only boasts a sharp script filled with a potent blend of humour and shock, it also offers authentic rumination on the nature and dynamics of family life. Viewing the short at CAF, it was impossible not to get swept up in the electric atmosphere induced at each individual viewing. Having now been able to watch the film a total of three times over the course of the weekend, it’s safe to say that this is a rich and triumphant piece of animation which deserves its accolades and only offers more and more on repeated viewings.
