**The Rise of Longer Animated Shorts: A Shift in the Industry**
Recently, the landscape of animated shorts has shifted, with films increasingly surpassing the 20-minute mark. In fact, three of this year’s five Oscar-nominated animated shorts are 19 minutes or longer. This growing trend can be seen as a response to evolving audience expectations and filmmakers’ desire to explore more complex storytelling that requires additional time. The ability to break free from traditional time constraints offers opportunities for deeper character development and richer narratives.
Historically, animated shorts over 20 minutes were rare, with only exceptional works justifying such lengths. However, films like *Acid Rain* by Tomek Popakul, *Electra* by Daria Kashcheeva, and *Antipolis* by Kaspar Jancis are challenging the norm by pushing the limits of short film durations. Even veteran animators, such as Priit and Olga Pärn, have ventured into this space, with their 32-minute film *Luna Rossa* making waves.
This shift, however, brings some logistical challenges to animation festivals. Short films exceeding 20 minutes consume more screening time, which reduces the number of films that can be included in festival lineups. For example, at the Ottawa International Animation Festival (OIAF), the number of selected films has declined due to the rise of longer shorts. The limited screening time creates pressure on festivals that must balance longer works with showcasing a variety of creative voices and styles.
Some festivals are responding by introducing subcategories or adjusting their programming limits to accommodate the rise of longer films. Yet, this also raises questions about how to handle middle-length films—those between the traditional short and feature lengths.
Technological advancements in animation also contribute to this phenomenon. With digital tools, filmmakers can extend runtimes without significantly increasing production costs. Technologies like motion capture and 3D animation make it easier to add sequences and shots, enabling filmmakers to create longer works with minimal additional effort. The transition from traditional film to digital production has allowed for more flexibility in runtime.
Additionally, the funding structure in some regions, particularly in Europe, enables filmmakers to work on longer projects. With access to grants and co-productions, filmmakers can focus on creativity rather than strict budget constraints, facilitating more ambitious productions.
As animated shorts evolve in length and complexity, the industry faces the challenge of balancing creative freedom with logistical constraints in an ever-changing landscape.
**The Influence of Live-Action Cinema on Animated Shorts**
In recent years, live-action cinema has had a noticeable impact on the narrative style and runtime of animated shorts. Some animators, like Tomek Popakul, acknowledge that their works often mirror live-action storytelling techniques, employing traditional three-act structures, character arcs, and dramatic pacing. Popakul suggests that while poetic or experimental films may work within the 7-10 minute range, more time is necessary to explore complex characters and plot twists.
Daria Kashcheeva, who is currently working on her first feature-length script, also attributes her storytelling approach to live-action cinema. She admits that her brain tends to follow the classic three-act structure, which naturally leads her short films to evolve into longer formats. This shift highlights how live-action conventions influence animated storytelling, enabling more in-depth character exploration and intricate narratives.
Kaspar Jancis’s film *Antipolis* offers another example of this crossover influence. Originally conceived as a live-action project, Jancis kept its cinematic approach even when transitioning to stop-motion animation. The use of ultra-realistic characters, a hallmark of live-action cinema, was carried over into the animated version of *Antipolis*.
On the other hand, Steven Subotnick offers a contrasting view. He emphasizes that short films should prioritize concentration and visual communication, advocating for more concise storytelling that takes full advantage of animation’s unique capabilities. Subotnick suggests that while animation can draw inspiration from live-action, it should also remain distinct and leverage its own strengths to tell powerful stories in compact formats.
This dynamic reflects a broader trend in animation, where filmmakers are increasingly influenced by live-action conventions while also carving out unique spaces for animated storytelling. As audiences become more accustomed to live-action pacing and structures, the lines between the two mediums continue to blur, further driving the trend of longer animated shorts.
A Gateway to Features?
The ambition to transition into feature filmmaking may also be driving this trend. “If you gave filmmakers unlimited resources, most would choose to make a feature,” said Popakul. However, he also acknowledged the daunting effort required, noting that the long-short format may offer a practical middle ground.
Producers like Olivier Catherin confirm this ambition. “Developing longer narratives is a way for filmmakers to prepare for feature projects,” he said. In countries like France, where scriptwriting is essential for securing funding, the system inherently pushes filmmakers toward creating more elaborate works.
Kashcheeva, now transitioning to a feature project, illustrated how long shorts can serve as a training ground. “Currently, I’m writing the script for my first feature film, which will include both live-action and stop-motion elements,” she shared. This hybrid approach exemplifies how animators are leveraging their experiences with long shorts to bridge the gap to feature filmmaking.
Long shorts also provide an opportunity for filmmakers to develop and refine their storytelling skills without the immense pressure and stakes of a full-length feature. This stepping stone approach allows creators to test the waters of extended narratives, experiment with pacing, and explore deeper character development, which can ultimately strengthen their capabilities when they do transition to features.
Challenges for Producers and Distributors
While longer shorts may be artistically fulfilling, offering filmmakers the opportunity to delve deeper into complex narratives and character development, they pose significant challenges for producers and distributors who must contend with tighter festival schedules and limited audience attention spans. Vanja Andrijević of Bonobostudio observed that programming long shorts in festivals is difficult. “A 20-minute film has to be exceptional to compete with two shorter films of equal quality,” she said. As a distributor, Andrijević often encourages filmmakers to trim their projects, emphasizing the importance of rhythm and pacing. “If a film can be shorter, why not?,” she asked.
Similarly, Luce Grosjean of Miyu Distribution warned that long shorts are harder to program and sell. “Every minute after 15 counts double,” she explained. Yet, for thematic programs, longer films can work if their quality justifies the runtime. Grosjean highlighted the importance of finding alternative niches for showcasing these works, such as curated programs focused on specific themes.
Catherin elabored on the complexities: “These larger projects are heavier to produce. They involve bigger teams, sometimes split across different studios — similar to a feature film. This makes the process much more complicated for producers. You need more money and more people. Sometimes, the project grows too large. Directors may not realize this — they just keep adding more. For example, a film might start at 13 minutes and grow to 16 minutes because they decide, ‘Oh, maybe it’s better with two or three more minutes.’ That kind of thing happens quite often.”
Christine Noël, executive producer of the Animation Unit at the National Film Board of Canada, observed: “For a while now, we’ve seen creators of director-driven animated shorts wanting to tell their stories through films with runtimes of more than 17 minutes; one example was Theodore Ushev’s The Physics of Sorrow back in 2019. While it hasn’t necessarily been a massive trend, we’re definitely still seeing it these days. Just recently, animators like Amanda Strong, with Inkwo for When the Starving Return, and Torill Kove, with Maybe Elephants, have felt the need to tell their stories in more elaborate ways. As a creative lab, we champion all forms of storytelling, and that might mean formal, visual, or narrative experimentation. Longer runtimes are also something we’re quite willing to explore, as long as their purpose is to deliver a meaningful experience for the viewer, not simply for convenience.”
Grosjean added that festivals like Annecy face increasing pressure to accommodate longer films without sacrificing variety. “Annecy selected only 40 films for the International Competition last year,” she noted. This reduction in slots underscores the competitive disadvantage of longer shorts, which may require festivals to explore new programming models, such as thematic blocks or dedicated categories for mid-length films.
The Role of Education
Educators and festival directors agree that animation schools play a critical role in shaping filmmakers’ understanding of storytelling and pacing. Šuljić believes many films could benefit from tighter editing. “Some films could be 20-30% shorter,” he suggested. “In the past, filmmakers had to carefully consider each frame due to the high cost of production. Today, with digital tools making production easier and more affordable, there’s less pressure to keep things concise. This can result in films that feel drawn out or lack focus.”
Amy Kravitz, a professor at the Rhode Island School of Design, noted that some students’ focus on verbal, script-driven animation reflects a misguided attempt to align with industry trends. “Students sometimes see longer films as a pathway to finding producers and deals,” she observed. Kravitz stresses the importance of nurturing students’ creative confidence and encouraging them to explore animation’s unique storytelling potential beyond conventional formats. “Animation doesn’t need to adhere to live-action rules,” she added, urging students to embrace the medium’s flexibility.
The Future of Long Shorts
As festivals and filmmakers grapple with the implications of this trend, solutions remain elusive. Annecy’s Jean acknowledged the need for change. “If films continue to get longer, we may need to create subcategories or adjust programming limits,” he said. He suggests that introducing a dedicated category for mid-length films could help alleviate some of the pressure on programming while allowing these works to shine without overshadowing shorter entries.
Kravitz warned that the drive for longer works may “come from European producers as well as U.S. companies looking for ‘the next whatever’ series.” As a result, she said, “Students get caught between their confusion and their ambition — sometimes not really understanding the depth of the medium and its potential to move beyond all that into forms or practices they don’t have the confidence to imagine currently.”
Despite the challenges, long shorts offer unique opportunities for artistic exploration. Educator Subotnick emphasized the value of conciseness in short films, advocating for a return to animation’s roots in brevity and impact. However, there is also a growing recognition of the creative potential in long shorts.
Ultimately, the rise of long short films reflects a tension between creative ambition and practical constraints. Festivals, educators, and distributors will likely need to collaborate more closely to innovate programming strategies and establish clearer distinctions between short and mid-length formats. These adjustments could help maintain a balance between celebrating artistic ambition and addressing practical challenges. As the short animation landscape transforms, finding ways to combine narrative depth with brevity may lead to a redefinition of what a short film can achieve.
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