This year, Monstra Festival  (20-30 April 2025, Lisbon) celebrated its 25th birthday with the general theme, 'The Drawing, The Poetry, 25 years of Portuguese Animation.' So, this festival was more than a festival; it was also a commemoration with posters made by Regina Pessoa and Abi Feijó.

There were not many events like that in the southern region of Portugal. Cinanima, the third-oldest animation festival in the world, was a reference for Fernando Galrito, as Monstra’s Artistic Director stated in his presentation. For 2025, Austria was the invited country, and many sessions, among films and masterclasses, were offered to animation lovers.

As always, Monstra brought several diverse events, more than just film sessions. Among them, we had not just a big exhibition but three great exhibitions linked to animators and animation studios:

• 'Laika: Frame x Frame', at the Museu da Marioneta.
  From March 14 to May 11, offering a unique opportunity to explore the behind-the-scenes world of the renowned LAIKA animation studio. It is fantastic to see the details of Laika’s characters.
• '10 years of COLA' - Animation. That is an Audiovisual Collective in animation at the Cinemateca Portuguesa — Museu do Cinema. The exhibition highlights the studio’s contributions to cinema, including the 2023 Academy Award-nominated 'Ice Merchants'. That is a perfect opportunity to understand the evolution of COLA studio work.

Cola Animation exhibition during Monstra 2025

• 'Outros Movimentos', or in English, 'Other Movements'. A drawing exhibition of José Manuel-Xavier, “a thinker, writer, animator, and tireless draftsman, master of an indomitable stroke and a key figure in Portuguese animation.” I could not find a better way to describe him. That is at the Sociedade Nacional de Belas-Artes until April 12. Jose Manuel-Xavier’s work creates movements, even when he “only” draws a static picture, not an obligatory figurative one. He is truly an artist.

The other two fantastic events at the National Museum of Natural History and Science were 'Invisible Places' and 'Magic Project.'

The first was an "interactive installation by composer Carlos Caires that invited participants to manipulate a sound system through hand movements, creating an engaging dialogue with light projections and images.” This created a superpower sensation in those who moved their hands in the air. These movements created different sounds from nature and aligned with the studio lights, providing a mix of impressions. It was really great! 

The second was the presentation of the 'Optical Theater' of Émile Reynaud, reconstructed by Abi Feijó, and the 'Magic Lantern' session with Feijó and Elsa Cerqueira. I already wrote about it for Zippy Frames, and one of the festival's highlights. 

The masterclasses and talks were also very interesting moments. For instance, 'Núcleo de Animação de Campinas [Brazil] Half a Century of Animation with Kids, Youngsters, and Indigenous Communities'—Zippy Frames will publish an interview on this soon—'Regina Pessoa, My Creative Process,' 'Thomas Renoldner, The Work of the Teacher, Curator, Musician, and Animator,' and 'José-Manuel Xavier, He, The Other Movement and I' were fantastic opportunities to get closer to the public and creators about their works and methodologies.

Moreover, there were also two book releases. One by José Manuel-Xavier, 'The Other Movement' - a poetry book he illustrated - and the other by Nancy Denney-Phelps, 'On The Animation Trail.' In this presentation, I had the honor of being invited to mediate with the audience. Nancy told some book highlights, which cover 20 years of travel for animation festivals around the world. 

Nancy Denney-Phelps's book presentation at Monstra Festival 2025

Monstra is always wonderful, but as with everything in life, we have a downside: it is not possible to participate in every event. So, besides the exhibitions, I could see some student shorts, international short films and Portuguese sessions competition, and some feature films. Following, I tell Zippy Frames’ readers about what caught my attention; it does not matter if the film was awarded or not, and I do not cite productions already commented on in previous reviews [also check the Monstra 2025 winning films].

Feature Films:

• 'Sanatorium Under the Sign of the Hourglass'— Quay Brothers, United Kingdom/Poland, 2024, 75 min.
  The story is about a son, Jozef, who will see his father in a sanatorium.
  However, given that the picture is a Quay Brothers’ film, the situation is far from simple or 'normal.' I love this! The illogical and outside-of-the-time shown in this feature film are attractive and, of course, mysterious. The quality of puppet animation is indescribable. The metamorphosis between the static and motion puppet states is incredible. Undoubtedly, we anticipated the Feature Animation award.

Perspective Session:

• Weeds—Pola Kazak, Czechia, 2024, 14 min.
  Far, far away, there are endless fields overgrown with weeds. Amidst these fields, there is a hidden garden full of beautiful cultivated flowers. One day, a mighty storm comes [...].
  This short made by painting is more than a garden representation. It is a metaphoric picture of segregation, violence, and nature's force. That is a short animation that makes us think.

Weeds

• 'SKRFF'—Corrie Francis Parks & Daniel Nuderscher, Austria, 2024, 7 min.
  A 40-year-old graffiti wall becomes an archaeological site and a sgraffito sculpture, revealing hundreds of layers of colorful paint representing decades of artistic, political, and cultural expression.
  The visual outcome of this short, which resembles a strata-cut (David Daniels' technique), stands out. As this wall was successively carved, we can see many different layers of color, which create a surreal landscape.
  
  
• 'Once Upon A Time On Earth'—Phil Mulloy, UK, 2024, 15 min.
  A young boy and his parents leave the suburbs of London to begin their journey to the coast. The horrifying events of the following days will change the child's life forever.
  This short maintains the lack of hope and acidic look at humanity so characteristic of Phil Mulloy. How can simple drawings be a strong message representation? That is a positive example.

Short Film Competition

• 'Playing God'—Matteo Burani, Italy/ France, 2024, 9 min.
  A clay sculpture comes to life in the darkness of a workshop, surrounded by strange creatures…
  This stop-motion film evokes a sense of suspense and terror due to the creatures' deformities, culminating in a pivotal moment that offers a multitude of interpretations for the audience to choose from. This short is characterized by its intelligent narrative style.
• 'The Night Boots'—Pierre-Luc Granjon, France, 2024, 12 min. 
  While his parents are entertaining friends, a child leaves home in the middle of the night [...]. There, a little creature, curious and solitary, takes him into the heart of the forest [...].
  This pin-screen animation brings smooth movement and gradual image metamorphosis— the soul of this unparalleled technique. In addition to its delicate and ludic narrative, it appeals to both adults and children.

Night Boots

Student Film Competition

• 'Pear Garden'—Shadab Shayegan/ Filmakademie Baden-Württemberg, Germany, 2024, 7 min.
  Six-year-old Lily visits her grandmother after Grandma had a mastectomy and doesn’t have breasts anymore.
  This animation is a wonderful example of how shapes can show not only simple forms but also many significant layers. This animation positively embodies femininity.
  
  
• 'Garlic Soup'—Kristian Zahariev/National Academy of Theater and Film Arts (NATFA) "Krastyo Sarafov", Bulgaria, 2024, 9 min.
  A vampire, thirsty for blood, flies around a small Balkan village in search of his next victim. He sneaks into a dark bedroom after seeing a silhouette of a young beauty. It turns out the silhouette belongs to an old granny.
  The short, with its humor, drawings, and character design, is truly remarkable. 'Garlic Soup' provided a welcome break from the harsh and depressing themes depicted on the screen. Its scenes also make me remember Mr. Magoo’s surreal actions.  
  
  
• 'Cherry, Passion Fruit'—Renato José Duque/Re:Anima Master, Portugal, Belgium, 2024, 5 min.
  Nature contains both the flowing waterfall and the consuming fire. Inside a mysterious rainforest, lust takes shape between love and pain. Would you face your haunting desire?
  I saw the first presentation of this animation, which is a result of a master's project. This animation has a black-and-white visual representing the questions and thoughts about the author’s soul and desires. Its images create a sense of contemplation and solitude. The short received a Special Mention at the Monstra Festival.

Cherry, Passion Fruit

Portuguese Competition, Vasco Granja

• 'The Bird from Within'—Laura Anahory/Universidade Católica do Porto, Portugal, 2024, 6 min.
  The film follows a woman and the bird that lives inside of her, and how their inability to coexist leads to physical wounds to her body.
  This animation has already been recognized with an award in Portugal at Festa da Animação, in addition to the 'Best Portuguese Student Film' by the 'Junior Jury' at Monstra, because the film also participated in the Student Film Competition. That is not a surprise. The short has very well-animated, malleable traces that blend well with the narrative theme. The film explores the conflict between the soul and the body, as well as the tension between limitation and liberty.

  
  
  

• 'Pietra'— Cynthia Levitan, Portugal, Brazil, 2024, 13 mins.
  In daydreaming about unlikely relationships, the flower - as delicate as it is revolutionary - represents an act of love amidst the suffocation and embrace of a classic Portuguese neighborhood.
  Throughout the stop-motion animation, Cynthia joins together many layers of a social relationship. It is not a simple and quick encounter but an exchange of impressions, perceptions, and even ways to live with our emotions and biases. This is more of an animation from a female angle!

• 'Wildflower'—Carina Pierro Corso, Spain, Brazil, 2024, 6 min.
  "Wildflower’ is a poetic essay about the undesirable, the lack of control, and the duality that seeks to explore the different possibilities of interaction between human beings and the uncontrollable side of nature.
  It is an intimate, feminine, delicate, and reflective animation, using floral elements metaphorically and poetically. It is captivating. Unlike “The Bird from Within,” this character tries to find her way through reflection rather than rebellion.
  

Wildflower

I observed that many themes dealing with women were shown, mainly in the students’ sessions. That is remarkable, since until not much time ago, these kinds of subjects were not mentioned, such as breast cancer, menopause, and female homosexuality. They were taboo. Despite the extreme right wave on the political horizon, this generation is showing that they are bringing a completely different one.

On the last night of the festival, in addition to the awards announcement, Deanna Morse, the president of ASIFA International, declared that Portugal now has its own ASIFA Chapter.

Fernando Galrito, Deanna Morse with Wendy Chandler, João Gonzalez, and Mohamed Beyoud in the background at Monstra Festival 2025

By the way, I can advance what Galrito told during the award night: the invited country to the 26th Monstra edition is Latvia. Its beautiful poster was created by Vladimir Leschiov.

Congratulations, and thanks, Monstra Festival!

The 25th Monstra Lisbon Animated Film Festival occurred between 20 and 30 March 2025.

Photos by  Cláudio Roberto. Contributed by: Eliane Gordeeff

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