Ermoupoli, the capital of Syros, once again became the meeting point for Europe's animation community as Animasyros concluded its 19th edition. What began in 2008 as a modest gathering has grown into the Mediterranean's most important animation festival, a status its president Vassilis Karamitssanis is keen to underline. "In the 18-19 years that Animasyros has been in the spotlight... I believe it has become the most important hub for animation in the Mediterranean and in Greece," he told European Pulse. The festival, he added, places strong emphasis on showcasing Greek and European talent globally and on highlighting new techniques and technologies—"the key to a sustainable future for the audiovisual sector in general and for European animation in particular."
This year's programme was the richest yet, with seven competition sections spanning international, student, national, and commissioned work, plus a special focus on Irish animation and a market that has become a reference point for the industry in the Eastern Mediterranean. The festival also marked the bicentenary of Ermoupoli with thematic events and workshops.
Sound as the soul of animation
Among the most anticipated guests was Olivier Calvert, the Montreal-based sound designer whose credits include the Oscar-nominated short The Girl Who Cried Pearls and the Oscar-winning sound team for Denis Villeneuve's Arrival. In a masterclass devoted to sound as a storytelling tool, Calvert argued that in animation, sound need not mimic reality. "In live-action films you first create sound for a normal environment. In animation everything is constructed, an entirely new world, so why should the sound be natural, real?" he said. "We can create a completely different world, a unique world. A new universe to discover, both in terms of image and in terms of sound."
Calvert described sound design as the emotional filter through which audiences perceive images. "Sound is the filter through which you look at the image. It gives you the emotion with which you perceive that image," he explained, quoting the subtitle of his workshop: "The image is the body, but sound is the soul." He stressed that sound can build tension by adding or removing layers beneath music or dialogue, operating on a subconscious level.
His approach often involves early collaboration with directors, sometimes before a script is finalised. "They now bring me in at a very early stage, because we can shape the film using sound as a storytelling device," Calvert said. He sees himself as "something like an artistic director for sound," working in a trio with the director and composer. "This trio is very important," he added. "For me the soundtrack of a film is a whole. There is the music on the one hand and the sound effects on the other. Everything goes together."
Cross-border collaborations and a Spanish premiere
The festival opened with the Greek premiere of Decorado, the latest work by Spanish director Alberto Vásquez, known for Unicorn Wars and Birdboy: The Forgotten Children. The film, which won the Paul Grimault award at this year's Annecy festival, is an existential black comedy about the absurdity of modern life and external control, blending innocence with dark humour. Its creative director, José Luis Ágreda, was also present, underscoring the festival's role in fostering cross-border collaborations.
Animasyros has become a key platform for such exchanges, with support from the Embassy of Spain in Greece and the Cervantes Institute. As the festival looks toward its 20th anniversary in 2025, Karamitssanis is confident about its trajectory. "We aim to continue highlighting new techniques and technologies," he said, "which I consider to be the key to a sustainable future for the audiovisual sector in general and for European animation in particular."
For Calvert, the festival's growth reflects a broader recognition of sound's importance in animation. "Every sound is music in a way," he said, "so it contributes to the emotional impact of the film." His masterclass, like the festival itself, was a reminder that animation is not just a visual medium—it is a symphony of image and sound, and Europe is one of its most vibrant stages.
