Two Chinese Animated Films Score Historic Annecy Nominations
Two Chinese animated feature films — Langlangshan Little Monster and Xiaona — have been jointly nominated in the main competition at the Annecy International Animation Film Festival in France, widely regarded as the “Oscar of animation.” While neither film claimed the top prize, their simultaneous selection among just 11 films worldwide marks a historic milestone for Chinese animation on the global stage, as reported by People’s Daily.
A Landmark Moment for Chinese Animation
Founded in 1960, the Annecy Festival is the world’s premier animation event, and a main competition nomination is among the highest honors in the industry. For two Chinese films to be selected in the same year represents a breakthrough that industry observers say reflects the maturation of China’s animation ecosystem.
According to Sohu News, the nominations were announced on April 28, 2026, with a total of 11 films vying for the top prize in the feature-length category. Beyond the two features, two additional Chinese productions — the sci-fi series Linglong Season 2 and the folklore-horror Guwei Lanting — were selected in the television series competition, meaning four Chinese works were showcased at Annecy 2026 in total.
Langlangshan Little Monster: From Viral Short to Box Office Phenomenon
Langlangshan Little Monster began as a short film in the hit 2023 Bilibili anthology series Yao-Chinese Folktales (中国奇谭). The episode, centered on a low-ranking pig demon working an unremarkable office job under a mountain, resonated deeply with young Chinese audiences who saw their own struggles reflected in its themes of ambition, belonging, and self-acceptance.
The feature-length adaptation, produced by the legendary Shanghai Animation Film Studio and directed by Yu Shui, went on to become a commercial and critical sensation. It earned over 1.7 billion yuan at the Chinese box office and holds an 8.5/10 rating on Douban, China’s leading film review platform, according to Titanium Media.
At the Annecy screening, the film’s end-credit line — “Salute to every brave soul who sets out” — drew thunderous applause from an audience of over 1,000 at the Bonlieu Grand Theater. French newspaper Les Echos praised the film, writing that it “makes the small and the great look at each other, as if nothing was predestined.”
Xiaona: A Bold Departure from Mythology
Xiaona (小娜) stands out for a different reason. Unlike the vast majority of Chinese animated films that draw from classical mythology and folklore, Xiaona is an original contemporary fantasy set in Inner Mongolia’s grasslands. It follows a young girl who, after losing a music competition, returns to her hometown and embarks on a magical musical journey centered around the matouqin (horse-head fiddle).
The Annecy Festival’s official citation praised the film for its originality, noting: “Unlike many films based on local mythology, this is a highly contemporary original work.” Directed by Zhao Ji — known for the White Snake and New Gods series — alongside emerging female director Zhu Ke’er, the film was co-produced by Cui Di, producer of the White Snake franchise.
Industry Momentum: The ADN-Bilibili Partnership
The growing international appetite for Chinese animation is further underscored by a recent partnership between French streaming platform ADN and Bilibili, China’s leading anime and gaming community. ADN’s content development director, Bastien Guaita, confirmed the platform’s commitment to releasing two Chinese animated series per month in Europe, stating that “Chinese animation has achieved the capacity for sustained high-quality output,” as reported by People’s Daily.
What This Means for the Global Animation Landscape
The joint Annecy nominations signal a shift in the global animation industry. Chinese animation has been steadily building momentum since 2019, when White Snake: Fate became the first modern Chinese film nominated in Annecy’s main competition. Subsequent entries in the New Gods series appeared in the festival’s Work-in-Progress section, and now, in 2026, the breadth of Chinese participation — spanning mythological fantasy, contemporary original stories, sci-fi, and folklore-horror — demonstrates a diversity of creative voices.
Director Yu Shui captured this enduring spirit, noting: “What remains unchanged is the pursuit of truth, goodness, and beauty, and the yearning for justice and ideals.”
The Road Ahead
While neither Langlangshan Little Monster nor Xiaona won the top prize at Annecy, their joint nomination has already achieved something perhaps more significant: it signals to global audiences and distributors that Chinese animation is no longer a novelty but a competitive force. With the ADN-Bilibili pipeline now open and a new generation of filmmakers exploring everything from mythological epics to contemporary dramas, Chinese animation appears poised for sustained growth on the world stage.