Charades Boss Yohann Comte on Why Awards Season Darlings ‘Flow,’ ‘Memoir of a Snail’ Could Represent a Sea Change for Independent Animation Distribution

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As a movie critic, I’ve had the privilege of witnessing the remarkable evolution of Charades, a French production and sales company that ventured into animation several years ago. Their journey has been nothing short of spectacular, with films like Mamoru Hosoda’s “Mirai” (2018) and Jérémy Clapin’s “I Lost My Body” (2019) gracing our screens, both earning Oscar nominations.

However, it’s the year 2024 that truly shines as Charades’ most triumphant chapter in animated filmmaking. The Golden Globe best animated feature winner, Gints Zilbalodis’ “Flow”, and Adam Elliot’s Annecy Cristal winner “Memoir of a Snail” have made this year the pinnacle of their successful streak in releasing critically acclaimed and financially profitable animated features.

This year, both “Flow” and “Memoir” have been consistently prominent during the awards season, seeming strong contenders for Oscar nominations. Given the competition, this would be remarkable in any year, but it’s especially impressive considering that Disney, Pixar, and Dreamworks all released blockbusters that have already captured the affection of global audiences.

Both “Flow” and “Memoir” are top contenders for Oscar nominations this awards season. It’s impressive because they’re up against big movies from Disney, Pixar, and Dreamworks that people all over the world love.

Stepping away from the usual pattern of indie international features that gather accolades yet struggle with distribution, “Flow” and “Memoir” have managed to shine exceptionally brightly. What sets them apart is their successful worldwide theatrical releases, a feat seldom achieved by films like these in the past. Contrast this with “I Lost My Body,” which was acquired by Netflix only a few years ago and debuted directly on streaming platforms. As a movie reviewer, I find it refreshing to see such films reaching wider audiences through traditional theater channels.

In a recent conversation with EbMaster, Charades CEO Yohann Comte discussed the distinct qualities of “Flow” and “Memoir”, debated if their distribution success could signal a significant shift for independent animation, and explained why Charades has consistently achieved success in creating animated feature films.

I believe I have the correct response, but let me confirm – is there any variation in how Charades treats its animated and real-life movies?

I view animation not just as a genre, but as a unique language. In our perspective, creating an animated project is no different than producing any other film. Our role leans more towards that of an acquisition company rather than a sales one. We secure the rights to a project and, if we provide adequate support and assemble a skilled team, marketing included, the movie will find its audience. A talented sales agent can certainly sell a quality film, but even they might struggle with a subpar one. Our focus is ensuring the filmmakers have all the resources at their disposal to create a solid film.

Could you tell me about the circumstances surrounding Charades’ involvement in these two movies, and what specific aspects of each project initially drew your interest?

Working on animations requires a significant amount of effort. Our journey with these animated films began approximately four years back, with “Memoir” being the initial project. I remember it vividly as the first one. We witnessed Adam presenting it at the Melbourne Film Festival, and it came as a surprise to see that following “Mary and Max,” this venture was already seeking funding at a financing event. Consequently, we began discussing potential ways to finance the film and brainstorming various possibilities. Despite the challenges posed by COVID-19 in executing stop motion animation, we managed to collaborate with Adam and devise solutions for funding the project.

As a movie enthusiast, I stumbled upon “Flow” on Instagram, if my memory serves me right. Unlike traditional films, this one didn’t rely heavily on a script, as dialogue was non-existent and the story unfolded more through an animatic. Previous works from the directors were instrumental in our decision to take up this project. We had already made waves with “I Lost My Body,” which earned an Oscar nomination, and “Mirai.” Our growing reputation as a distributor of animation films among filmmakers was a significant factor. Moreover, at that time, there wasn’t as much competition in the adult animation scene.

Is it due to a strong demand from audiences that these movies receive extensive theater releases, or is it more about movie sales companies and distributors actively cultivating an audience for such films?

It seems that we’ve only just scratched the surface of tapping into the vast potential audience for adult animation, particularly anime, with our work on “Mirai.” As one of the early pioneers in this field, I believe we recognized the immense popularity and potential of this genre among both adults and teenagers. However, targeting this demographic, specifically young adults and teenagers, is challenging due to its specific preferences. Anime, as an international film style, is uniquely equipped to captivate this audience. We envisioned a time when they might be receptive to other forms of adult animation, not just Japanese ones. Unfortunately, many distributors were reluctant to take the risk, with only a few exceptions such as GKIDS in the U.S. and Madman Entertainment in Australia. While there are a handful of companies that can be counted on, they alone cannot create a robust strategy or revolutionize the industry.

As a passionate cinephile, I’ve always believed in the power of storytelling and the magic of cinema. When it came to distributing “I Lost My Body”, we chose Netflix because they were the most passionate global distributor out there. They truly valued our work, and that was a game-changer for us.

However, with our latest productions, “Memoir” and “Flow”, we’ve taken a different approach. We’ve opted for traditional theatrical distribution, and so far, no streaming platforms have been involved. This decision is about building a new audience, step by step.

For instance, the film “Flow” has managed to surpass one million theatrical admissions in just two weeks in Mexico – something unimaginable before. Even in recent years, some remarkable films have struggled at the box office, and we’ve felt the impact. Convincing distributors was a challenge initially, especially after the disappointing performances of our previous films.

Take Germany as an example; securing a distributor for our films was initially tough due to past experiences with films that didn’t perform well cinematically. But now, we’re hopeful that “Flow” will serve as a catalyst, changing the game and opening new opportunities for us in the future.

And how did you convince those distributors?

It was advantageous for the movie not to be placed on the beach at Cannes, but rather in Un Certain Regard. This significantly impacted the movie’s reception by distributors. It aided us in persuading distributors who typically avoid animation to consider this film. Interestingly, the success of these films complemented each other as well. They were frequently screened together. “Flow” showcased at Cannes, while “Memoir” won at Annecy. As a result, we managed to secure distributors who treated these films similarly to any other movie they handle. They didn’t single them out for special treatment, but instead viewed them as broad films with the potential to attract a wide audience.

It’s worth mentioning that “Flow” was launched in France in October and performed quite well. I believe this caught the attention of distributors when they noticed it nearing half a million admissions in France. This was beneficial not just for “Flow,” but also for “Memoir.” Moreover, by the time these films were released, the distributors were already aware of them due to our promotional reels and timely communication about their release.

Did you share earlier that your involvement in these movies starts from the initial stages? I’m curious, is it essential for sales agents to engage in such practices if they aim to be successful with films like these?

Since animation requires a significant amount of time, these projects heavily rely on early investment and assistance. With adequate funding, these animations can be completed more swiftly and economically. Lack of appropriate financing prolongs the production process of animation. Naturally, there’s always an element of risk involved. We got involved in these projects four years ago, and it is only now that we’re reaping the benefits of our initial investment.

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2025-01-21 17:16