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Issue #82 | January 18th, 2026

Hello Reader 👋
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A couple of folks reached out on LinkedIn this week. Simple messages. Kind words. You probably don’t realize how much that matters.

Because sometimes this whole thing — building Animator Now, writing this newsletter, teaching, freelancing, trying to grow something from scratch — it can feel like a monologue. You’re sending stuff out into the void and hoping someone out there is nodding, or at least thinking, “Yeah, this hits.”

So when someone does reply — even just a “keep going” — it’s huge. It’s oxygen.

Honestly, I never have enough feedback. Never. And that’s why I’m saying it clearly here: if you’re reading this, you’re more than welcome to hit reply. Just say hi, or share what’s resonating with you… or even what’s not. Too long? Too slow? Not enough tips? Tell me. I’m not looking for praise — I’m looking for connection.

Because feedback is fuel.

Not just for this newsletter — but for any creative work you’re doing. Animation is built on feedback. We should be taught that from day one: how to receive it, how to sit with it, how to choose what to keep and what to leave behind. Not all feedback is created equal — you know that. But being open to hearing it? That’s part of the craft.

This also ties into something deeper I’ve been thinking about.

A lot of animators right now are considering freelancing — not necessarily by choice. The industry’s been shaky. Studios are slowing down. People are getting scared. And I get it. But I don’t want anyone to believe the myth that the only “real” job in animation is at a big studio.

Because I’m living proof that’s not true.

I’ve freelanced for 20+ years. I’ve built a business. And yeah, sometimes it gets lonely — especially if you’re doing it alone, while raising a family, juggling clients, and trying to squeeze in your dream project after the kids are asleep. It’s not glamorous. It’s not “passive income.” It’s work. But it’s possible. It can be deeply fulfilling and It can definitely feel like freedom at some point.

If you’re thinking about taking that leap — starting a freelance life, or even launching your own animation business — anything that is related to animation, that is supposed to make you an income and that is not working in a studio, I want you to know there’s a path.
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That’s what the Freelancing for Animators upcoming cohort is about. We’re kicking off next week with a free event. No commitment. No pressure. Just show up and see if it clicks.
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👉 Subscribe here and I'll send you the link of this free event.

I promise: it’ll be better than 25 YouTube tutorials.😊

And to circle back — if you’ve got thoughts, dreams, doubts, questions… I’m here for all of it. I can’t read your mind. But I can read your replies 😉

So don’t be shy. Hit reply. Say anything. Even just: “Hey, I’m out here and I dream about this or that.”

Let’s build together.

Now, on to this week’s issue 🌿

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The Spotlight

Every now and then, a student film lands with the weight of something far bigger. Contretemps, created at the renowned French animation school Gobelins, is one of those rare short films that stays with you long after the credits roll.
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The setup is deceptively simple: Anna lives with severe OCD. Her daily life is organized to the point of paralysis — every detail is controlled, every movement rehearsed. That fragile balance is shattered when her sister Maeve forgets a piece of her clarinet. For Anna, returning it means stepping into a world that feels chaotic, threatening, and painfully out of control.
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And what follows is a stunning portrayal of internal struggle.

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The filmmakers — Laurine Baille, Gabriel Gérard, Lise Légier, Chloé Maingé, and Claire Sun — take a very real condition and find the perfect visual language to express it. Anna’s fears aren’t explained. They’re felt. They emerge in flashes: eyes in the shadows, pulsating shapes, a sense of being watched, swallowed, undone. We’ve seen metaphors like this before — monsters representing illness or trauma — but Contretemps handles it with subtlety and a slow, relentless crescendo that pulls you in, breath by breath.

I loved the choice to keep the story grounded. There’s no twist, no fantasy world. Just one girl, trying to bring a piece of an instrument to her sister. But the stakes are massive. It’s that kind of story I adore — intimate, real, and quietly heroic.

And of course, it’s Gobelins. So the animation? Flawless. But not flashy. Everything serves the emotion. The pacing, the design, the atmosphere — all of it is calibrated just right to let the story breathe.

Also worth mentioning: the incredible soundtrack by Arthur Dairaine and the mix by Vincent Mauduit and Nathan Robert. The sound design plays a crucial role in building tension and guiding our emotional response. It’s as much part of the storytelling as the visuals.

Distributed by Miyu Distribution (hi my dear Luce Grosjean — always showing up where talent lives!😊), Contretemps is another brilliant gem from a school that never seems to miss.
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​🎬 Credits
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​Directed by: Laurine Baille, Gabriel Gérard, Lise Légier, Chloé Maingé, Claire Sun
​Soundtrack: Arthur Dairaine
​Sound Editor: Cédric Denooz
​Mixing: Vincent Mauduit, Nathan Robert
​Color Grading: David Chantoiseau
​Production: GOBELINS, l’école de l’image – Cécile Blondel
​Distribution: Miyu Distribution – Luce Grosjean

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The Job Fair

• ​Senior Animator - Zealous Agency
  ​We’re on the lookout for an experienced Senior Animator to join a growing team. This agency has had an exceptional period of growth, and they are not slowing down! Working with B2B clients globally, it’s a fantastic time to join them.
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• ​Senior Animator - Pixaera​
  We are seeking a Lead Animator who can take ownership of our character animation pipeline end-to-end. Our characters are grounded in real-world human roles - primarily blue-collar and construction-industry workers - so animations must feel authentic, physical, weight-accurate, and believable.
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• ​Motion designer - Sporty Group​
  We are now seeking an experienced Motion Designer to join our creative team and play a key role in building engaging and impactful visual content for our marketing channels. You will help strengthen our brand identity, fuel our growth across African markets, and bring football stories to life through dynamic and captivating design.

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The Random Stuff

🖥️ Started working from a co-working space — because living in a tiny apartment with a 19-month-old toddler shouting across the room? Yeah… not exactly the best focus zone 😅 I tried closing the door (visual isolation ✅), but the sound? Not so much. AirPods helped, but blasting white noise all day wasn’t an option.
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So here I am, temporarily set up in a shared space until we move into our house (April 1st, no joke 😜) — where that dream animation studio is finally going to be built. Can’t wait.
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Oh! Wanna see some Pinterest references for that dream studio of mine? Check out the one below 😊

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🔥 Reconnecting with my 17-year-old son through games again. We’ve had so many great Fortnite sessions in the past (seriously, some of my favorite memories), but since we live in different cities now, it’s been a while.

No PC at the moment, but we recently played our second favorite game: Age of Empires II. If you’re on Mac, by the way, check out Crossover — it lets you run Windows apps and games like this without a full setup. Super smooth.

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📺 Netflix watchlist: The Rip just dropped today — the new film with Matt Damon and Ben Affleck. Caught them talking about it on the Tonight Show, and it looked pretty great. We’re planning to watch it tonight. I’ll let you know next week if it’s worth your time.

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Philippe Duvin​
Founder, Animator NOW

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