This year, Áron Gauder has been named Patron of the MIFA Campus 2025 at the Annecy International Animation Film Festival – a role that highlights his influence in the world of animation. His name and work gained recognition among both Hungarian and international audiences with his animated film The District (Nyócker!). Now, after the success of The Four Souls of Coyote, he feels he has reached a pivotal moment in his career: the realization of his childhood dream to become a cartoon artist. Currently, he’s working on a film about the Big Bang, relishing the chance to explore new possibilities with the help of artificial intelligence.

The Annecy International Animation Film Festival is celebrating 110 years of Hungarian animation, with Áron Gauder returning to the festival at the peak of his success. His Nyócker! won the Grand Prize in 2005, while The Four Souls of Coyote took home the Grand Jury Prize in 2023. “I have a strange feeling now that I’ve accomplished what I set out to do when I was 12: I have become a cartoonist.”

It was a long journey to get here. At the time, animation was taught at what was then called the School of Applied Arts, where young, emerging artists had far fewer opportunities compared to the established fine-art-inspired professionals. If they wanted to make films, they had to find alternative paths. One such path was working as animators on international productions made in Hungary as part of outsourced service work. In 1998, Gauder was recruited through the Hungarian studio Exist to work as an animator on the French film Kirikou and the Sorceress.

Gauder’s first feature-length animated film, The District (Nyócker!), was originally conceived as a television series in collaboration with Erik Novák. Only later did the idea arise to merge the episodes into a full-length feature and release it in cinemas. In 2005, computer animation was still a relatively new and cost-effective technology, making it significantly faster and cheaper to produce animated films. The District became a hit thanks to its innovative visual style and provocative storyline. The film follows a gang of kids in Budapest – Hungarian, Roma, Chinese, and Arab – who devise a clever scheme to get rich quickly. When their plan succeeds, even President Bush takes notice. Internationally, the film performed well, with its distinctive atmosphere often likened to an Eastern European South Park.

Later, the same team spent several years attempting to adapt the Icelandic saga of Egill, the last Pagan. Unfortunately, at the time, it proved impossible to create a 3D animation using a unique technique with such limited resources – despite many efforts, they eventually had to let go of that dream and move on.

Gauder spent part of his childhood in Algeria, where his parents worked as architects. During that time, he became an avid fan of French comics, which he believes sparked his fascination with animation. Living in harmony with nature during those years had a profound impact on him. Returning to Hungary in the 1980s and encountering the rigid structure of the Pioneer Movement was a stark contrast. It was only when he discovered Hungary’s vibrant “Indian” culture that he reconnected with the sense of nature and freedom he had been missing.

Hungary has a unique tradition of “Indian camps,” referring to a Hungarian interpretation of Native American ways of life, pursued with seriousness and care, especially linked to the popular singer-songwriter duo Tamás Cseh and Géza Bereményi. In the 1960s, inspired by their work, more and more young Hungarians chose to resist the communist dictatorship in their own way – by leaving the city, retreating into nature, and forming “Indian tribes” in the Bakony hills. This tradition continues to flourish today, and Bereményi even explored the theme of Indian-Hungarian identity under the Kádár regime in his theater play Apaches, for which Gauder created the visuals.

Freedom is a key theme in Gauder’s work – both in animation and in life. This is especially evident in The Four Souls of Coyote, where nature and storytelling are deeply intertwined. The film, based on a Native American creation story, explores how humans might live in harmony with the natural world. Gauder had previously collaborated with Cinemon Entertainment on Native American tales, directing short films such as Coyote and the Rock and Coyote and the Paleface, both based on folk stories written and later recorded as audio narrations by Tamás Cseh. These recordings served as the voiceover for the films.

According to Gauder, Hungarians and Native Americans share many similarities, making it easy for Hungarian audiences to connect with these stories. “We Hungarians were also pagans for a long time. We rode horses, lived in yurts, and were later forced into Christianity.” During its international run, The Four Souls of Coyote received positive feedback from Native American communities. However, American journalists frequently raised questions about cultural appropriation. “Meanwhile, American studios have no problem taking a Maori story and selling it as Moana (Vaiana in some regions). In my experience, once people watch my film, their concerns disappear – but until then, skepticism is very present. What’s a Hungarian director got to do with these Native American stories?”

Two years after its premiere, The Four Souls of Coyote continues to keep Gauder busy with interviews and public screenings both at home and abroad. “When kids on a Native American reservation watch the film and then send me stories, asking me to adapt them, I think – well, that makes it all worth it!”

With Annecy spotlighting Hungarian animation, Gauder hopes the attention will lead to positive outcomes for the industry. “The real problem isn’t just a lack of funding. We have great professionals, and Hungarian animators have the chance to work on international films. I also teach many talented students at Metropolitan University (METU). It would be great if there were a talent program to support them – the very beginners, the really shy ones.”

At METU, limited resources mean students work in teams on their thesis projects: all 12 students develop a film concept, but only the top four projects get the opportunity to be animated. Gauder believes this approach teaches teamwork and exposes students to various roles within the film crew, as animation isn’t just about directing. As a teacher and mentor, he offers students practical advice – from creating showreels to pitching projects and more. “When I was a student, there was no practical training like this. Our art teachers had a very different approach to filmmaking. I had to learn most things through real-world experience, and now I can pass that knowledge on.”

The Hungarian animation scene continues to evolve, with a new generation of mostly female artists experimenting with a wide range of styles. Gauder notes that the landscape is shifting quickly, and adaptation is essential – he sometimes feels uneasy realizing that he has now become the established figure receiving grants, when early in his career, such support was out of reach. After his feature-length film Coyote, he is returning to the short film genre. He is currently working on a nine-minute animation about the Big Bang. “I finally have the chance to experiment with artificial intelligence,” he says, noting that this is his first time working with the technology. “It’s evolving so rapidly – you have to explore it to understand its possibilities.”

At the Annecy International Animation Festival, a special dome will showcase Hungarian animation, and Gauder is creating a 360° animation for the event. “It will be primarily a visual experience, but for me, it’s also a great learning opportunity. This time, I’m working with new software and new technologies – Coyote was a way more traditional animation.”

The Annecy International Animation Film Festival has bestowed a special honor on Áron Gauder this year: he has been named Patron of the MIFA Campus for 2025. Each year, the MIFA (Marché International du Film d’Animation) selects an outstanding creator to serve as a role model and inspiring mentor for emerging talents in the field of animation. Áron Gauder will support the professional growth of young creators through a masterclass, mentorship, and active participation in the MIFA Pitches program.

In recent years, patrons have included Oscar-winning director Guillermo del Toro, Portuguese animator Regina Pessoa, and Japanese filmmaker Masaaki Yuasa. For Gauder, this marks a new kind of role – he feels most at home making films and discussing filmmaking – so he approaches the challenge with excitement and curiosity.

Looking ahead, Gauder remains committed to storytelling. Filmmaking continues to thrive because humanity has always loved hearing stories about itself. Animation has the power to bring those stories to life.

Anita Libor