Partners in Art: Mackenzie & McKinley Benson on the Making of Their Poetic, Oscar-Qualified ‘Two Ships’

A modern couple tries to keep their relationship alive despite their different schedules in the gentle 2D-animated short Two Ships, which is among the projects qualified for Oscar consideration this year through exhibition. The short’s writer-producer Mackenzie Benson and writer-director McKinley Benson talked to us recently about their poetic project, which was inspired by their own experiences.

Animation Magazine: Congratulations on the success of your film, Two Ships. Can you tell us a little bit about how the short came to be? 

Mackenzie Benson: McKinley shared the idea with me one night, acting it out in our kitchen, and it brought me to tears. I thought the story was so touching and truly represented who he is as a person. I asked if I could be a part of making the film, and we began working on the script together. We started connecting with artists through social media and cold emails, including COLA Animation in Portugal, who came on board as a co-producer. Two Ships was produced entirely independently, and we’re so proud of our team’s work on the film.

McKinley Benson: Mackenzie and I had just moved in together after four and a half years of long distance, then began working on opposite schedules. I was working overnights while she worked during the day, so the few hours we had together on weekends became precious. Similar to the film, we tried to find small ways to stay connected throughout the week, and we thought that idea would be a simple yet effective foundation for the short.

Let’s talk about the short’s distinctive visual style and influences

McKinley: Since it’s such an intimate and personal story, we wanted every aspect of the visual style to reflect that and feel as hand-crafted as possible. We leaned into a sketch-like animation style, embracing little imperfections and things like boiling, and wanted the characters to look and feel like real people — not too exaggerated or cartoonish. The layout of the characters’ apartment was inspired by our first apartment together, and although the film was created digitally, we wanted it to have a traditional feel and a handmade touch throughout. Even the notes the characters write to each other, the titles, and the credits are all in mine and Mackenzie’s own handwriting.

When did you start work on the short and how long did it take to make?

Mackenzie: We started writing the script in 2021 and officially began production in 2022. We completed the film at the end of 2024, so in total, it took about three and a half years. Since April 2025, the film has been traveling the festival circuit and it’s been such an exciting time screening at festivals around the world and connecting with other filmmakers. We’ve been thrilled to win several awards so far, including Best Story at Animayo and Best International Short Film at Festival Internacional de Cine Quito. It still feels surreal that this started out as just a small idea shared over dinner one night almost five years ago.

How many people worked on it, and which animation tools were used to create it?

Mackenzie: We had a pretty small team of about fifteen people. Our crew was spread out around the world, spanning six different time zones. The film was created remotely, going back and forth with our artists over Zoom and email, with the only exception being the music, which we were able to collaborate on in person with our composers, Zach Pelham and Mason Palanti. For the majority of our team, though, we still haven’t had the chance to meet in person. The whole film is hand-drawn, frame by frame, and our amazing animators Ala Nunu, Olga Branska and Ana Iutes used TVPaint for the character animation.

When did you know you wanted to work in animation?

McKinley: My background is actually in live-action production, but I’ve always had a deep love and respect for animation. When I was a kid, I would make little stop-motion movies with LEGOs and action figures, and I always dreamed of directing an animated film of my own. I’ve written and directed many live-action shorts, but this was the first film where I truly felt it needed to be told through animation.

Who are your biggest animation heroes?

McKinley: Some of my biggest animation heroes are Glen Keane and Mark Henn, who actually worked with my mom [Jodi Benson, executive producer on the short] on The Little Mermaid and have been friends of the family for decades, but they’re also some of the most talented animators of all time. Another hero of mine is Guillermo del Toro, for his ability to move between directing animation and live-action so seamlessly. I’m also a firm believer in his words that animation is not a genre for kids, but rather a medium for art.

What is your take on the animation scene today?

McKinley: I like where the animation scene is headed, I’m very optimistic. I think 2026 is going to be a big year for original feature animation at the studio level, but also for indies. I’ve noticed that this year has seen record submissions for many animation festivals and, following the success of Flow, I think there’s been a huge increase in demand for original, independent animation. I hope that demand will continue to grow and grow.

What would you say was the important lesson you learned from the making of Two Ships?

Mackenzie: Looking back, if we knew what we know now, I think we might have been too intimidated to even begin this project. So in a way, we’re thankful for some of our naivety at the beginning, as it gave us the nerve to just go for it. Ultimately, we learned the importance of taking chances and trusting the process when it comes to making art you believe in.

What would you like audiences to take away from Two Ships?

McKinley: The first time we screened the film for an audience, our composers were there and noticed that towards the end of the film, a couple sitting next to them had reached for each others’ hands, squeezing tightly. I thought, that’s exactly what I hoped the film would do. Make people hug a little harder or hold hands a little tighter. At its core, Two Ships is a story about connection, and as humans, we all crave that — whether it’s in a romantic, platonic or familial relationship. I hope audiences take away a greater appreciation for those connections.

Learn more about Two Ships and McKinley Benson’s other work at mckinleybenson.com. A special screening of the short will be held at the Walt Disney Family Museum in San Francisco on Sunday, November 9, included with matinee tickets to The Emperor’s New Groove.