Unseen Struggles of Underrepresented Animation

The global animation community has come really far, achieving a major milestone in finally opening its doors to diverse voices and untold stories; stories by women directors, racial minorities and the LGBTQ+ community. Yet, despite this progress, countless voices still go unheard, highlighting that true inclusivity remains a work in progress.

I would like to shine a light on another diversified group of creatives usually overlooked: the creators, producers and studios from underrepresented countries — particularly those with limited audiovisual infrastructure, funding access and international exposure due to geographic location and economic constraints.

One such place is the Eastern Mediterranean, a region of multicultural people and rich history. Beautiful scenery, great stories, priceless heritage. Here, young animation students receive both local and international training as they work to master their craft. The unique influences of this region — family, hospitality and friendship — are unmatched and clearly reflected in these talented artists’ work, shaped by warm sunny days and warm hearts. These creatives bring a remarkable set of skills to the table, fully equipped to compete alongside their peers in the global market. It all comes down to an unwavering — perhaps even unconditional — love for the work itself: dedication, resilience and countless hours of creative labor. They pour everything they have into their projects. Producers, animators, indie teams, scriptwriters, or boutique studios, commit fully as they dive into the challenges of developing animated feature films, TV series and short films.

They approach their dream through the usual route: Creative Europe or crowdfunding for development support, Cartoon Forum or Cartoon Movie for pitching, setting up meetings at Annecy, Kidscreen and MIP and also attending smaller forums like the Central and Eastern European Animation Forum (CEE), Young Horizon Industries or Animation Production Days (APD). As expected, it often takes years before their projects start to gain traction. That’s because these creatives or studios typically work full-time on commissioned projects to stay financially sustainable, then reinvest their time and resources into these independent projects. It’s the unspoken rule of breaking into any market: don’t quit your day job. And it makes perfect sense. It’s a commitment they’re willing to make and a sacrifice they see as worthwhile, driven by the sole wish to tell an untold story, to turn an unread page from their corner of the world.

But when the tiny funding bodies in their corner of the world do not support animated TV series, or when the limited funds available must be stretched across both animation and live action, and when local broadcasters neither buy nor commission original content, it means these creatives are going into battle with no gear. Consequently, to give their projects a chance, they often sacrifice IP ownership — yet even then, productions from larger E.U. countries remain ahead, funded by their national and regional funds, and supported by their national broadcasters. For smaller countries without major backing and with limited industry infrastructure, every attempt can feel like playing a high-stakes game with no plan. Or, if you’re feeling a bit more dramatic, like freefalling without a parachute.

Still, they persist. Year after year, these small creative teams return to the markets with new content — projects that are praised and picked up, but then slowly fade into development or coproduction agreement limbo. The cycle repeats. Meanwhile, many brilliant local creators abandon the struggle in their own countries, moving abroad to join larger industries where they often become just another number in an already saturated system. The consequence? Small countries are creatively becoming poorer, losing talent and the unique chance to grow their own industries. The cycle continues — no visibility, no funding, no future.

Although existing platforms and pitching forums — big and small — offer important opportunities for smaller industries making their first steps into the market, these platforms don’t cover the full spectrum, especially for boutique studios that lack the support of major players, or the spotlight typically reserved for emerging young artists. These indie teams are repeatedly asked the same questions: What’s your financing strategy? How much have you raised so far? Do you have a broadcaster attached? A distributor? But to even begin answering, these studios and artists first need to be seen, heard and given a chance in the sun. Without visibility, they quietly fade into the background, along with their brilliant work, labeled “unsolicited” for no reason other than its independence. And then what? Where do they go from the co-production uncertainties they’re trapped in? Often, they are stuck working on local projects that help them stay afloat, while their fully developed dream projects remain shelved — too ambitious for their home market, too small for the global stage.

So, the questions arise:

• If these indie studios were to give their fully developed animated projects away for free, would anyone even pick them up? Or would they still be seen as damaged goods — too obscure, risky and underfunded?
• How can the global animation community broaden its scope to include these sidelined voices?
• How can independent creators from small countries gain fair access to platforms, buyers and audiences?
• Can new initiatives be built, like forums, co-production opportunities or development labs that specifically support creators from less visible markets?

Affluent countries inevitably dominate, but hopefully with the right strategic support, smaller nations with big dreams can stand proudly on the international stage. It’s common knowledge that the animation ecosystem is highly competitive — and at times even ruthless — with the rise of AI tools making things even more challenging. This only reinforces the need for unity, and dare I say, a little love among peers. By challenging stereotypes and building environments where all creatives are equally valued, the global animation industry would gain from every creator, producer and artist who could reach their full potential.

The industry should recognize the value of genuine representation and embrace content that reflects the rich variety of cultures and perspectives, so often overlooked in mainstream media. If you’re a true game changer in search of original voices, look beyond your own backyard — you might be pleasantly surprised. The stories are there. All it takes is for someone to truly listen.

Maria Pavlou is an animation producer and founder of Pixel Giants (pixelgiants.com), a boutique studio operating out of Cyprus, and the co-creator of one of the first Cypriot children’s animated series, The Olive Bunch (Creative Europe Co-Development Fund). Her credits also include the 3D animated series Magic Molly (Creative Europe/MEDIA funded) and short film Dragon Recipes, which has screened at various Oscar-qualifying festivals.