Nov 26, 2024

2025 Oscar Short Film Candidate: Where the Rabbit" came from director Colin Ludvic Racicot

Cartoon Brew is putting the spotlight on an animated short film nominated for an Academy Award in 2025.

Today's film is where the Rabbit came from Canadian filmmaker Colin Ludvic Racicot. The short was awarded an Academy Award for best Animated Short at the Canadian Screen Awards.

In a cold, dystopian world drawing on classic Disney influences infused with a sense of eerie oppression, the widow's father Rabbit tries to instill an ounce of wonder and magic into the life of his daughter after the mysterious disappearance of her mother. The film was produced by Montreal-based studio Niloc.

Cartoon Brew: Yours is a story of creativity and art against oppression and totalitarian societies. How did you feel as an artist to bring that story to life-

Colin Ludovic Lashcott: At the heart of the film is pure love and even in the darkest times, parents go to any length to bring joy to their children. The concept of infinite love, combined with the power of imagination, was something I wanted to inject into the story, and how we endure adversity and win over all possibilities

In a world where freedom of expression and human rights are increasingly threatened, I feel it is more important than ever to tell a story that addresses these themes. Animation, in particular, is a great medium for exploring such topics in a way that can resonate with both children and adults. My hope is that the audience will move away from the film with a slightly fuller mind and have a new sense of hope and imagination, and a belief in the power of magic.

What was it about this story or concept that forced you to connect with and direct the film -"

The story is imagination and a love letter to parents. As a father, I was immediately drawn to the idea of a father struggling to bring joy to his daughter by finding a magical, imaginative way to open a new world for her. I've always been fascinated by magicians, and as a storyteller, I see something deeply fascinating in the art of fantasy. Magic is not inherently cinematic, but creates the illusion of a world that fascinates, entertain and reawakens our sense of wonder. I have always been drawn to films that remain in your mind, films that invite you to reflect on the illusory nature of life. That's what this film explores - breaking through the barriers of fantasy to reach the imagination and joy that exists within every child.

What did you learn through the experience of making this film, whether in terms of production, filmmaking, creativity, or subject matter-

This spirit of collaboration was especially meaningful to me because this was my first short animation. Having directed a live-action short film so far, I approached this project with fresh eyes and a sense of excitement. The transition was challenging and exhilarating, and I took the time to educate myself extensively before, during and after production with the help of a great team. My previous experience certainly influenced how I approached the project: I planned the shots and sequences as if I were shooting with a real camera – I did my best to give the scene an organic, grainy feel.

Collaborating with animators was an incredibly refreshing experience. Each animator brought its own "acting" style, injecting its own personality into the character. They are really movie performers, along with our voice actors. 1. One of the highlights was working with the brilliant composer Benoit Charente. I have long admired his work, especially the triplets of Belleville, so it felt deeply to witness him bringing our story to life through music, and I had asked Benoit to draw inspiration from Ennio Morricone, but he accepted it wholeheartedly. The resulting score is powerful, emotional and unique - I'm very proud of it.

Can you explain how you developed a visual approach to cinema - why did you choose this style and technique-

The possibilities seemed endless at first, but we needed to focus on the visual style that best suited the story. Our characters are purposefully charming, but have a slightly sombre edge, reflecting the bittersweet world in which they inhabit - a subtly balanced place between whims and melancholy.

Cut-out animation was the primary technique for efficiency, but we decided to avoid the typical and recognizable appearance of cut-out work. We used deformers and textured pencil lines to create fluidity, making the animation a more handmade organic feel. To enhance this, we traditionally animate and seamlessly integrate fx elements into classic animations within a modern cut-out approach

I've always been deeply influenced by classics. Films such as "Sleeping Beauty", "101 Dogs", "Fantasia", "Land Before Time" and "Nightmare Before Christmas" have shaped my inner artist since I was a child. The art direction itself is inextricably linked to the theme of the film. The world of characters is deliberately dark and monochromatic, reflecting a place where joy, fantasy and imagination are suppressed. But outside its desolate surroundings, there is a vibrant and colorful world. But real magic and color come from the characters themselves, emphasizing that true fantasy lives in them. It is their inner world that brings the colors of the film to life, reinforcing the message that imagination can break through the darkest boundaries.