Anaïs Mauzat
2025
Belgium
No dialogues
animation
fantastic | science-fiction | drama | ecology
13 minutes
Camera-etc | co-produced by Artemis
In a huge city where everyone is active in transforming the few resources available into an industrial quantity of intoxicating drink, Mackenzie, a sensitive being, comes out of the ranks while a hungry bear approaches.
Production | Bastien Martin (Camera-etc)
Screenplay | Anaïs Mauzat
Animation | Louise-Marie Colon, Mathieu Labaye, Anaïs Mauzat, Elodie Verheyden, Siona Vidakovic, Emily Worms
Compositing | Elodie Verheyden
Music | Pierre Jacques
Editing | Marika Piedboeuf, Aurélie Redouté
Sound Design and Editing | Charles De Ville
Sound effects | Olivier Thys
Mixing | Aline Gavroy
Co-production | Patrick Quinet, Julien Melebeck (Artémis Productions) - RTBF (Belgian television)
BSFF – Brussels Short Film Festival (Belgium)
Animayo – International Film Festival of Animation, Visual Effects and Videogames (Spain)
Le Court en Dit Long (France)
Anibar International Animation Festival (Kosovo)
Cinéma en Liberté – Festival International de Courts Métrages (France)
OFF – Odense International Film Festival (Denmark)
WFAF – World Festival of Animated Film Varna (Bulgaria)
Almaty Animation Festival (Kazakhstan)
Animest — Bucharest International Animation Film Festival (Romania)
CINANIMA – International Animated Film Festival of Espinho (Portugal)
Festival du Film Court de Villeurbanne (France)
Les Nuits Magiques – Festival International du Film d’Animation de Bordeaux (France)
Anaïs Mauzat dabbles in illustration, animation, sculpture, and puppetry. At the Academy of Visual Arts in Molenbeek-Saint-Jean, she trained in stop-motion animation. Her first short film, RACINES, was initially just an exercise created during the pandemic. However, it caught attention at international festivals.
- RACINES, short film (2020)
- THE BEARS' RIVER (La Rivière des ourses), short film (2025)
THE BEARS’ RIVER carries a subtle, enchanting sense of unease, the kind that quietly takes hold of you. Even without understanding everything, you’re drawn into the density of its world and the quiet discomfort of a life shaped by the exploitation of the living.
We love how fragility becomes a form of resistance, a small deviation from the imposed rhythm. A political and ecological fable told without words, yet with a sensory force that lingers long after the film ends.
