Tom and Jerry: Forbidden Compass was written and directed by Zhang Gang, making it the first fully computer‑animated feature-length film in the franchise’s history.

Zhang Gang had previously worked on animated projects such as Kuiba 3 and No.7 Cherry Lane, and he spent nearly five years developing Forbidden Compass. His vision was to merge the classic slapstick chaos of Tom and Jerry with Chinese cultural motifs, mythology, and fantasy adventure, creating a film that celebrated the franchise’s 85th anniversary while introducing it to new audiences.

The story begins with Tom and Jerry’s chase inside a museum, where they accidentally activate a magical compass that transports them through time and into ancient China. Along the way, they encounter mystical creatures, legendary warriors, and powerful villains, forcing them to cooperate in order to survive and return home.

This adaptation is significant because it marks the first Tom and Jerry theatrical film produced in China and the third theatrical release overall, following Tom and Jerry: The Movie (1992) and the hybrid Tom and Jerry (2021). Zhang Gang’s involvement ensured that the film blended traditional slapstick comedy with modern CGI spectacle, positioning it as both a continuation of the franchise and a cultural reinvention.
In short: Zhang Gang was not only involved — he was the creative force behind Forbidden Compass, serving as both writer and director, and shaping its mythic, time‑traveling narrative.

Our favourite cat and mouse duo are off to a brand new time-travelling adventure. In the bustling heart of Manhattan, our street-smart Jerry, has developed an obsession for ancient civilisations, sneaks into the Metropolitan Museum’s blockbuster exhibition featuring the mythical “Astral Compass.” Hot on his tail is our ever persistent Tom, the museum’s newest security guard, who will do anything to stop Jerry from entering the Museum. Their chaotic chase sends the priceless compass artefact crashing to the floor, unleashing a blinding vortex that hurls them across time and space.

Pets on a Train carries significance as both a playful animated adventure and a layered cultural text.

Directed by Benoît Daffis and Jean-Christian Tassy, with a screenplay by David Alaux, Jean-François Tosti, and Éric Tosti, the film was produced by TAT Productions, a studio known for blending humor with heart.

Its premise—a runaway train hijacked by a vengeful badger, leaving only pets aboard—draws inspiration from classic disaster thrillers and action cinema, echoing films like Die Hard and Snakes on a Plane.

After forcing all the humans off, Hans leaves only the pets aboard, including Falcon the raccoon, Rex the police dog, Maggie the cat, Anna the anaconda, and a host of quirky companions. As the train hurtles toward disaster, the animals must overcome rivalries and fears to work together, with Falcon emerging as their unlikely leader.

Blending slapstick humour with suspense, the film explores themes of identity, revenge, and resilience as the pets race to stop Hans and save themselves before the train crashes.

This intertextual play is deliberate: the creators wanted to craft a family film that entertains children with slapstick antics while rewarding adults with clever references and genre parody.

At its core, the film dramatizes the tension between revenge and resilience. Hans the badger embodies bitterness and vendetta, targeting Rex the police dog who once foiled his gang, while Falcon the raccoon struggles with identity and belonging, masking insecurity by claiming a falcon heritage. Their clash highlights themes of redemption, solidarity, and the power of community.

The runaway train itself becomes a metaphor for unchecked momentum, a world hurtling toward collapse unless cooperation prevails. Inspiration for the film lies in the legacy of ensemble action storytelling and holiday cinema, with its Christmas setting nodding to the perennial debate around Die Hard as a Christmas movie.

By situating animals in a high-stakes environment, the filmmakers amplify both comedy and symbolic resonance, turning a chaotic premise into a reflection on identity, survival, and collective strength.

Ultimately, Pets on a Train is significant not only as a lively animated comedy but as a cultural bridge, inviting children into a world of talking animals and slapstick adventure while engaging adults through cinematic references and deeper themes of belonging and resilience.

An Interview With Directors Benoît Daffis & Jean-Christian Tassy

What was the background of both of you prior to co-directing Pets on a Train?

Jean-Christian Tassy: I started out editing live-action films, including the short films produced by TAT in their early days, documentaries, clips and a few low-budget features. After editing Season 2 of The Jungle Bunch, I moved on to editing the studio’s animated films.

Benoît Daffis: Jean-Christian and I have known each other for 25 years. I was making drawings, working on an animated sequence for TAT, on storyboards for Calibre 9, which Jean-Christian directed, and then on Spike‘s graphic research. I worked on The Jungle Bunch series and all their feature films. Directing was a dream of mine, because I’m a big movie buff like Jean-Christian.

J-C.T: We’re from the generation of video stores and VHS!

B.D: When Pets on a Train was launched, there was no one assigned to directing. I’d come up with character designs and ideas for the script, so it was time to try my luck.

J-C.T: We’d worked together on an episode of The Jungle Bunch, Benoît at directing, me editing, and we got on really well. Pets on a Train was the opportunity to take the reins of a project we were really excited about. We went to see Jean-François Tosti and David Alaux to talk about it. The next day, we got the greenlight.

Is there a will at TAT to change directors for each project?

J-C.T: First of all, it’s a question of experience. We worked on the first five feature films within the studio. For Jean-François, the choice of director depends on the DNA of each project. Unlike Benoît, I can’t draw. On the other hand, I know how to tell a story. Our profiles complement each other in a coherent way.

B.D: With producers, it’s also a question of trust, and that’s built up over the years, through long-term collaboration. At one time, it’s true that TAT went looking for slightly better-known names, but the risk with “star” directors is that they’re committed to several projects at once.

To bring a film like Pets on a Train to life, you have to be available and present at the studio every day.

How did the script co-written by Jean-François Tosti, David Alaux and Eric Tosti resonate with you?

J-C.T.: A love of genre cinema, especially action. The character design phase was very exciting. Especially when you’ve got a whole bunch of animals to deal with, with almost a unity of location and action. But then things get tricky: when you tell the animators that you’re going to have to bring fifteen characters to life, sometimes in the same shot, it’s panic time!

B.D.: Pets on a Train is a choral film. The challenge was to bring all the pets to life, individually and as a group. We had to make these characters endearing, while leaving room for the audience to project their story beyond their adventure into the film.

J-C.T.: There’s no 3D animated action film quite like Pets on a Train. We took great pleasure in playing with the codes of the genre, from Tony Scott’s Unstoppable to Runaway Train and Speed. We also drew inspiration from Peter Hyams’ The Sole Witness. All the film’s departments – animatics, modeling, texture… – were nourished by these references.

B.D.: There’s also Speed Trap, starring Steven Seagal, and The Cassandra Bridge, a disaster film with Burt Lancaster and Sophia Loren. We thought of actors to characterize certain characters: there’s some Joe Pesci in the Chihuahua and some Clint Eastwood in Rex, the police dog. And it’s Hervé Jolly, his actual official French voice, who interprets him in the French version…

Pets on a Train is our tribute to the video club culture of the heyday of more or less noble films. What they all had in common was their energy, their generosity and their desire to show off.

J-C.T.: We did our homework by reviewing all the train films! We even discovered some of them, like Super Express 109, a Japanese film from 1975, of which Speed is the remake.

Alongside the action designed to thrill the youngest viewers, there’s another reading level, with plenty of winks aimed at adults…

J-C.T.: It’s painful to go to the cinema to see an animated film, only to find that the parents are scrolling on their laptops during the screening. Not only are they bored, but there’s no exchange with their kids. We conceived Pets on a Train as a family film, a time for sharing.

B.D.: What counts is the viewer’s immediate pleasure. The subtext and the winks are a bonus. The Chihuahua, whose mistress is an influencer and who makes conspiracy statements, will speak differently to children and to adults. The fact that he’s addicted to sugar, too!

J-C.T.: When live-action films make too many references, viewers feel excluded. Animation films, on the other hand, thrive on winks, and Benoît and I both love them. The more levels of interpretation there are, the wider the audience you reach.

B.D.: We’ve taken care to ensure that the youngest children get attached to the characters, and that find them funny without being bothered by references they don’t understand. The rats’

strip is reminiscent of Chuck Norris, but it works above all through its dynamic and humor. The same goes for Falcon’s lines, inspired by those of Bruce Willis in Die Hard.

Although most of the action takes place on the train, the references to reality and the contemporary world are important and accepted…

B.D.: They’re part of our collective culture, so we couldn’t ignore them, especially when it comes to social networking. There are all these animal videos flooding the Internet. Their exploitation is permanent. We’ve all seen those cats terrorized by cucumbers or slices of cheddar thrown at their heads. Taking inspiration from these videos and showing just how blasé, even disgusted, our heroes are was the way to get a little message across. These are scenes we added to the original script: they make sense and help to lighten the narrative.

J-C.T.: We also added twists and turns to spice up the story. The rhythm of the film is the key to its success. The concept is that of a crazy train that can go off the rails at any moment, so the result has to sparkle. We kept on loading the mule until the animators told us to stop…

B.D.: … Or that we manage to make an idea that’s too crazy on paper feasible on screen.

The climax of the film is the confrontation between Falcon and Hans, the evil badger. Was this the most technically complicated part of the film?

B.D.: The greatest difficulty was the train. The landscapes – in other words, the multiplicity of scenery to be created and animated – pass by through the windows, and the train itself is in constant motion, hugging the tracks while being subjected to slowdowns, accelerations and jolts. Inside the cars, some elements move and others don’t.

J-C.T.: Not to mention all the characters to be handled indoors. We adapted along the way, both in terms of feasibility and narrative logic. Some pets have disappeared: another snake that accompanied Annaconda, a couple of old dogs that had little impact on the story…

Was the pace of production as rock’n’roll as that of the film?

J-C.T.: From one film to the next, I have the impression that everything becomes more complicated. A first feature film means a lot of responsibility, and we learned the rules of the game as we went along. At the time of the animatic, the film had not yet been found and

we had to discuss it again with the producers. This is where the trust between us is crucial: they give us carte blanche to modify the script from as long as the spirit of TAT productions, their family imprint, is respected. They know very well that we won’t go overboard into trash. Pets on a Train Express is a studio film, even if it’s Benoît and I who go to the front!

B.D.: We both knew that the experience would be complex and intense. I didn’t think I’d ever have the opportunity to direct, so I gave it my all.

J-C.T.: You also have to stand up for what you believe in. Take, for example, the fight sequence between Hans and Falcon, set to Beethoven’s 9th Symphony. I had it in mind from the start, and I fought for it in the editing. There are so many animation departments involved that it’s all down to the last frame.

B.D.: This sequence was on the chopping block for a thousand reasons, including economic ones, so I went back to storyboarding to get it through the layout and animating stages. We were convinced that it would be fun and energetic and I think we were right.

How did the co-direction dynamic come about?

J-C.T.: That was a crucial point. The producers warned us right away that we had no interest in getting angry during production! There were a few disagreements, which is normal, but we had the intelligence to listen to each other throughout the process. Benoît and I wanted to see and make the same film.

B.D.: We came off well! Given that Pets on a Train Express is our first animated feature, the stakes were higher than our egos. In Pets on a Train, we find the same themes as in the TAT productions – friendship, solidarity, benevolence – but also a re-examination of class relations…

B.D.: It’s a theme we wanted to emphasize. Falcon is like Robin Hood, he steals to feed his gang: they’re marginal, resourceful people. On the train, he comes face to face with domesticated animals, which is both a privilege and a form of alienation. Rex, the police dog, immediately judges Falcon: he’s a bandit! Class relations are a good narrative spring because they’re a source of conflict: applying them to animals gives rise to humor and a sense of humour, without the need to force the message.

J-C.T.: There’s the paradox that the “luxury” animals are caged, while the marginalized ones are free. They need each other… We wanted each character to have something to defend and not be all at once. Even Hans, the villain, has flaws that can make him touching.

And if you had to choose just one from all this bestiary?

J-C.T.: The South-West duck, a rugby fan.

B.D.: Me too. It didn’t exist in the original script. We wanted to make sure we were rooted in Toulouse [where the film got entirely made] and its accent. It’s already won over a lot of people and we’re proud of it.

An Interview With Co-Writer/Producer Jean-François Tosti

Pets on a Train is co-written with Éric Tosti and David Alaux, with whom you founded TAT. Why is it important for the script to be “in-house”?

With experience, I’m convinced that we can’t write and produce stories that don’t suit us. It’s important for us, as producers, not to let go of the creative aspect. We wanted a film concept that could be pitched in one sentence and based on a strong idea. The English title, Pets on a Train, enabled us to quickly sell the film internationally. It’s not enough to come up with a concept, you have to come up with a story that holds up, that surprises, with twists and turns that aren’t

repetitive, you have to flesh out the characters and give them a narrative arc. This is all the more complex when you’re aiming for a family audience, as all TAT productions are. When we put the first version of the script into animatics, it didn’t work: there were huge problems of rhythm, of tension, so we had to rewrite to find a balance between the stakes of survival and the attachment to the characters. We had to find the right balance between humor, tone and suspense. Once the script had been approved by the financiers, it underwent a number of changes over the course of a year and a half, as it went through the various stages of production.

It was in this rewriting phase that Benoît Daf s and Jean-Christian Tassy were involved…

With David and Eric, we’ve evolved on the subject: as producers, we’re more open to rewriting suggestions, even if we insist on our involvement. It’s important to interact with the directors and to make suggestions. A producer who simply says, “It doesn’t work” is useless. Unless you’re a genius, every director needs a producer who is there to support them and get their hands dirty. On Pets on a Train, this creative dynamic was fundamental. Initially, the action was confined to the train and there were about fifteen characters. With the directors, we sacrificed some of them and created new ones who weren’t on the train: the rat gang, Falcon’s uncles, the journalists in search of sensationalism and the little girl who wants to save her little Ocelot, Maguy. These characters helped to air the story, to take the viewer out of the real time of the action, and to bring in ellipses to energize the narrative.

What is TAT’s policy on choosing one or more directors?

A feature-length animated film takes four years to complete. Our studio always develops three to four films in parallel, which logically leads to a turnover. Having the same director work on every project is not only impossible, but also inappropriate: each film has its own personality, universe and tone. The director’s sensitivity and identification with the project give it its own signature. But that doesn’t mean we can’t work with the same artists several times. Laurent Bru and Yannick Moulin worked on The Jungle Bunch 2 and are currently working on two new films on their own.

Benoît Daffis and Jean-Christian Tassy spontaneously offered to direct Pets on a Train…

The advantage of a studio is that it can launch pre-production on a film as soon as the script is finished, even before it has a director. His role is to tell the story on screen in the best possible way. So we started developing the characters and sets; Benoît was already involved in

character design, he was mentally immersed in the film, and his proposal to make it made sense. A few weeks later, Jean-Christian expressed the same desire to co-direct. We decided to give them a chance.

How did you come up with the idea of choosing a raccoon as protagonist?

We were looking for a thief, a little Robin Hood. Our animal had to be agile, have hands to grab and manipulate lots of objects, and move a bit like a human without falling into anthropomorphism. Even if our characters are humanized, we want them to behave as they do in reality. A raccoon is ideal for all the film’s exploits, especially as it is often thought to be a thief.

Along with David Alaux and Eric Tosti, you were brought up on video club cinema. Does this explain why Pets on a Train is so full of cinephile references?

It’s clearly our most referential film. It’s got Runaway Train, Die Hard, Speed, everything that rocked our teenage years. With Argonuts/Epic Tails, we paid homage to Ray Harryhausen, and in particular to Jason and the Argonauts; with Pets on a Train, we draw on the action cinema of the

80s and 90s. It’s a true action film that can appeal to all types of adults. However, we haven’t abandoned our values, or the themes we hold dear such as solidarity and benevolence. Class relations are also present but there’s no question of moralizing or taking the audience hostage.

So there’s never any cynicism or darkness in your productions?

It’s hard to imagine. There’s always a big part of yourself that shines through in a film. A creative act isn’t abstract, it reflects a sensitivity, an experience. Since the creation of TAT, darkness and nastiness have never been a source of inspiration.

In terms of budget, does Falcon Express compete with the 10 million of Argonuts/Epic Tails?

We’re closer to 12.5 million. Each project has its own budget, but our aim is to have increasingly comfortable budgets. An increase in the cost of a film doesn’t necessarily mean a big technical leap: on Pets on a Train, we paid for the time it took to mature the story and make it.

Our next film, Lovebirds, will cost more, but will be technically more ambitious. The heroine, an Inseparable, will travel all over the United States, to find the love of her life: this means boosting the cursors, in particular on the quality of the animation. Unlike Pets on a Train, the first

visualization of the script worked on the first try.

On the occasion of TAT’s 20th anniversary, you said you were proud of what you’d achieved, and hoped that Argonuts/Epic Tails would be the success that would make all the difference. Have the box-office results opened up new perspectives for you?

Above all, it has enabled us to consolidate our reputation in the marketplace. We’re hoping to do

better than Argonuts/Epic Tails with Pets on a Train. It has the potential, the concept is simpler

and the stakes are more immediate. The action film is aimed spontaneously at those accompanying children. Today, TAT celebrates its 25th anniversary with Asterix & Obelix: The Big Fight on Netflix! The studio has never had so much money on a project, and we had a great time. The working conditions were privileged, we had the opportunity to fine-tune our work, not to mention the creative experience, the recognition and the increased exposure.

Does it make you want to adapt a major comic or novel?

I’d love to! Asterix proved that we were capable of taking on a huge project. I don’t think anyone was disappointed with the visual result. In the future, we also want to continue producing films that reflect our style, based on the studio’s original ideas. We’re also involved in TV series, and are currently developing Pil’s Adventures for France Télévisions – 52 episodes of 13 minutes – featuring the heroine of the feature film. We’re thinking about taking on major licenses, provided they make economic sense, and motivate the whole team. Why not move into adult animation?

Has TAT become a magnet for young talent?

J-F.T.: We receive a lot of CVs, but it’s important to remember the context: animation worldwide is going through a period of crisis. In France, there’s less work than before. We have quite a few projects on the go, and we get a lot of media coverage, which contributes to our attractiveness. And there’s no question of leaving Toulouse – it’s the birthplace of TAT, and experience has shown that we can succeed without being in Paris or fragmenting our teams. Animation remains the audiovisual genre where cooperative work is most fundamental.

What if you had to choose just one animal from Pets on a Train?

J-F.T.: Falcon is my favorite, he’s got it all: super cool, nice but not smooth, benevolent, intrepid. Otherwise, I’m a fan of the duck, it’s super original and from our region!

© TAT productions, Apollo Films Distribution, France 3 Cinéma, Kinologics – 2025

The Japanese animated fantasy Scarlet, directed and written by Mamoru Hosoda, is a bold new entry in the world of animated cinema, blending fantasy, science fiction, and emotional depth into a visually groundbreaking narrative.

Known for his previous works such as Belle, The Girl Who Leapt Through Time, and Summer Wars, Hosoda once again takes creative reins as both director and screenwriter, crafting a story that centres on a sword-wielding princess named Scarlet who transcends time and space.

The film is produced by Studio Chizu and distributed internationally by Sony Pictures, with a Japanese release handled by Toho.

The inspiration behind Scarlet is rooted in Hosoda’s fascination with classic literature and mythic storytelling

While he has not publicly named the specific source material, he has hinted that the film draws from a “world-famous work on par with Beauty and the Beast,” echoing the approach he took with Belle, which reimagined that tale in a digital age. This time, Scarlet explores themes of life, death, and human connection through the lens of a murdered princess who awakens in a liminal realm between life and death. Racing against time, she must defeat her father’s killer and reach a mythical sanctuary before her soul vanishes forever. The film also features a secondary protagonist, forming a “buddy story” dynamic that deepens emotional resonance and narrative complexity.

Inspired by Shakespeare’s Hamlet, following a medieval princess named Scarlet (voiced by Mana Ashida) who can traverse time and space on a quest to avenge her father’s murder. Gravely injured after failing her mission, she awakens in a surreal “Otherworld” where she meets Hijiri (Masaki Okada), an idealistic young man from the present day. Through him, she glimpses the possibility of a future free from bitterness and rage. Ultimately, Scarlet must confront her father’s killer once more, facing the choice between perpetuating vengeance or breaking the cycle of hatred.

Visually, Scarlet marks a departure from both traditional 2D animation and Hollywood-style CGI.

Hosoda and Studio Chizu are pioneering a new aesthetic approach, aiming for a completely fresh look that matches the film’s scale and thematic ambition. This innovation in animation style is not merely technical—it’s deeply tied to the film’s emotional and narrative goals. The teaser visuals suggest a historical setting, yet the story’s metaphysical and time-bending elements allow it to transcend conventional genre boundaries.

The significance of Scarlet lies in its fusion of mythic storytelling with cutting-edge animation, and its commitment to portraying a strong female protagonist whose journey is both epic and intimate. Scarlet is not just a warrior; she is a symbol of resilience, transformation, and the power of memory. Her quest is not only to survive but to reclaim agency in a world fractured by violence and loss. In this way, the film speaks to universal themes of grief, justice, and the search for sanctuary—both literal and emotional.

Hosoda’s Scarlet stands poised to redefine what animated storytelling can achieve. It is a cinematic fable for a global audience, one that honours tradition while pushing the boundaries of form and feeling. With its December release timed to align with the introspective tone of winter, Scarlet invites viewers into a world where time bends, souls awaken, and stories become sanctuaries.

Mamoru Hosoda is a celebrated Japanese film director and animator, renowned for his emotionally resonant and visually inventive animated features. Born on September 19, 1967, in Kamiichi, Toyama Prefecture, Hosoda grew up in a small town where his early fascination with animation was sparked by classics such as Anne of Green Gables and Galaxy Express 999. He studied oil painting at Kanazawa College of Art, but his passion for storytelling led him to pursue a career in animation. Hosoda began his professional journey at Toei Animation in 1991, contributing as a key animator to iconic series like Dragon Ball Z and Sailor Moon. His breakout moment came with the Digimon Adventure films, which showcased his flair for blending digital themes with heartfelt narratives. After a brief and ultimately aborted collaboration with Studio Ghibli on Howl’s Moving Castle, Hosoda joined Madhouse, where he directed acclaimed works such as The Girl Who Leapt Through Time (2006) and Summer Wars (2009). In 2011, he co-founded Studio Chizu, a creative haven where he continued to explore themes of family, identity, and technology through films like Wolf Children (2012), The Boy and the Beast (2015), Mirai (2018)—which earned an Academy Award nomination—and Belle (2021). Hosoda’s signature style combines lyrical storytelling with cutting-edge animation, often centering on young protagonists navigating emotional and metaphysical transformations. His work is marked by a deep empathy for human relationships and a visionary approach to genre, making him one of the most influential voices in contemporary animation.

Produced in Cape Town, the joyful animated musical David ”Is one of the most inspiring characters in human history: a warrior, poet, shepherd and king,” says creator Phil Cunningham, a Zimbabwean who now lives in Cape Town, South Africa. “If you need to find the courage to slay  giants in your life, bring your family along to watch David this December.”

From the songs of his mother’s heart to the whispers of a faithful God, David’s story begins in quiet devotion. When the giant Goliath rises to terrorise a nation, a young shepherd armed with only a sling, a few stones, and unshakable faith steps forward. Pursued by power and driven by purpose, his journey tests the limits of loyalty, love, and courage—culminating in a battle not just for a crown, but for the soul of a kingdom.

When the giant Goliath rises to terrorise a nation, a young shepherd steps forward, armed with only a sling, a few stones, and unshakable faith.

Phil Wickham leads the cast as the adult David, with Brandon Engman and Young Artist Award winner Sloan Lucas Muldown reprising their roles from Young David. The cast also features two-time Grammy winner Lauren Daigle, award-winning Israeli singer Miri Mesika and two-time BAFTA nominee Asim Chaudhry (People Just Do Nothing, The Sandman), all singing a score composed by Joseph Trapanese (The Greatest Showman).

The film releases in cinemas across South Africa and the US on Friday, 19 December 2025. Angel is running a crowdfunded campaign to get one million children to watch David for free. You can join the campaign by sponsoring a ticket for a South African child here.

Sunrise Animation Studios is a Cape Town based studio whose mission statement is “Inspire Through Story.” Sunrise is an animation house with integrated teams across story, development, concept art, animation, modelling, surfacing, grooming, layout, dressing, lighting, compositing, editing, foley, sound mixing and score composition.

Director’s Notes

“This journey started 30 years ago whilst canoeing down the Zambezi River. Watching an African thunder storm, a charging lion, a little flower on the bank and an eagle in flight, I saw the intelligent design, the art – and I fell in love with the Creator and the Artist. At the time I was reading David’s story which was full of
adventure, excitement, music, friendship, moments of tenderness, expansiveness and wholeheartedness. I was struck that he was described as a man after God’s own heart. This was what I saw in creation and I was determined to one day tell a story of David that might inspire the world and open hearts to the possibility of an incredible, fun and exciting God. David’s faith in God’s love propelled him into a life of adventure and fearlessness. Although far from perfect, he lived wholeheartedly and we believe that audiences will be able to relate and be inspired.” – Phil Cunningham, Director. Phil co-founded Sunrise Animation Studios. Over the last 20 years, he has grown Sunrise into an international film and animation studio. His unique and inspiring entrepreneurial approach to filmmaking has attracted a team of vastly experienced collaborators all of whom believe in Phil and Sunrise’s vision of creating world-class family entertainment.

“Making David was an absolute privilege. Never before have I been part of a project that carried such weight, such depth, such history and promise. Each person that joined the team felt it too – a gravity, a pull, a sense that we were working on something special. It truly felt like it’s time had come, it wanted to be made, it was a story that wanted to be told. And it felt like I was a custodian of it, creating the space, listening and allowing it to be what it wanted to be. We were not trying to be like someone else… we created and allowed the space for the story to reveal itself to us, rather than trying to fit it into what we thought it should be. Taking such a timeless, rich, expansive story and condensing it into an animated feature film has been no small feat, but I couldn’t be prouder of how it has turned out. And I’m so grateful for the incredible team that assembled, caught the vision and poured themselves into making it far more than the sum of its parts. This has truly been the project of a lifetime.” Brent Dawes (Jungle Beat: The Movie), who directed with Phil. After studying drama at Natal Technikon and a two year stint as a copywriter, Brent joined Sunrise Animation Studios as lead animator on Africa’s first animated feature “The Legend of the Sky Kingdom.” Since then Brent has gone on to create the “Jungle Beat” series, direct “Jungle Beat The Movie,” create multiple international sporting mascots, and help Sunrise grow into the fun, vibrant and visionary studio that it is today.

Producer’s Notes

“Our passion for this film was to build an Arc de Triomphe. If one looks over Paris there are many flats, offices and factories but our goal was to create a film that stood the test of time and had scale and attention to detail on equal parts – an Arc de Triomphe. This all goes down to incredible people working in unity towards a vision and it has been the privilege of a lifetime to be part of this and work with such courageous, faithful, determined, talented and kind people. Why animation as a medium? Animation crosses race, cultural, age and gender barriers better than any other medium and our hope is that this story reaches as wide an audience as possible.” – Phil Cunningham, Executive Producer

“South Africa is more than a country, it’s a ‘people’ and a place where stories are born! Stories are told around the camp fire, no matter where you are born. It’s a community that believes in the power of story and this storytelling is passed on from generation to generation. The Bible is rich in parables that guide us through life. As the Master story teller weaves together the tapestry of life, weaving in our stories, the tapestry is rich with colour and beauty. Our Passion is born out of that belief, to ‘inspire through story.’
There is a beautiful African proverb that says: “if you want to go fast, go alone. If you want to go far, go together.” Animation is such a wonderful way to bring stories to life, working together and weaving our own stories in our craft, no matter which part of the pipeline we are working on.” – Jacqui Cunningham, Executive Producer

“Despite being written a lifetime ago, the stories in the Bible still resonate deeply for us today. Looking back to the legends who have run their race, daring greatly and leaving behind their God inspired legacy, inspiring us to run our race in faith, as we ‘write our story’. ‘Inspire through story’, is why we make animation. The most powerful testimony that changes lives is story. David’s story is relatable to all! It’s one of triumph and loss, joy and pain and a belief in God that brings meaning to life.” – Jacqui Cunningham, Executive Producer

“It has been an incredible ride working on the David project over the last 10 years, and so remarkable to have witnessed all the incredible talent and passion drawn to this project. What a privilege working with so many people who love what they do and pour their hearts and souls into it, and I think you can feel that in this film. The story of David is so inspiring and our hope is that every person who watches this film is inspired to live expansively and courageously, with faith!” – Rita Mbanga, Producer

“The story of David is a timeless classic, relatable by global audiences around the world. Filmmakers found the right balance between unique artistic beauty entwined with powerful storytelling, outstanding dialogue and character performances that will take the audience on an emotional journey like never before. On David, They has found a way to nurture the spark of creativity, attracting some of the best animation and creative talent on the planet with its open, honest and sincere leadership style. When you have a team as talented as this, the role of the Producers is simple, point the ship in the right direction, give the captain the provisions they need and let the adventure begin. David has been an epic journey from beginning to end. I could not be prouder of my producing partners for their unique work ethic, steadfast focus, unquestioned dedication and a desire to always nurture and support the creative vision. It’s been said that discipline is very good for creativity, as producers that means creating achievable schedules, realistic budgets and setting up our creative team where the artist can do their best work. We embraced technology, making it seamless to work with a global workforce: 400 hand-picked artists with a crafted attention to detail across 25 countries, all with a love for storytelling.” – Steve Pegram, Producer

“Producing David has reminded me again why I love animation so much. It’s about shared vision, collaboration, and mutual trust. I’ve been fortunate to work alongside a team of remarkable producers, each bringing their own strengths, insights, and passion to the process. Together we’ve navigated complexity and supported one another at every turn. Ultimately, David reflects the heart of all those fortunate enough to have spent the past five years contributing to it, and the joy we’ve found in creating
something meaningful together.” Tim Keller, Producer

That story started over 20 years ago

When Phil wrote and executive produced the award-winning The Legend of the Sky Kingdom, Africa’s first animated feature film, made entirely from junk. In the two decades since, he’s turned Sunrise Animation Studios into a powerhouse, with nearly seven billion views for its Jungle Beat YouTube channel alone.

Sunrise animated David largely from their studio in Noordhoek, Cape Town, hiring over 400 local and international crew, some in-house and some remote. Legendary Pixar story artist Nathan Stanton (Brave, Finding Dory) was assistant director while the animation director was Dan Barker, a South African now based in the US, with credits on Oscar-winning films like Big Hero 6.

Other South African residents in key roles included executive producer Jacqui Cunningham, producers Tim Keller and Rita Mbanga, co-writer Sam Wilson, and production designer Lynton Levengood. 

“In building Sunrise and making this movie, I’ve felt like David facing Goliath so many times,” says Phil. “This is a story that I’ve kept coming back to time and again for inspiration. I wanted to bring its powerful message of faith and courage to a new generation – and animation is the most powerful storytelling medium in the world right now to reach them. I can’t wait for families to enjoy David together on the big screen, and rediscover the joy of cinema and the power of biblical stories.”

The ultimate underdog story, David is being distributed in the US by Angel Studios. Their previous animation, The King of Kings, had the biggest opening weekend in the US of any biblical animation ever, according to Angel, ahead of the Oscar-winning The Prince of Egypt.

Angel has reinvented film funding by removing Hollywood gatekeepers and empowering everyday fans – the Angel Guild – to greenlight the development and distribution of the movies and TV shows they want to see.

The Angel Guild’s scores for David were the highest ever recorded, while its pre-sales set a new record for Angel.

As Angel Studios’ co-founder and CEO Neal Harmon says, “I’m not sure there’s been a faith-friendly film this beautiful, this high production value ever.”

For more information, visit the official website.