Muslim
By Kévin Giraud
When the animated short Luce and the Rock first graced screens two years ago, few could have predicted the sheer magnitude of its trajectory. Directed by Britt Raes and produced by the powerhouse duo of Thuristar and La Cabane, the film became an instant festival sensation, racking up over 200 selections worldwide. Its simple yet profound premise—the unlikely friendship between a tiny human and a monolithic creature—resonated with audiences of all ages, leading to thousands of online views and a vocal fanbase demanding more.
Today, that demand is being met with a major expansion. As the industry gathers for the Annecy International Animation Film Festival, the production team is unveiling a first look at the highly anticipated series adaptation: a 35-episode, 7-minute-per-episode project, bolstered by two 14-minute specials. With a robust coalition of European broadcasters and international distribution led by CAKE, Luce and the Rock is poised to transition from a celebrated short film into a staple of modern children’s animation.
The Genesis: From Sketches to a "Lovely Land"
The journey of Luce and the Rock began in the private sketchbook of Britt Raes. Long before the film became an award-winning project, Raes was obsessed with the visual dichotomy between her two protagonists.
"The initial short film originated from dozens of sketches I made of a tiny human and a giant creature," Raes recalls. "I loved the contrast between them and wondered how two very different characters would become friends."
While the original short provided a poignant answer to that question, the creative team—specifically Raes and producer Perrine Gauthier—felt the universe they had constructed was far from exhausted. The world, dubbed "Lovely Land," offered a fertile ground for episodic storytelling that the constraints of a single short film could not contain.
"Initially, we had imagined developing a collection of shorts taking place in the same universe," says Gauthier. "But we quickly realized how attached we had become to Luce and the Rock, and that a series format would be a great opportunity to continue exploring these characters and their unique bond."
By the summer of 2022, the vision began to crystallize. Raes drafted over 30 distinct story ideas, laying the groundwork for a long-form narrative that would prioritize emotional intelligence, curiosity, and empathy—themes Gauthier identifies as essential to the project’s heartbeat.
Chronology: The Road to Production
The development of a series is rarely a linear path, and for the team behind Luce and the Rock, the transition from a short to a long-form series presented a unique set of challenges.
- 2022: Following the success of the short film, Britt Raes develops 30+ story concepts. The decision is made to pivot from an anthology of shorts to a cohesive series format.
- 2023-2024: The team enters a rigorous development phase, securing funding from broadcasters in Belgium, France, and Switzerland, alongside European Union subsidies. During this time, Mathilde Prévost is brought on as co-director to provide a bridge between independent short-film aesthetics and the demands of serialized television.
- September 2025: Production officially launches. The team shifts from the "development" mentality to a full-blown studio pipeline, leveraging the visual assets created for the original short while reinventing the pacing for a seven-minute episodic format.
- June 2026: The project arrives at the Annecy International Animation Film Festival, where the team presents completed episodes to an industry audience at a Mifa screening.
Supporting Data and Production Strategy
The move to a series format required a recalibration of the project’s technical pipeline. While the short film was praised for its distinct visual identity—characterized by bold shapes, vibrant color palettes, and the innovative use of split-screen techniques—the series needed to maintain these hallmarks while accommodating a faster, more comedic pace.
"The artistic elements that people loved in the short film are preserved in the series," Raes explains. "However, the pipeline is different. We had to take time to explore how to keep what we love while creating new elements that sustain a series structure."
The "All-Female" Leadership Model
A notable aspect of the production is the conscious decision by producer Perrine Gauthier to assemble an all-female leadership team. Having built her reputation on acclaimed series like Mush-Mush and the Mushables and Goat Girl, Gauthier views this as a moral and professional imperative.
"As a producer, I’m committed to creating space for diverse voices and worldviews," Gauthier states. "Supporting projects led by women creators and directors is one way of doing that. Beyond that, at La Cabane, we want to contribute to the growing representation of women across all departments. On Luce and the Rock, female presence behind the screen extends well beyond the directing team, with key leadership roles at every stage."
This focus on representation has extended to the creative tone of the show. By bringing in Mathilde Prévost—whose background in storyboarding comedy series has been instrumental—the team has successfully injected a new, punchy rhythm into the project. Prévost draws inspiration not just from established industry hits like Little Amélie or Le Collège Noir, but from the "underground DIY" movement in animation. She notes that creators like Émilie Tronche (Samuel) and Manon Tacconi (Bitches) prove that deep, resonant storytelling doesn’t require massive budgets; it requires authenticity and a willingness to embrace imperfection.
Official Perspectives: A Vision for Kindness
For the creative team, the stakes extend beyond commercial success. In an era where the animation landscape is increasingly dominated by AI-generated content and massive, soulless franchises, Luce and the Rock stands as a testament to the "human touch."
Britt Raes emphasizes that the series is a direct reflection of the values she hopes to impart to young viewers. "We wanted to explore themes that matter to us—curiosity, open-mindedness, and empathy. These are things the world needs right now."
Perrine Gauthier echoes this sentiment, highlighting the strength of the partnerships they have secured. With heavy hitters like France Télévisions, VRT-Ketnet, RTBF, RTS, DR, and TV5MONDE already on board, the project is moving forward with significant institutional support. The goal at Annecy is to solidify these foundations and invite additional international platforms to join the fold.
"Sharing the work we’ve been doing is rewarding for the whole team and encouraging for the rest of the production," Gauthier says. "I sincerely feel we’re making a very special show. It’s a feel-good series, driven by curiosity and kindness. We can’t wait to see how audiences respond."
Implications: The Future of Short-Form Animation
The success of Luce and the Rock serves as a case study for the "Short-to-Series" pipeline in European animation. By leveraging the initial prestige of an award-winning short to build a business case for a series, the team has successfully navigated the often-difficult gap between art-house shorts and commercial TV.
As the industry watches, the implications are clear: audiences are hungry for "endearing characters" and "mindful development." By refusing to compromise on the artistic integrity of the original film—retaining the limited dialogue, the focus on sound design, and the experimental visual style—the creators are proving that "quality" is a marketable commodity.
As the project heads toward its wider release, the focus remains on the bond between Luce and the Rock. In a world defined by rapid technological change and global uncertainty, this small-scale, high-empathy narrative feels, as the creators suggest, like a necessary balm. Whether or not it achieves the same global dominance as its festival-bound predecessor remains to be seen, but with the support of the European broadcasting community and a clear, unified creative vision, Luce and the Rock is undeniably one of the most significant projects to watch in the coming year.
Siti Muinah
