Existence.	Festival goers as they exit the hall.

As usual the words and whispers collide, burst and scatter down different avenues. The complaints of the animators it seems are aimed more toward the lack of Japanese animation in competition then in special screenings. This is a common complaint. In Ottawa, we've heard it. In Annecy, they've heard it. In Zagreb, they've heard it. What many pro-nationalist animators forget is that the festivals are international. Secondly, they have an international jury. Opinions and tastes vary from festival to festival. Should a festival director interfere and insist on a certain number of national or local films? No, if your aim is to showcase the best work. In Zagreb '96, the selection committee made concessions to national sentiment and the result was that some very weak films were shown in competition. A few years back a Canadian animator complained about her film not being accepted and lightly accused us of being politically motivated. The funny thing is that if we were politically motivated the film would have been shown. Bottom line is that festival directors are generally doing a lonely thankless job for thousands of animation professionals. It took me time, but obviously Sayoko has mastered the reality that you simply cannot please all.

To read more about past Hiroshima International Animation Festivals visit our back issues and read, "The 7th Hiroshima International Animation Festival" by Gigi Hu who visited in 1998. Then travel back to 1996 with a festival diary by Monique Renault and photo gallery by Wendy Jackson.

Chris Robinson is the artistic director of the Ottawa International Animation Festival.