Citroen film review by UK film critic Finn O'Toole. Starring Rick Vosse, Tom Hofman & Esmee de Groot directed by Bastiaan Rook. HOME | FILMS | REVIEWS Citroen Film Review average rating is 4 out of 5 Critic: Finn O'Toole | Posted on: Nov 7, 2026 Directed by: Bastiaan Rook Written by: Rick Vosse Starring: Rick Vosse, Tom Hofman & Esmee de Groot Citroen , written by Rick Vosse and directed by Bastiaan Rook, is a humorous mockumentary short-film following a charismatic cult leader. The twist? He doesn’t want to be a cult leader. But, with his disciples dead set on following him no matter what, he finds himself in a desperate position. Rook and Vosse employ a documentary style to great effect, utilising quick zoom ins/ outs and dirtying the frame with bushes and other obstacles to give the impression that there is a camera operator improvising every movement behind the scenes. Which, of course, there is. But the ability to make something meticulously planned feel improvised is a feat that director of photography Stijn Jonkhart rises to with (what looks like) ease. Jonkhart also utilises natural light in exterior scenes to great effect, elevating this piece beyond the visuals you would expect from a “documentary”. The interior scenes are also lit beautifully by Kenny Nagelkerke to emulate natural light to the point where one cannot be sure how much is real and how much is artificial. Spectacular work from the cinematography and lighting team! The first character the audience is introduced to is Danny, who produces a bottle of poisonous fluid from his bag. Immediately viewers will clock on to this as an example of "Chekhov's gun” (Anton Chekhov’s principle that “one must never place a loaded rifle on the stage if it isn't going to go off” .) This creates a humorous tension, giving the story a ticking clock feeling – a bomb under the table that could go off at any moment. The central concept of the piece is a brilliant idea, depicting something as absurd as a cult and flipping it on its head. We follow Jonah who, to little success, continually attempts to convince his followers to abandon him in increasingly obvious and comical ways. The story drags in the middle somewhat as the structure becomes glaringly obvious: Jonah tries something in an attempt to scare the cultists off, it doesn’t work, then he heads back to the drawing board. However, the conclusion of all this hooks the viewer right back in as the aforementioned Chekhov's bottle comes back into play, in an ironic twist of fate that is equally funny as it is deeply tragic. Overall Citroen is an amusing short that, while predictable, is sure to entertain its audience and anyone else who comes across it. Buy UKFR Banner Space About the Film Critic Finn O'Toole Short Film < All Reviews Next Film Review >

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Film Festival Feature by Callum Ewing and James Learoyd Best Film I felt fortunate to see so many good and excellent films at LFF 2026, making it difficult to choose a favourite. My pick, however, was the 2nd film I watched: Martin McDonagh’s Wild Horse Nine. Wild Horse Nine Official Film Trailer McDonagh is one of my favourite writer-directors for his sharp comic dialogue and ability to reveal his characters’ vulnerability. Here, Sam Rockwell and John Malkovich play CIA agents transferred to Easter Island against the backdrop of the 1973 Chilean coup. The film features McDonagh’s trademark quotable one-liners and carefully crafted comic payoffs, but a deep melancholy underpins the humour as the characters reflect on their pasts and contemplate death. Malkovich is particularly impressive, delivering a performance that surely deserves a Best Actor nomination. His often subtle acting provides an emotional anchor amid the film’s pace and chaos, balancing effortless comic delivery with vulnerability. Filmed on Easter Island, it is also one of McDonagh’s most beautifully shot works. Despite a few minor flaws, I highly recommend seeing it when it opens in cinemas on 6th November. Honourable mentions go to Godzilla Minus Zero, Artificial and Primetime. All of a Sudden is James’ pick for best film at LFF. The latest from Japanese auteur Ryusuke Hamaguchi is one of the most moving cinema experiences you’ll have all year. Tragic and life-affirming in equal measure, the piece’s unique outlook on relationships and modern society is one to examine and treasure. It places, at its centre, two characters whose philosophies are certainly different, and yet whose values and loves are perfectly aligned. Clocking in at over three hours, you would suspect this a slow or challenging watch. Far from it: it’s a perfectly paced, elegantly structured work from Hamaguchi – and for my money, his best film to date. You can read my review on the website to know more about what I loved about the movie! Other honourable mentions for best film should go to The Devils, Paper Tiger and The History of Concrete. Most Disappointing Fortunately, I saw no bad films at LFF, but Danny Boyle’s Ink was my most disappointing. Although I thoroughly enjoyed it, I would not rank it among his best: some unusual creative choices undermine the film. It follows the creation of The Sun newspaper, with Boyle’s characteristic kinetic direction and fast-paced editing. Ink Official Film Trailer Jack O’Connell is brilliant as its new editor, Larry Lamb, as is Guy Pearce as Rupert Murdoch. However, the film struggles to slow down and explore the story’s moral questions, particularly The Sun’s damaging impact on journalism and society. Its use of generative AI is also distractingly poor and entirely unnecessary. For James’ worst or most disappointing of the London Film Festival, my comments are of a more general nature. There’s no one film to pinpoint as being disastrously bad – and I’d like to think that some of this is due to my choice in viewing (prioritising directors I care about, or small, independent movies whose descriptions pique my interest). I’ll mention that Artificial and I Love Boosters are the two most popular films that, whilst I enjoyed them for the most part, fail in certain areas for me; two examples of well-crafted movies with intelligent ideas that leave something to be desired in terms of overall structure or precision of tone. There were one or two low-budget, independent works that I saw, films that were far worse than the two I’ve mentioned – yet there’s little-to-no point in negatively highlighting things more modest in scale. And either way, I’ve found something to admire in everything I’ve seen at this year’s festival, without exception. Most Overlooked James Gray’s Paper Tiger is a fantastic film that deserves more attention. Featuring strong performances from Miles Teller, Scarlett Johansson, and especially Adam Driver, it follows a suburban middle-class family whose involvement with the Russian mafia spirals out of control. Driver plays Gary, an ex-cop and brother to Teller’s character, while Johansson plays Teller’s wife. Driver is magnetic, balancing strength with vulnerability, and Teller delivers one of the most mature performances I have seen from him. Beautifully shot, the film’s textured grain, costumes, and production design vividly evoke its 1980s setting. Action is sparse, but its two action scenes are magnificently filmed. Weaknesses in the script and Johansson’s character keep it from being one of my favourites of the year, but it deserves more appreciation when it opens in February. An honourable mention goes to Tony Gilroy’s Behemoth!, which might divide audiences when it comes out in December. For me, I admired and liked it but did not love it. James’ pick for most overlooked film is a draw between Iron Boy and Mouse. My morning screening of Iron Boy felt quite transformative and was, to my shock and delight, the film with the most enthusiastic applause I heard all festival. Part of the reason, I’m sure, was because nobody knew anything about this movie going into it, and yet were blessed with a stunning, carefully crafted work of art. This French animation is a true gem and not one to miss. Mouse – recommended to me by Isabel Moir who also conducted the in-person Q&A at the screening I attended – tells a deeply tragic coming-of-age story, anchored by some achingly vulnerable performances from Sophie Okonedo and Katherine Mallen Kupferer. Both are the exact kinds of films you yearn to discover when heading to a festival. Films that are personal and hand-crafted. Both brought me to tears multiple times.

Directed by: David Nicholas Wilkinson Written by: David Nicholas Wilkinson, Emily’s Price Starring: James Van Der Beek, Chadwick Boseman, Miriam Margolyes Film Review by: Holly Baker 1 in 2 (2026) is a feature-length documentary written and directed by David Nicholas Wilkinson. The film follows Wilkinson’s, along with several other subjects’, journey of living through bowel cancer treatment, particularly undergoing chemotherapy. Made up of several interview clips along with segments of Wilkinson speaking to the camera, both whilst receiving treatment and during his alone time, the film laments the severe difficulties that patients with bowel cancer face. There is no shying away from the details of the disease, such as the disastrous impact on mental health that treatments such as stomas can have, as well as the physical impacts of having bowel troubles and how this gets in the way of daily life. Viewers will feel engagingly informed about the realities of cancer, which will likely affect either them or a loved one, as more and more people continue to be diagnosed. As with any disease, bowel cancer begins with diagnosis. Wilkinson, along with the other interviewees featured in the documentary, takes extra care to highlight how difficult a bowel cancer diagnosis is to obtain. Patients’ tumours often go unnoticed for a long period of time, due to the NHS guidelines which are followed by GPs. Through portraying patients’ experiences of misdiagnosis and late diagnosis which severely impacted their chances of having a longer lifespan, the documentary does a neat job of not blaming any individual or organisation, keeping the focus on the work that is being done to make diagnoses more accurate. By including such an intimate perspective, the documentary has its difficult moments. Viewers are given an insight into some graphic descriptions and images of people suffering from bowel cancer. These are very important representations for such a personal and visceral disease, and are incredibly interesting for those wanting to learn more. The harsh aspects of dealing with the illness are the main topic of the documentary, particularly in relation to patients' mortality. However, there is light shown in the wholesome, community aspects of the disease. The documentary informs viewers of the groups of people who have found each other through their common factor of having bowel cancer. These people express the way that getting to share the graphic aspects of their treatment made them feel a lot less alone when dealing with it. As well as this, the documentary shows the way that community projects can change individuals ' perspectives on aspects of treatment, such as a stoma. Stomas are often seen as disgusting and as a burden to deal with; however, the documentary poses the idea that the stoma is a signifier of life, as they often extend that of those who have one. 1 in 2 official film trailer There is an interesting incorporation of lightheartedness and comedy in the documentary which Wilkinson navigates well. Wilkinson’s interactions with nurses and doctors are shown authentically and lovingly, we witness him making jokes with them and speaking to the staff on a friendly level which is lovely to see. As well as this, viewers are given such a close-up view of his everyday life, we witness what is happening in his body as he explains it in real time to the camera. Wilkinson finds himself in various uncomfortable scenarios which can be nightmarish to imagine, however, he seems to find humour in the bizarreness of these situations. This importantly highlights the humanity in those not only suffering from the illness, but also the treatment system, placing cancer and the world of cancer treatment within the normal, relatable world as viewers see recognisable kinds of people who are involved in treatments every day. The subjects in the documentary are from all walks of life, older, younger, famous, etc. There is also a big focus on the way that the illness not only affects the patient, but also their family, such as the children of a mother who is unable to properly take care of them due to the excessive fatigue she deals with. This importantly brings attention to the way that cancer can affect anyone, and conveys the film’s strong message of encouraging viewers to take tests so that tumours are found sooner rather than later. 1 In 2 will be in UK Cinemas from 13th November 2026.

Filmmaker Interview by Chris Olson Thanks for speaking with UK Film Review. For those who don't know you, please can you let our readers know a bit more about you and your filmmaking background? My name is Alex Devlin, I'm 25 years old, and I'm the founder and CEO of Devine Animation Studios, a small independent animation studio based in Oban, Scotland. I founded the studio in January 2023, at the age of just 22, with the ambition of bringing back the charm of traditional 2D animation and the classic cartoon humour that so many of us grew up loving. Since then, the studio has grown to a team of 19 talented individuals, consisting of both volunteers and paid staff, all working towards bringing our creative visions to life. We're currently in production on our very first animated short film, Waldo VS The Polar King, which we're aiming to release in late 2027. My long-term ambition is to establish Devine Animation Studios as a recognised name in independent animation, creating original stories, memorable characters, and entertaining films that audiences of all ages can enjoy. We are big fans of animation! How would you describe Waldo VS The Polar King to a new audience? Waldo VS The Polar King is an upcoming traditionally animated comedy-adventure featuring our studio's mascot, Waldo, a flying mouse, alongside his best friend and trusty sidekick, Nick Nash, a bandicoot. The story follows Waldo as he's unexpectedly sucked into his television and transported into the world of a 1950s TV series. What initially seems like an extraordinary adventure quickly takes a dangerous turn when Waldo encounters Willow, a weasel who finds herself threatened by the villainous Polar King, a powerful ruler capable of wielding lightning. Trapped in this strange television world, Waldo must find a way to save Willow, survive the Polar King's wrath and, ultimately, make it back home. The short is our love letter to classic cartoons, combining traditional 2D animation, colourful characters, slapstick humour and an imaginative adventure that we hope audiences of all ages will enjoy. Why did you want to make this film? I've always been a sucker for old-school cartoons, particularly the classic Looney Tunes shorts and the works of legendary animators such as Tex Avery and Ub Iwerks, as well as characters like Oswald the Lucky Rabbit and Felix the Cat. There's something incredibly special about those early cartoons. They were imaginative, unpredictable, wonderfully chaotic, and, most importantly, they weren't afraid to be completely ridiculous. That's something I feel we don't see nearly enough of in mainstream animation today. I wanted to make Waldo VS The Polar King because I genuinely believe there's still an audience for that kind of traditional cartoon humour. I miss the exaggerated expressions, the slapstick comedy, the larger-than-life personalities and the sheer zaniness that made those classic shorts so memorable. I also feel that the animation industry has become increasingly dominated by major corporations, with acquisitions, familiar franchises and commercial expectations sometimes making it harder for smaller, independent voices to be heard. Waldo & Nick Nash clip from Devine Animation Studios That's one of the reasons I founded Devine Animation Studios. I want to help create a space where originality, artistic freedom and creativity are encouraged rather than restricted. At Devine, we've already mapped out five waves of potential projects, including original films, television series and animated shorts, each with their own characters, stories and worlds. I don't want our studio to become known for producing the same kind of animation over and over again. I want us to experiment, take creative risks and give audiences something different. Ultimately, Waldo VS The Polar King is our way of celebrating the cartoons that inspired us while introducing that style of humour and storytelling to a new generation. We're not trying to replace modern animation. We simply want to bring back something we feel has been missing from it. Sounds great! Were there any challenges making the film? If so, what were they and how did you overcome them? Well, believe it or not, one of our biggest challenges was actually finding animators! (Laughs). When I founded Devine Animation Studios in 2023, I quickly discovered just how difficult it can be to produce an animated film independently, particularly when you're working with a limited budget. The studio has been entirely self-funded by me, which naturally comes with its own challenges, especially when you're trying to assemble a talented team and produce something you're genuinely proud of. Waldo & Oswald's Grand Adventure | Kickstarter Campaign Another challenge was deciding what our first production would actually be. Over the years, we explored several different projects and ideas, but for various reasons, we kept changing direction. Eventually, we settled on Waldo VS The Polar King, which I believe was the right decision for our first short film. Fortunately, after a lot of searching and perseverance, we managed to assemble a small team of animators who will help bring Waldo and his world to life. We've now completed the script, concept artwork, storyboards and voice recordings, and we're preparing to begin the animation process. It's incredibly exciting to finally see everything coming together after years of planning and development. As for overcoming challenges, I've always believed that communication is one of the most important aspects of running a successful studio. Whenever we encounter a problem, I try to be open with my team about it. Rather than making every decision behind closed doors, I prefer to arrange meetings where everyone has an opportunity to share their thoughts, suggest solutions and contribute their ideas. I think one of the biggest mistakes a company can make is failing to listen, whether that's to its employees or its audience. It's something I feel larger corporations can sometimes struggle with, and it's something I'm determined to avoid at Devine Animation Studios. I don't want our studio to feel like a workplace where everyone simply follows orders. I want us to feel like one big family, where every individual knows their voice matters and their creativity is valued. Ultimately, I believe that when you surround yourself with passionate, talented people and genuinely listen to them, even the biggest challenges become much easier to overcome. That sounds like a great ethos. What stage is the film currently in? And how can people get to see it? Waldo VS The Polar King is currently transitioning from pre-production into the animation stage, which is incredibly exciting for us! We've completed the script, character designs, storyboards and voice recordings, and we're now preparing to bring everything to life through animation. It's been a long journey getting to this point, so we're really looking forward to seeing our characters finally moving on screen. We're currently aiming for a release around November 2027, although, as an independent animation studio, we understand that production schedules can sometimes change. Our priority is to make sure the finished film meets our creative vision, rather than rushing it to meet a particular deadline. As for where people can watch it, we're planning to make the short available to watch for free on YouTube, and we're also hoping to release it through Amazon Prime Video, subject to distribution availability. At the moment, we don't have any plans to enter the film into festivals, although that's certainly something we could consider in the future. Ultimately, we want Waldo VS The Polar King to be accessible to as many people as possible, and we can't wait to share it with audiences! Why do you make movies? Well, for me, that's like asking why I breathe! (Laughs). I've always had an incredibly active imagination. Every day, I find myself coming up with new stories, characters and worlds, and thankfully, it's something that has always come quite naturally to me. I genuinely couldn't imagine my life without storytelling. I'm also a massive film enthusiast. I've currently rated over 1,400 films on Letterboxd, ranging from the earliest days of cinema to modern releases. I've always been fascinated by the power of film and how a story can make someone laugh, cry, think, or even change the way they look at the world. Ever since I was 12 years old, I've dreamed of running my own animation studio, creating animated films and bringing my own stories and characters to life. It's something I've wanted for as long as I can remember, and founding Devine Animation Studios was my first real step towards making that childhood dream a reality. One of my biggest ambitions is to create entertainment that doesn't talk down to children but instead treats them as equals. I think children are often underestimated when it comes to their intelligence and emotional understanding. Too many productions aimed at younger audiences rely on the same predictable jokes, but children are capable of appreciating so much more than that. I want our films to entertain audiences while also exploring meaningful subjects. Whether that's grief, loneliness, feeling different, anxiety, abandonment or simply finding your place in the world, I believe animation is an incredibly powerful medium for telling those stories. For example, I'd love to tell stories about learning to live with the loss of someone you love. Not forgetting that person, but understanding that moving forward doesn't mean leaving their memory behind. I think those are important messages for children and adults alike. Another thing that inspired me to pursue filmmaking was a simple saying: "If you can't find what you're looking for, why not make it yourself?" I've always loved original storytelling, and one of my frustrations with the modern film industry is its increasing reliance on sequels, remakes, reboots, and spin-offs. It sometimes feels as though every successful original film immediately becomes the beginning of another franchise. Now, don't get me wrong, I have nothing against sequels or remakes when there's a genuinely worthwhile story to tell. Some of my favourite films have sequels! But I don't believe a film should receive a sequel simply because the original was financially successful. At Devine Animation Studios, our priority is creating original stories, characters and worlds. We're not completely opposed to revisiting an existing story, but we'd only want to do so if we believed there was something meaningful left to explore. I've always admired Walt Disney and the pioneering spirit of the early animation industry. Those filmmakers weren't afraid to experiment, take risks or attempt something audiences had never seen before. That's the kind of creative ambition I want to encourage at Devine. Ultimately, I make films because I love telling stories. I love the idea that something which began as a simple thought in my imagination could one day make somebody laugh, bring them comfort during a difficult time or stay with them for the rest of their life. And if even one of our films manages to do that for somebody, then I'll consider that a success. What advice would you give to someone just starting out in the film career you have pursued? Well, I think the biggest lesson I've learned, and one I'm still trying to grasp myself, is patience! Now, I'll be the first to admit that I'm not always the most patient person when it comes to filmmaking. I get incredibly excited about my ideas, and when I have a story in my head, I want to see it brought to life as quickly as possible. But filmmaking doesn't work like that, especially animation. When I first started out, I'd hold auditions for writers, voice actors, animators, and artists, without fully appreciating just how much each stage of production depended on the one before it. For example, a writer might need to complete four drafts of a screenplay before it's ready. Then the artists need time to develop the characters and produce the concept artwork and storyboards. Voice actors need to understand their characters, and animators need the necessary artwork, dialogue, and other production materials before they can properly begin their work. It's a bit like building a snowman, really. You start with all these separate pieces, and individually they might not look like much, but once you bring everything together, you've created something special. That's one of the biggest things I've learned about filmmaking. You can't rush creativity, and you certainly can't expect everyone to work at the same pace. Sometimes you simply have to trust the process and the people you've brought on board. Strangely enough, patience is something I had already learned quite a lot about in my personal life, although under very different circumstances. When I was around nine years old, my dad was diagnosed with multiple sclerosis (MS). As I grew older, I gradually took on more responsibilities helping to care for him. At first, it was little things, helping him with the television, fetching his tea or bringing him dinner. But as his condition worsened, he began losing the ability to walk, and there were times when I had to help lift him after he'd fallen, sometimes entirely by myself. Eventually, he became bedridden, and he passed away when I was 18. And believe me, looking after that man certainly taught me a thing or two about patience! (Laughs) But there's something else from that experience that has stayed with me, and I think it's probably one of the most important lessons I could share with anyone pursuing a creative career. Before I founded Devine Animation Studios, I actually ran a small software business that I'd started when I was just 13 years old. I developed mobile applications, and at the time of my dad's passing, I was trying to balance that business with college and everything happening at home. For years, I'd never told my dad about the business. I suppose I was worried he'd react the same way some other people had, asking whether I was making any money and losing interest if the answer was no. But a few weeks before he died, I finally told him. And his reaction was something I'll never forget. His face absolutely lit up. He started asking me all sorts of questions about the business, what I was doing and what I hoped to achieve. By that point, his health had deteriorated considerably. He'd suffered numerous infections that had affected his memory and his ability to think clearly, but despite all that, he remembered my business. He kept taking an interest in it. I think, in his own way, he was relieved to know that I had ambitions for my future and that perhaps one day I'd be in a position to help support the family. After he passed away, I pushed myself incredibly hard to keep developing applications and pursuing my ambitions. I think part of me wanted to prove that his belief in me hadn't been misplaced. And that's something I'd say to anyone who's just starting out in filmmaking, or any creative industry for that matter. Don't measure your success entirely by how much money you're making, how quickly you're progressing, or whether other people understand what you're trying to achieve. Be patient with yourself. Be patient with the people you work with. Listen to them, learn from your mistakes, and understand that creating something worthwhile takes time. And most importantly, don't give up on something you genuinely believe in simply because somebody else can't see its potential. You might spend years working towards a dream that other people don't understand, but that doesn't mean it isn't worth pursuing. I'm still learning myself. Devine Animation Studios is a young company, and we've got a very long way to go before we achieve everything I've envisioned. But I think that's part of the excitement. Every challenge teaches you something, every setback gives you an opportunity to improve, and every little achievement brings you one step closer to where you want to be. So, if I had to sum up my advice, it would be this: be patient, believe in what you're creating and surround yourself with people who believe in it too. Because sometimes, all it takes is one person believing in you to make you believe in yourself a little more. Who would you love to work with and why? Wow! That's a great question, and there are so many people I'd absolutely love to work with! If we're talking about actors from any period in cinema history, my number one choice would have to be Robin Williams. I've always considered him one of the greatest actors to ever live, simply because of how incredibly versatile he was. He could have you crying with laughter one minute and absolutely heartbroken the next. Whether it was his hilarious performance as the Genie in Aladdin, his emotional performance in Good Will Hunting, or his incredible work in Awakenings, he had this extraordinary ability to make you feel something. I think that's what made him so special. He wasn't just a comedian or a dramatic actor; he was a storyteller who could do practically anything. I would have absolutely loved the opportunity to work with him. As for filmmakers who are still with us, Steven Spielberg would definitely be near the top of my list. He's been involved in so many films that I absolutely adore, including The Goonies, Back to the Future, Gremlins, Empire of the Sun, and A.I. Artificial Intelligence. I admire his ability to balance spectacle, adventure, and genuine human emotion. He can make you feel like a child discovering the magic of cinema for the first time, and then turn around and absolutely break your heart! There are plenty of actors I'd love to work with too, including Adam Sandler, Tom Holland and Brendan Fraser. They're all incredibly talented performers who can bring something special to a character. But here's the interesting thing: as much as I'd love to work with those big names, I'm actually far more interested in discovering new talent. I'd love Devine Animation Studios to become a place where undiscovered actors, independent performers and professional voice actors are given opportunities they might otherwise struggle to find. Everyone has to start somewhere, after all. Even the biggest names in Hollywood were once unknown performers hoping somebody would give them a chance. One thing I've noticed about modern animated films is how heavily some productions rely on celebrity casting. Robin Williams' unforgettable performance as the Genie in Aladdin helped change the way Hollywood approached celebrity voice casting, and since then, having recognisable names attached to animated films has become an increasingly common marketing strategy. Now, don't get me wrong, there are some absolutely phenomenal performances from Hollywood actors in animation, and I certainly wouldn't turn down a talented celebrity simply because they're famous! (Laughs) But I don't believe a recognisable name automatically makes someone the right choice for a character. Sometimes, the perfect voice belongs to somebody you've never heard of. That's why I believe casting should always come down to talent, suitability and the ability to bring a character to life, rather than how many millions of followers somebody has or how recognisable their name is. I'd much rather discover an incredibly talented unknown voice actor and give them their first major opportunity than hire a famous actor simply for the publicity. And who knows? Maybe one day somebody will look back at a Devine Animation Studios production and say, "That's where that actor got their big break!" I think that would be something pretty special. What's next for you in your career after this film? Well, Waldo VS The Polar King is really just the beginning of what we have planned for Devine Animation Studios! We've already got several other animated shorts in development, some of which we're hoping to release throughout 2027. We're constantly developing new stories, characters, and worlds, so there's certainly no shortage of ideas keeping us busy! (Laughs) We're also developing an original fantasy television series, which I'm particularly excited about. Unfortunately, I can't reveal too much about it just yet, but we're currently envisioning a first season consisting of approximately eight episodes, each running for around 20 minutes. The series will follow a princess living in a magical world filled with mysterious creatures and monsters. We're currently aiming for a 12 age rating, although that could change as the project develops. That's about all I can reveal for now, but I'm really looking forward to sharing more about it when the time is right! Looking further ahead, we also have several feature-length animated films planned. However, one of the realities of running a small, entirely self-funded independent studio is that our ambitions can sometimes be bigger than our current budget. Producing a feature film requires a significant financial investment, and at this stage, it's simply not something we can afford to undertake without additional funding or outside investors. But that's certainly not going to stop us from working towards it! My goal is to continue building Devine Animation Studios through our short films and television projects, gradually expanding our audience, developing our team, and hopefully attracting the investment needed to bring our larger productions to life. Ultimately, I don't want Waldo VS The Polar King to be the film people remember us for and nothing else. I want it to be the film people look back on years from now and say, "That's where it all began." We've got plenty of stories left to tell, and we're only just getting started! Find out more about Devine Animation Studios on their website - https://www.devineanimation.co.uk/