Writer and director Kris Kelly’s acclaimed new short A Wind and the Shadow tells a story of resilience and a mother’s love as she confronts her fears and faces her daughter’s illness through a fog of memories. The short, which has won the Irish Film and TV Academy’s award for Best Animated Short has also qualified for Oscar consideration this year. We recently had the chance to speak with the BAFTA-nominated director about his beautifully crafted and memorable short. Here is what he told us:
Animag: Congrats on the success of your recent project. Can you tell us a bit about how how you came up with the idea for the short?
Kris Kelly: After directing a documentary project in Prague for a number of years, I wanted my next film to be something I could both write and direct—a fictional piece, but still grounded in real-life experiences. Around the same time, I witnessed some family members navigating a particularly sensitive period. Observing this deeply moving dynamic inspired me. It made me want to tell a story that highlights the resilience and beauty of people in challenging circumstances, and that became the foundation for this project.
When did you start working on it, and how long did it take to finish?
Kris: We began working on the project around 2001, starting with the script drafting phase. Initially, we went through a development phase with the BFI, followed by a production phase, also in collaboration with the BFI. Altogether, the project took approximately four years from start to completion.
Which animation tools were used to create the stylized look?
Kris: The special look stems from my long-standing desire to merge real world classical techniques with computer-generated techniques to achieve a painterly, organic feel. This approach reflects my roots in working with tangible materials and my exploration of translating that into animation efficiently on a budget.
The process begins with loose pencil sketches, which are used as references for creating 3D assets that respect the proportions and style of the illustrations. We use Autodesk Maya with M-gear rigs for hand animation, allowing animators to create classically inspired sequences. For rendering, we primarily used Arnold, enhanced with custom shaders, layered passes, and compositing in Nuke to achieve a more organic look.
For added texture and an artisanal feel, inspired by films like The Old Man and the Sea, we took the animation into Photoshop for frame-by-frame hand painting. This balance between automated techniques and manual artistry was dictated by time, budget, and the desired aesthetic.
Can you elaborate on how the specific visual style was created?
Kris: The foundation of this visual style came from an early experiment where I sketched an idea, animated it in 3D, and then reprojected the animation onto paper to redraw it in charcoal. That process revealed how the interplay between technology and hand-drawn techniques created a unique emotional resonance that purely computer-generated imagery couldn’t replicate.
For A Wind in the Shadows, years of refining this approach helped me better understand the balance between CG elements and hand-drawn details. Faces and eyes, for example, are areas I often hand-draw frame by frame in Photoshop to ensure they capture the emotional depth I’m aiming for. In contrast, elements like cloth or backgrounds might rely more on shaders or filters created in Maya, Arnold, Nuke, or After Effects, using custom shaders to maintain an organic feel.
This balance is key. Faces demand precision and human touch, so I spent time illustrating our actors’ faces by hand to capture their essence and translate it to animation. Conversely, some areas benefit from looser visualization, reflecting the subjective and interpretative nature of the film’s themes.
Ultimately, this visual language prioritizes artistry over rigid realism, ensuring the emotional experience remains at the forefront. Achieving this has been a journey of experimentation, continuously exploring how to best integrate these techniques to serve the story.
How many people worked on the short with you?
Kris: The team consisted of about 15 to 20 people, spanning various roles from concept art and storyboarding to technical scene setup, rendering, lighting, and animation. This included both hand animation and 2D drawn animation overlaid later in the process. For example, creatures like the bird and crab were animated frame by frame in Photoshop, with additional painting over the frames toward the end. Each team member contributed to bringing the project’s intricate visuals to life.
Looking back, what would say were the toughest aspects of the project?
Kris: The project faced many challenges across different areas. The greatest was navigating a sensitive subject in a way that felt both tasteful and respectful, while also creating enough drama to keep audiences engaged. Striking that balance was the most significant challenge during the filmmaking process.
There were also technical challenges, such as assembling a team that fit the story’s needs. I was fortunate to have talented collaborators and strong producer support. Early on, integrating a textured, hand-drawn feel into 3D animation presented unique hurdles. I drew inspiration from directors like Alberto Miego, whose tone and European art house style influenced my approach.
A particularly difficult issue arose with rendering water and certain shots; the costs far exceeded our budget. This forced us to embrace a more stylized approach, leaning further into painting and an organic feel. While budget constraints are a common challenge in animation, we turned this limitation into an opportunity to create visuals that complemented the story’s tone and the subject’s sensitivity.
Who are your biggest animation influences?
Kris: My influences span a wide range of creators, often extending beyond the animation industry into visual art and filmmaking. On a contemporary level, I’m deeply inspired by Alberto Mielgo. His ability to use CG and 3D animation in a mature, European art house style is phenomenal. His work has not only influenced me but also given me the confidence to pursue the type of animation I want to see in the world.
In a more classical sense, I’ve been influenced by works like The Old Man and the Sea and animators like Jan Švankmajer, who bring a grittier, experimental edge to their storytelling. I admire their honesty, willingness to explore abstract ideas, and their ability to create work that feels inseparable from the medium of animation itself.
Additionally, artists like David O’Reilly, who push boundaries by exploring simulation and other unconventional spaces, have also shaped my perspective. Across all these influences, I’m drawn to creators who challenge norms and explore the possibilities of animation as a powerful and expressive medium.
What do you hope audiences take away from your short?
Kris: I hope audiences come away with a sense of honesty and strength, recognizing the incredible resilience and beauty in real people. These are the true heroes—not fictional characters in capes, but those who endure hardship, navigate difficult times, and find ways to hold it together with the support of those around them.
For me, these stories are deeply inspiring, and I hope the film encourages viewers to think about others, reflect on the world we live in, and understand the importance of sharing experiences to inspire and uplift one another.
What are you working on next?
Kris: Yes, I’m currently working on my next film, Bulls in Water. While this project falls primarily into the live-action category, it still incorporates my love for visual art and animation to convey certain emotions and explore parts of the story. I’ve always been drawn to films that are visually arresting and push boundaries, and as a filmmaker, I’m committed to continuing to try new things and explore subjects in unique ways. My hope is that my work resonates with audiences who appreciate this approach and enjoy the stories I aim to tell.
A Wind and the Shadow is currently streaming on The Animation Showcase.
Go behind-the-scenes of the short below:
