'Aardman' director Will Becher targets China release for new 'Shaun the Sheep' movie
Aardman director Will Becher has revealed that the studio’s latest Shaun the Sheep adventure could be heading to Chinese cinemas in October, while also confirming he is developing a new feature film that combines live-action and animation.
Speaking during a panel discussion at the Shanghai International Film Festival, Becher shared updates on Aardman’s upcoming projects while serving as chair of the festival’s animation jury alongside Indian filmmaker Gitanjali Rao and Chinese animator Yu Shui.
The filmmaker, who previously co-directed A Shaun the Sheep Movie: Farmageddon with Richard Phelan, said production has wrapped on Shaun the Sheep: The Beast of Mossy Bottom, the franchise’s latest big-screen outing.
“In the studio, we’ve just finished making a new ‘Shaun’ movie,” Becher said. “It’s a Halloween-themed movie with a hairy monster.”
New Shaun the Sheep Adventure Could Reach China This Year
Becher indicated that The Beast of Mossy Bottom could arrive in Chinese cinemas as early as October, potentially expanding the beloved stop-motion franchise’s reach in one of the world’s largest film markets.
While additional release details have yet to be announced, the update marks one of the first public insights into the completed project, which centres on a Halloween-inspired story featuring a mysterious monster.
The Shaun the Sheep franchise has become one of Aardman’s most successful properties, earning international acclaim through television series, feature films and family entertainment specials.
Becher Working on New Hybrid Feature Film
Alongside the update on Shaun’s latest adventure, Becher revealed he is currently developing a separate feature project that will blend live-action and animation equally.
The filmmaker said financing is still being sought for the production and estimated that once funding is secured, the project would require approximately two years to complete.
Although Becher did not disclose plot details or potential collaborators, the project reflects a growing trend in animation, with filmmakers increasingly experimenting with hybrid storytelling techniques that combine live-action performances and animated worlds.
Gitanjali Rao Highlights Challenges Facing Indian Animation
The discussion also touched on the realities of creating animation projects in different parts of the world.
Rao, whose acclaimed debut feature Bombay Rose opened Critics’ Week at the Venice Film Festival in 2019, revealed that she is also seeking financing for a hybrid live-action and animation feature.
The director noted that independent animators in India continue to face significant financial challenges compared with the country’s mainstream commercial film industry. According to Rao, many creators are forced to pursue international co-production partnerships, particularly with French companies, in order to finance original animation projects.
Discussing her creative philosophy, Rao said authenticity remains her primary focus when making films intended for international audiences.
“I would not make a very deliberate attempt, but I would remain honest, I would remain sincere and I would remain authentic,” she said.
Jury Members Reject Formulaic Approach to Global Audiences
The panel also explored whether animators should consciously tailor their work to ensure international audiences immediately understand cultural references and storytelling choices.
All three jury members pushed back against the idea of creating films through excessive calculation.
Becher explained that Aardman’s philosophy has always been to make films that first entertain the filmmakers themselves. He recalled how jokes written with British audiences in mind for A Shaun the Sheep Movie: Farmageddon were interpreted by German viewers as satire aimed specifically at Germany.
Rao argued that modern audiences are capable of seeking out cultural context independently and that filmmakers should focus on building stories with multiple layers of meaning, ensuring at least one level remains accessible to viewers everywhere.
Meanwhile, Yu Shui, whose acclaimed short Nobody formed part of the anthology series Chinese Fables, said feedback from international audiences has helped him better understand the challenges facing Chinese animation overseas.
The filmmaker added that while China’s large domestic market provides unique advantages for local productions, he plans to place greater emphasis on cross-cultural accessibility in future projects as Chinese animation continues expanding internationally.
For Aardman, the completion of Shaun the Sheep: The Beast of Mossy Bottom and Becher’s ongoing work on a new hybrid feature signal a busy period ahead as the studio continues to grow its global presence in animation.
