Already unveiled in 2025 at the Giffoni Film Festival, the stop-motion animated feature The Tales of the Enchanted Garden is finally arriving in our cinemas, thanks to official distribution Trent Film in collaboration with Cinema dei Piccoli, starting from October 8. It represents a refined work born in Central Europe, the cradle of the first step, and it centers on the art of storytelling, to shape new generations while also supporting the inner life of adults faced with life’s challenges. Here is the official Italian trailer.
The Tales of the Enchanted Garden, the story of the animated film
Co-produced by France, the Czech Republic, Slovakia and Slovenia, The Tales of the Enchanted Garden tells the story of the little Tom, Susan and Derek: their grandmother has recently died, so the grandfather does not greet them with his usual enthusiasm. To rekindle their vitality, Susan decides to draw inspiration from their grandmother and to tell stories, between mystery and magic. Fairy tales will unfold before our eyes about a cat that helps siblings, a not-too-scary monster and a brave flying man. Through imagination, the family will regain its unity. The children and the grandfather will learn a lot about kindness, courage and the ability to rise again when life hits you. The film is directed by David Súkup, Jean-Claude Rozec, Leon Vidmar and Patrik Pašš, based on a story by Arnošt Goldflam, and the three segments plus the framing story were divided among them. About their work they say: “The entire production journey lasted about ten years. In projects of this kind there is always the risk that the stories won’t fit together. We managed to make it cohesive. […] We used all our children as test subjects! They helped us understand that it’s important to talk about death, because it is part of life. Naturally one must know one’s limits, but I believe we managed to find the right balance. We made it accessible. People die: it’s the hard reality. But for my son the biggest question wasn’t about the parents who die in one of the stories. It concerned the children who stay. We made this film not to provoke anyone, but to make people think. […] Stop-motion embraces mistakes. The movement isn’t always fluid and precisely for this reason it feels more human. It feels close to us. Digital animation usually tends toward perfection. […] There is a kind of magic in this technique. It’s a very strange feeling when you’re on set with these puppets, painting the sky or sculpting the bushes. You truly create things, instead of fixing everything digitally.”
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