Lesterbanks takes a deep dive into 21 Martyrs, one of this years most anticipated Oscar-shortlisted animated films. Described by animation legend Glen Keane as powerful, heart-wrenching, challenging, and inspiring not to mention exquisitely beautiful, this 13-minute masterpiece is the result of an extraordinary five-year production journey spanning 2019 to 2024. Written and directed by Tod Polson, with a hauntingly beautiful original soundtrack by Sarah and Laura Ayoub (The Ayoub Sisters) and evocative sound design by Giles Lamb, the film is a true global collaboration, involving creative contributions from 23 countries, including Egypt, Japan, Canada, and South Africa. With consultation from His Eminence Archbishop Angaelos, Tomm Moore, and Tom Bancroft, 21 Martyrs is not just a filmits a transcendent achievement that pushes the boundaries of animated storytelling.Powerful, heart-wrenching, challenging, and inspiring not to mention exquisitely beautiful, -Glen KeaneLB: Thank you for sitting down with us today. What inspired you to create 21 Martyrs?Tod Polson, Director: The 2015 beheading of 21 Coptic Christians by ISIS sent shockwaves across the globe and left a deep, lasting impact on me personally. The martyrs steadfast faith in the face of overwhelming terror was, and continues to be, both humbling and deeply inspiring. When the opportunity arose to tell their story, I embraced it wholeheartedly. The creation of the film has been an incredible journey. The story evolved slowly, shaped by interviews with Coptic Christians, former ISIS members, and journalists embedded with the Libyan army. Spending time with the families of the martyrs allowed me to better understand who these men were, further deepening my admiration for their courage and conviction.The visual style of The 21 is rooted in traditional iconography. Artists from Egypt, Syria, Ukraine, and the United States contributed their expertise, not only helping shape the aesthetic of the film but also influencing my own approach to art. Animation artists from around the world lent their talents, each adding something personal to the project. My deepest hope is that The 21 serves as a tribute to the martyrs and their families. In a world that seems more than ever in need of such powerful examples of faith and resilience, I believe their story is more vital than ever.LB: How did the films visual style and narrative come together?Mandi Hart, Producer: The most significant influences from Coptic iconography in The 21 film are seen in the use of line, shape, and color. Initially, the color palettes were too saturated. Early on, iconographer Nikola Sari made a color palette to help guide the concept sketches. In the film, as in iconography, we tried to be very specific with our color. For example, we often used gold to represent the light of God. The broken landscapes often depicted in Coptic art helped guide our designs for the clouds, sea, and even the animated effects. The martyrs character designs are all subtle reflections of Christ, following Coptic Icon tradition. It was important to emphasize the eyes of the characters, another influence of Coptic art. To contrast with this, we took a more minimalist approach to the Isis designs, using simplified graphic forms and stripping away most of the color, and basically removing their eyes; removing their emotion and humanity.Much like in iconography, we leaned heavily into symbolism throughout the film. For instance, the birds symbolize the Holy Spirit, while the clouds and sea represent the presence of God. Because the story is deeply human, it was important to retain a handmade quality in the film, incorporating actual hand-painted textures. Much of the film was designed in the old square Academy aspect ratio to better reflect the more vertical feel of Coptic art. The square aspect ratio feels more intimate and our director felt that it might help the audience better relate to the characters. For the Libyan landscapes, a lot of inspiration was drawn from futurist and precisionist art, while the horrors captured by Vorticists like Lewis and Nevinson during WWI had a profound influence as well. Our director wanted to depict a broken, fractured world that mirrored the emotional states of the characters.My deepest hope is that it serves as a tribute to the marytyrs and their families -Tod PolsonRead more about the film here: THE21FILM.COMHope and Fragility: An Interview With Neo Coptic Iconographer Stphane RenCross-Border Animation Collaborations in Asia Trend Up as Demand for Content Expands2025 OSCAR NOMINATED Short FilmsFor more information or to request a screener contact Mandi Hart at mandi@moreproductions.comThe authors and LesterBanks.com have no commercial affiliations with any of the companies, products, or projects mentioned in this article.