LOLA AND THE SOUND PIANO Animation dir. by Augusto Zanovello I France, Poland, Switzerland
April 7, 2025
The Sound of Connection: Animation, Autism, and the Art of Listening
By Koumoutsi Soultana
Animation, at its finest, is a form of alchemy—where image and sound fuse to create something greater than the sum of their parts, a world that feels both tactile and dreamlike. Few filmmakers understand this transformation as intimately as Augusto Zanovello. In his latest stop-motion film, Lola and the Sound Piano, winner of the Best Screenplay Award at the Psaroloco International Film Festival for Children & Young People, Zanovello invites us into a realm where communication transcends language, and the unseen harmonies of the world take center stage.
At the heart of the film is Lola, a perceptive and determined young girl, and her younger brother, Simon, whose world is one of deep interiority. Sensitive to hidden sounds, he moves through life attuned to frequencies others might overlook. Seeking a way to connect with him, Lola—alongside her friend Rolih—sets out to build a machine that turns sound into something tangible, something shareable. It is a story about love, curiosity, and the quiet resilience required to understand one another. Visually lush and thematically resonant, the film is a testament to the power of patience, sound, and play in fostering human connection.
In this conversation, Zanovello reflects on the making of Lola and the Sound Piano, the challenges of orchestrating an international animation production, and the unexpected ways in which audiences—particularly children—have engaged with its themes of neurodiversity, music, and the art of listening.
Augusto Zanovello
Born in 1965, in Brazil. Nationality: Italy / Brazil Augusto Zanovello studied at the Beaux-Arts in Belo Horizonte. He moved to France in 1985, where he attended Paris III then the Gobelins, and joined the Louis Lumière School in 1991. He then worked in various animation studios as an animator, storyboard artist, and scriptwriter, and directed several series and short films, including 'Women's Letters' in 2013, which received 30 awards and over 110 festival selections. He is currently working on his first feature film as a director.
Miracasas (14’, 2021, co-directed with Raphaelle Stolz), Apollo's Tall Tales (52x13’, 2018), Runes (TV series pilot, 2016), Women's Letters (11’, 2014), Peter Pan (TV series, season 1 & 2, 52x26’, 2011-2015), Durs du mur (TV series, 39x7’, 2003), Marsupilami (TV series, 26x26’, 2000)
Lola and the Sound Piano explores the nuances of communication beyond words, particularly through Simon’s experience on the autism spectrum. What drew you to this story, and how did you approach crafting an authentic portrayal of his world?
The story behind this film is my own with my little brother who has autism spectrum disorder, and the different games we could play (more or less) together to compensate for this lack of communication. Simon's interior world was represented in an abstract way, inspired by his own drawings.
At its heart, the film is as much about Lola as it is about Simon—her curiosity, determination, and deep bond with her brother. What makes her such a compelling protagonist, and how did you shape her journey?
What motivates my main character (Lola) is love, curiosity and kindness.
I don't know how compelling she is, but her tenacity to unravel the mysteries of her little brother is very strong. Through observation and with the help of music, she manages to exchange sincere emotions with him.
Lola and the Sound Piano is visually striking, with a distinct artistic approach shaped by collaboration across multiple studios. How did you develop the film’s aesthetic, and what was it like coordinating the craftsmanship of puppets, props, and animation across different creative teams?
The art direction was done by Mizuho Sato, based on his drawings and those of Jérèmie Almanza. Sharing tasks between different regions and countries is no easy task. It's a necessary step in setting up the project, financially speaking. Once the collaborators had been chosen, a lot of preparatory drawings and supervision had to be carried out, but everything went smoothly. The very detailed storyboard is also a common and indispensable document for understanding the production choices.
Sound plays a crucial role in the film, particularly in capturing Simon’s sensitivity to hidden noises. How did you approach the sound design, and what technical challenges did you face in bringing this world to life?
The sound and sound effects were created in collaboration with musician Christian Perret. First, I drew the objects I wanted to have visually and the way they moved, then we went back and forth a lot with the musician. He would have to validate them by integrating them into music that was both pleasant to listen to and playful in terms of the instruments used.
Lola and the Sound Piano won the Jury Prize at Annecy, a recognition that speaks to its emotional depth and artistic craft. What has the audience response been like—particularly from children—and what conversations about autism and neurodiversity do you hope the film inspires?
“Lola et le piano à bruits” was released in French cinemas as part of a program with 3 other short films. I accompanied the program for a few days and answered a lot of questions. The one that came up most often was how to do or share activities with autistic children. It's difficult to answer, because each case is specific, each autistic person is unique and responds differently to the stimuli proposed. So, in my opinion, the solutions to living together remain linked to the state of mind in which we approach any difference. Peacefulness, listening and benevolence are fundamental to a better understanding of others and to our well-being.