Bienvenidos a Rudo! Meet the Buenos Aires Studio Behind Pixelatl’s 2025 Signal Film

Another exciting edition of Pixelatl’s El Festival celebration of animation, comics and video games is coming to Guadalajara, taking place September 9-13 (elfestival.mx). As part of the Festival’s tradition, a Latin American studio will be responsible for the year’s unique artistic branding, and for 2025 that honor goes to Buenos Aires based Rudo Company.

Specializing in 2D animation, Rudo was founded in 2015 and has since produced a range of short films, clips, music videos and commercials for partners like Apple, Nike, Adidas, Cartoon Network, MTV and many more. The studio has international reach thanks in part to its position on Psyop’s directorial roster for the U.S. and Canada.

Animation Magazine is pleased to introduce readers to Rudo founders Pablo Rafael Roldán and Ezequiel Torres, who shared some of the studio’s notable achievements and the inspirations behind their upcoming Pixelatl trailer:

Animation Magazine: Can you give us a bit of history about your animation company?

Pablo R. Roldán: We founded the studio 10 years ago, Ezequiel Torres and Pablo R. Roldán. We met while studying graphic design at the University of Buenos Aires (UBA).  We found our path somewhat by chance, working in advertising, and over time, we specialized in 2D cel animation.

In 2017, when it was still just the two of us, Fer Suniga invited us to co-direct a music video for a new band: “The Wolf” by Siamés. We spent several months working on it, just the two of us. “The Wolf” ended up going viral on YouTube and today has over 200 million views.

Over time, we started growing the team, and today, we are a group that sees every project as a new opportunity to experiment and learn.

What would you say are your specialties?

Ezequiel Torres:  When we start working on a project, whether it’s a commercial or a music video, what excites us most is giving it a unique identity. In this sense, we see animation as deeply connected to design and vice versa.

When I think about “specialties,” I can’t help but feel that Pablo and I, as the studio’s creative leads, complement each other. I tend to focus on the overall “flow” and rhythm of the animation, while Pablo works on shaping a distinct identity through design and storytelling for each piece. I see him as the studio’s “visionary,” always pushing boundaries, while I am the anxious person I am focused on getting things moving.

What are some of the projects you are working on this year?

Ezequiel: This year, we’re excited to keep working with our team on projects that help develop and enrich the stories and aesthetics each of us wants to explore. Right now, we’re working on our ninth music video, this time for Argentine musician Stoltz, telling a story we’ve wanted to bring to life for years.

Original content is also a key focus for us. We’re developing Esther, an 11 episode series (22 minutes each) in co-production with the amazing teams at Sacrebleu (France) and Take Five (Belgium).

Short films are another space where we get to play and experiment. Pablo has his sci-fi project, Love, Unlove, Abduction, and we have new ideas in the works that we can’t wait to share when the time comes.

In 2025, our studio celebrates its 10th anniversary, and a huge part of our journey has been the incredible community of artists we’ve collaborated with on each project. We look forward to creating new opportunities to reconnect and celebrate this milestone together.

Will you have a presence at Annecy this year?

Ezequiel: This year, unfortunately, we don’t have plans to attend. We’ve been to previous editions, and it’s an experience we truly enjoyed and highly recommend experiencing at least once. However, you’ll be able to find us at Pixelatl this year, so feel free to stop by and say hi!

Can you tell us a bit about the trailer you are creating for Pixelatl?

Pablo: Yes, above all, we’re incredibly excited about this opportunity. The Pixelatl team presented us with a concept and manifesto that are truly inspiring, and they gave us complete creative freedom. We’re very grateful for that because it’s exactly the kind of challenge we love to take on.

As for the cineminuto itself, we’re envisioning it as a journey into collective imagination —  a kind of abstract celebration of creativity. We also want to experiment with the production process, incorporating sequences where our team can explore different ways of telling this creative journey. While creativity is often personal, when shared as a group, it can lead to something truly extraordinary. We believe the production process itself will be an integral part of the final piece.

What were the inspirations behind the trailer’s visuals?

Pablo: I think our main inspiration is the work of Jonathan Djob Nkondo, primarily for his minimalism but also for his sensory-driven storytelling. We want the cineminuto to convey something, but not in a purely narrative way. Our goal is to create a piece that remains engaging even after multiple viewings, one where rhythm and perception take center stage. We like the idea of leaving certain aspects open-ended, trusting that each viewer’s interpretation will complete the experience.

Which animation tools do you use at your studio?

Pablo: At the studio, we use various Adobe programs for design, Toon Boom Harmony for cel animation, and for production, we rely on Miro, Slack and Airtable. We’re always exploring new tools to improve our workflow and collaboration.

What is you take on the animation scene in Argentina and South America in general?

Pablo: The outlook is quite uncertain, to be honest. Our country has been navigating a prolonged period of crisis, and the current government has withdrawn all forms of support for culture. Clearly, developing an animation industry in this context is challenging. However, it’s also an opportunity to prove that we’ve been building an industry capable of sustaining itself beyond state support. We believe the talent within our field is world-class.

It’s inspiring to see our peers pushing forward, developing their own projects, and working with the same passion as always. Nothing has ever been handed to us, and the international industry continues to move forward. We hope our generation doesn’t give up because we certainly won’t. The present may be difficult, but the future will be bright.

What do you love about going to Pixelatl?

Pablo: Pixelatl is a highly prestigious festival, and as Latin Americans, we take great pride in having it as a key hub for animation year after year, amplifying and giving space to voices from the region. It’s a place where artists, creators, and animation enthusiasts come together. Attending always fills us with inspiration and renewed energy, moreover, we always value spaces where students and professionals can meet to continue building the industry we aspire to.

Learn more about Rudo Co. at rudocompany.com and follow the studio on Instagram @rudo.co to see their latest work.