The Surprising True Story Behind the First Animated Feature Film
Long before Disney’s Snow White, a groundbreaking animated film from Argentina changed cinema forever. Discover the forgotten origins of feature-length animation and the political satire that started it all.
Animated movies are more popular than ever, with audiences eagerly awaiting new releases like Toy Story 5 and the next Zootopia. The industry thrives on both fresh ideas and familiar franchises, but getting an original animated film off the ground is no easy feat. Studios often lean toward sequels and reboots, knowing they’re safer bets. Still, every beloved franchise started as a risk, and without new stories, the magic of animation would fade. Today’s lineup is a mix of sequels and bold new projects, offering a welcome balance as studios also chase the trend of live-action remakes.
Many people believe the first full-length animated movie was Disney ’s Snow White and the Seven Dwarfs, released in 1937. In some ways, that’s true—it was the first of its kind in America, the first to use traditional animation techniques, and the first to leave a lasting mark on pop culture. Snow White launched an empire and set the standard for what animated features could be.
The Forgotten Pioneer of Animation
But the real origin of the animated feature goes back even further. In 1917, Argentine filmmaker Quirino Cristiani released El Apóstol, a film that has become a lost treasure in cinema history. Those who have studied Cristiani’s work found that his success was rooted in the way he captured the spirit of his time, blending sharp political satire with a realistic style that was ahead of its era.
El Apóstol was inspired by Argentina’s president at the time, Hipólito Yrigoyen. The film stood out for its striking visuals and its bold commentary on the country’s political climate. Audiences were especially captivated by a dramatic sequence near the end, where Buenos Aires is destroyed—a scene that left a lasting impression on viewers.
Legacy and Influence
Cristiani went on to create several more animated films, including Sin dejar rastros, the second animated feature ever made. Despite his achievements, he never received the recognition that later animators enjoyed, especially those working in the United States. By the time American studios took the lead, the focus had shifted to character-driven stories and escapist adventures aimed at children and families.
While El Apóstol had its playful moments, it was a world apart from the cheerful tone that would come to define the genre. The film’s mix of satire and realism reflected a very different vision for animation—one that was deeply connected to the social and political issues of its day, rather than the fairy-tale escapism that would later dominate the industry.