The main focus of the article is to point out and analyse translation strategies as determinants of translators’ intercultural competence in the dubbed animated films: Shrek the Third, Shrek Forever, Kung Fu Panda 1, and Kung Fu Panda 2. The research problem is an attempt to answer the questions: which components of the source culture are submitted for domestication and foreignization as well? What kind of language equivalences can we observe in the Polish and Russian dubbed animated films? Is there a parallelism between Russian and Polish strategies in translation? Are we able to observe differences between Polish and Russian translation strategies in parallel places? The research material consists of 120 pages of film dialogue transcript in Polish, written by Bartosz Wierzbięta, and in Russian, written by Pavel Silenchuk. Qualitative and quantitative research into the Polish and Russian language versions of the dubbed animated films was conducted. The analysis shows that the translators predominantly tend to use domestication in parallel places for the Polish and Russian dialogues: according to the names of people, realities, and quotes. There is one crucial difference between the approaches of the Russian and Polish translators: Pavel Silenchuk makes reference to high culture (literature, poems, and films) but Bartosz Wierzbięta makes references to low culture. What’s more, both translators tend towards a third culture that doesn’t exist in the original version. As with Pavel Silenchuk, Bartosz Wierzbięta tends to foreignization as well. The functional analogues mentioned in this research, show that creativity is a factor that determines the high intercultural competence of a translator of animated films with dubbing.