Independent Film News

Canadian Filmmakers Fuss Over Funding

In a sharp article at Macleans, Brian D. Johnson takes a stab at deciphering just what's gone wrong in the Canadian film industry. You may not realize just how bustling that industry is, mainly because none of the movies it makes ever find a wide audience. The system meant to fund and promote these films is, Johnson says, ultimately the one guaranteeing their failure.

Telefilm Canada is the government agency tasked with selecting which films will get a chunk of its $80 million budget (and yes, even Johnson notes that that would barely make one movie in Hollywood). The system requires that any film up for funding already have a distributor attached; once it's given the money and actually made, the distributor turns a pretty penny by selling TV rights to Canadian pay-channels and releasing it to a minimum number of theaters.

And Telefilm doesn't let down filmmakers on distribution alone. They've also implemented an "envelope" policy; if your first film actually does well, you're guaranteed millions for your next films. The problem arises when films like White Noise and Resident Evil: Apocolypse are the ones benefitting from this deal; both films were co-distributed by American companies. It all leaves some Canadian pursist wondering how much Telefilm is really doing to boost the industry, and calling for changes across the board.

The whole article sparks a lively debate between filmmakers, producers and distributors and is worth the read. The flaws in Telefilm's system, it argues, ultimately mean that Canadian film--and the country's economy--are suffering. An interesting look at a side of cinema you might not otherwise consider...