Influential Films in Canada:

Participants were asked to identify influential Canadian films that they think remain timeless and relevant, appealing to audiences across generations. Below are the list of films that came out of the Manitoba session. The participants were also asked what they think are the key factors for these films to be made and what connected the films to their audience.

Key factors for the above films to be made

Factors that were mentioned most frequently:

• Compelling Story & Authenticity: Good story, authenticity of the story, universal story, caring deeply about subject, right person to tell the story
• Access to Subjects and Community Support: Access to people and community; access to the subject; support of team and community; transparency and honesty between subject, filmmaker and producers
• Funding and Financial Support: Public arts funding, passion funding from the NFB, broadcaster recommendation, funding support from family of the filmmaker
• Industry Connections and Support: Connection in the industry, broadcaster recommendation, commissioning editor who believed in the story

Factors that were mentioned frequently:

• Team Dedication and Personal Drive: Personal dedication, belief in the project, being stubborn
• Creative and Innovative Approach: Creative, original approach; inventive strategies; pushing the boundaries of typical/traditional documentary forms; resourcefulness of MB filmmakers

Factors that were mentioned once:

• Chance and Opportunity: Finding the right opportunity, being given a chance to work on the project

Key elements that connected the above films to its audience

Factors that were mentioned most frequently:

• Authenticity and Real Stories: Authenticity of a story; real people, stories and voices that otherwise would go unheard; storytelling style; exciting story
• Emotional Impact and Relatability
• Relevant and Important Topics: Relevant topic; important topic; topic and storytelling; deepens understanding of reality and helps find meaning
• Local Appeal and Community Connection: Appealing to local audience, connecting with them; stories that fit well with the community; having a local story

Factors that were mentioned frequently:

• Effective Distribution and Promotion: Local distribution, broadcast, film festivals, DVD release, promotion via NFB, film group efforts, media attention
• Educational and Informative Value: Informative; asks the right questions; deepens understanding of reality and helps find meaning

Challenges faced by filmmakers in Manitoba

This part of the discussion centered around the challenges faced by filmmakers in Manitoba, particularly in terms of funding, distribution, and the overall sustainability of their work. Key points included:

• Challenges in Filmmaking: Filmmakers struggle with a lack of producing skills, overwhelmed producers, and limited opportunities to create multiple films annually. There is also concern about the disruption in funding, such as the discontinuation of the MTS Stories from Home program, and how this impacted the documentary community in Manitoba.
• Distribution Strategies: One speaker emphasized the importance of utilizing local distribution channels, such as screening films at the Winnipeg Film Group, organizing private screenings, and submitting films to targeted film festivals. This strategy helped to make films more accessible to specific communities in Manitoba and gain wider recognition and awards.
• Sustainability and Funding: Filmmakers face difficulties finding sustainable funding models, with some turning to Arts Council funding, which doesn’t provide adequate compensation. The group noted that filmmakers are often forced to choose between making low-budget films or high-budget ones, neither of which guarantee financial success.
• Community-Oriented Projects: Despite having community-focused films that build pride and explore local history or language, filmmakers struggle to secure backing from major broadcasters like CBC, who are more interested in commercial content. This forces filmmakers to seek alternative funding sources.
• Adapting to the Landscape: Inspired by filmmaker Guy Madden’s approach, some filmmakers have adopted a flexible, nimble approach to their work, balancing larger projects with smaller, more frequent productions to maintain creative momentum and supplement their income with part-time jobs.
• Concerns about the State of Film: One participant expressed concern that the current funding environment prioritizes commercially-driven projects over artistically ambitious ones, leading to a lack of meaningful, deep films. This trend threatens the future of film as an art form, particularly for filmmakers with visionary ideas.
• Re-evaluating Success Metrics: There is a call for the industry to rethink how it measures the success of films, moving beyond box office revenue and awards to include the broader societal and artistic impact of a film. This includes evaluating projects for their creative experimentation and contribution to community development, which may not fit the traditional commercial model.
• Systemic Barriers: Filmmakers face a treacherous and bureaucratic system that makes it difficult to sustain a career, particularly for newcomers. The risk of losing funding due to administrative errors, and the lack of support for creative risk-taking, are seen as significant obstacles to innovation and growth in the industry.

Overall, the group calls for reforming the funding and evaluation systems to better support creativity, innovation, and community-driven filmmaking, and to create a more sustainable environment for independent filmmakers.

Discoverability in filmmaking

Participants were asked about the type of ‘discoverability’ or marketing support they need to connect audiences to their films on online platforms or other exhibition windows. Key takeaways from here included digital (YouTube) approaches as well as grassroot approaches for community screenings. A major case was made for YouTube vs. all other streaming platforms.

• Support and Resources for Audience Development and Discoverability 
  • Need for Dedicated Marketing Support: Emphasis on the importance of having professionals to handle marketing and audience development, as filmmakers find the discoverability challenge overwhelming.
  • Pooling Resources and Audience Data: Suggestions to pool audience data and networks across similar films (e.g., environmental, arts-focused) to expand reach and leverage shared audiences more effectively.
  • Government-Supported Touring Program: Interest in a government-funded program, similar to “Home Routes” for musicians, that would fund filmmakers to tour their films across communities and develop local audiences.
  • DOC Support for YouTube Monetization: Desire for DOC (Documentary Organization of Canada) to offer support in building YouTube followings to help filmmakers monetize their content directly.
• Flexible, Multi-Faceted Distribution Strategies
  • Digital vs. Grassroots Approaches: Recognition of the need for modern, multi-faceted approaches that combine digital platforms with grassroots marketing, including local screenings and partnerships with organizations.
  • Global Streaming Platforms vs. YouTube: Debate over the control and transparency benefits of YouTube versus the reach of global streaming services, with some favoring YouTube for its data access and flexibility.
  • Targeted Festival Strategy: Strategic submission to specific film festivals that align with target communities to maximize relevance, visibility, and engagement with the represented audience.
• Local and Community-Centric Screening Strategies 
  • Local Screening Channels: Utilizing local distribution channels like the Winnipeg Film Group and Bell MTS’s channel, as well as arranging private screenings, proved effective for building a community audience.
  • Community Partnerships: Working with community organizations and networks to help distribute and promote films at the grassroots level, which strengthens discoverability and engagement.
• Fresh Perspectives and Emerging Filmmaker Involvement 
  • New Generation of Filmmakers: Recognizing that younger filmmakers could bring innovative ideas to audience engagement and distribution challenges, potentially revitalizing approaches within the documentary community.

Systemic Changes

Participants discussed systemic changes needed in the industry. Systemic change in leadership, mandate for diverse representation and narrative sovereignty were some key issues that the participants wish to see more and more in industry organizations. They also spoke of creation of targeted programs and funds and building cross-community connection and collaboration.

Out of the many support programs and initiatives that are available in the country, participants brought up the following as success stories

• Curated Industry Access for Underrepresented Groups:
  Events like TIFF’s Black Women Film programming, which curate industry events specifically for BIPOC filmmakers, are effective. They provide crucial industry access, networking opportunities, and visibility, helping open doors that are typically closed to underrepresented filmmakers. This model demonstrates how targeted programming can have a meaningful impact on access and inclusion.
• Dedicated Funding for Diverse Storytellers:
  The establishment of funds or support programs, such as the Black Screen Office and initiatives to fund Indigenous and Black storytellers, are working to address financial barriers. By earmarking resources for diverse creators, these programs support underrepresented voices and encourage storytelling that reflects a broader range of perspectives.
• Narrative Sovereignty:
  Emphasizing narrative sovereignty, particularly for Indigenous creators, is resonating as a positive change. Recognizing the importance of allowing creators control over their stories fosters respect for their perspectives and encourages authentic storytelling. This principle, when upheld, helps combat cultural appropriation and misrepresentation.
• Local Champions:
  Cam Bennett and Kim Bell, who were instrumental in the MTS Stories from Home program, are praised for their understanding of local filmmakers and their commitment to supporting diverse styles of work despite limited resources.

Participants also discussed factors in systemic change that need improvement:

• Lack of Diverse Representation in Leadership:
  Despite some progress, there is a recurring theme that decision-making positions lack diverse representation. Many in leadership are still unrepresentative of the communities they serve, which often results in a lack of understanding or respect for underrepresented perspectives. This creates barriers to real systemic change, as these leaders may not fully grasp the needs or challenges faced by marginalized communities.
• Failure to Break Down Silos:
  Efforts to foster cross-community connection are still lacking. The film industry remains siloed, with minimal crossover between different communities, especially for BIPOC creators. The conversation suggests that more could be done through festivals, events, and collaborative initiatives to bridge these divides and foster a more inclusive and connected industry.
• Misinterpretation or Dismissal of Feedback:
  Engagement efforts within organizations are sometimes superficial or misguided. When feedback from Indigenous or marginalized groups is not fully understood, or when certain perspectives are dismissed by those in power, the intended positive impact is lost. This lack of genuine engagement perpetuates existing issues and limits the effectiveness of initiatives meant to include diverse voices.
• Lack of Accountability for Streaming Services:
  There’s a notable gap in holding streaming services accountable for contributing to systemic inequities. Current regulatory frameworks do not mandate streaming platforms to prioritize diversity or address systemic issues, meaning these powerful platforms can perpetuate exclusion without facing repercussions. There is a call for legal mechanisms to ensure that streaming services abide by standards that promote equity and representation.