Thank you for being part our 49th online edition!
Since the recession of 2008 , funding and the distribution of Arthouse films have been hit by harsh blows. Where do we stand today? What is the state of funding around the world and more specifically in Canada? How are institutions adapting? Which initiatives or tools will be available for creators so they can create arthouse films which are original and diverse in their content and their form.Presented by the Canada Media Fund (CMF)
MODERATOR Former General counsel of Pandora Cinema, Ilann Girard set up Arsam in 2002 a one-stop services company offering consultancy and finance packaging services and in 2004, Arsam International, a production company. His credits include “Renaissance”, “March of the Penguins”, “Goodbye Bafana”, “Lebanon”, “Final Portrait” and “Cunningham.” In 2012, he set up Olffi.com the largest database on public fundings.
Pauline Couture is Co-CEO of BlockFilm, a new platform which welcomes content creators seekingfinancing and support, interested investors and passionate fans to advance the projects close to theirhearts. Ms. Couture has deep experience of the media, technology and business worlds as a seniorstrategic advisor, entrepreneur, author and journalist, in Canada and around the world.
Anne-Marie Gélinas, founder of EMAfilms, produces feature films as well as documentaries of innovative and ambitious writers and directors from around the world. Released in 2020: BEANS (2020), directed by Tracey Deer, the film premiered at TIFF in the Discovery and TIFF Next Wave sections; SLAXX (2020), directed by Elza Kephart was selected for the SITGES and Fantasia festivals where it won the Gold Audience Award for Best Canadian Feature. Anne-Marie is also known for TURBO KID (2015)
Nathalie Clermont has worked in the film, television and digital media sector for over 25 years. She has extensive experience in policy development and financing. Since joining the CMF in March 2007, she has served as a key advisor on CMF programs and policies. She also ensures consistency in service standards and application processes across all CMF programs, with a particular focus on other funding partnerships to optimize the CMF's investments.Previously, Ms. Clermont worked for 15 years at the Société de développement des entreprises culturelles (SODEC), where she led the Business Relations Unit team responsible for film and television investment programs. Ms. Clermont holds a Bachelor of Arts in Film, Communications and Public Relations from the Université de Montréal.
Before her present tenure as DG for SODEC (Société de développement des entreprises culturelles, investing provincial public funds in film and tv), Johanne Larue held the position of Creative producer on film and prime time fiction series, for 4 years, at Attraction Images, a Montreal based private corporation. Between 2007 and 2013, she was Creative Head of film and prime time fiction series at Radio-Canada (the French wing of the CBC, investing federal public funds in television and feature films) and before that was Content Leader at SODEC for 5 years. She also teaches Film Studies at Concordia University and in other public and private schools in Quebec.
Marie-France joined Telefilm Canada in 2002. As National Feature Film Executive, she leads the team responsible for French-language feature film decisions at the national and regional levels and ensures relations with the industry as well as with her counterparts in the English-language market.
Case study about Kaveh Nabatian’s film Sin la Habana, selected in the National Competition at the 2020 FNC edition. The director and his team will talk about their...
What happened in 2020? Where are we at? How can we project ourselves in 2021, 2022, etc.? Donato Rotunno, producer and co-founder of Tarantula production company based in...
What is the responsibility of the artist? Has the year 2020 increased awareness? À conversation with filmmakers who see Cinema as a means of expressing their social...
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