Latest news with #SuzanneGuèvremont
Yahoo
09-06-2025
- Entertainment
- Yahoo
Preserving the Past and Powering the Future of Canadian Animation: Inside the NFB and Telefilm's Industry-Leading Support Strategies
At a time when independent and international animation are more influential than ever, two of Canada's key cultural institutions — the National Film Board of Canada (NFB) and Telefilm Canada — are taking bold steps to reinforce the country's status as one of the world's most influential and celebrated animation creation hubs. Guided by visionary leadership, these organizations are not only preserving Canada's legacy in animated storytelling but actively empowering the next wave of creators. More from Variety Immersive Domes, Checkered-Eared Rabbits and a New Platform: Hungary to Showcase 111 Years of Animation as Annecy Country of Honor Animation and Heart: The Directors of Gkids Pick-Up 'Little Amélie' Reflect on Collaborative Spirit in Bringing 'The Character of Rain' to Screen Annecy Contender 'Death Does Not Exist' by Félix Dufour-Laperrière Gets Political: 'There's Urgency to Redistribute Wealth' At the heart of this renaissance are two executives leading with conviction and clarity: Suzanne Guèvremont, government film commissioner and chairperson of the NFB, and Julie Roy, executive director and CEO of Telefilm Canada. Their shared mission is both cultural and economic: to foster innovation, champion Canadian voices and ensure those voices are heard around the world. Building a National Legacy, One Frame at a Time 'The NFB is a creation house,' says Guèvremont. 'From the idea to the screen, we engage with our filmmakers from the very beginning all the way to distribution and audience engagement.' With more than 86 years of experience and over 14,000 titles in its collection, 7,000 of which are available free on the NFB isn't just producing films, it's safeguarding Canada's audiovisual heritage. Guèvremont sees this archive as 'a beautiful family album,' one that speaks to the country's cultural identity and evolution. 'We want [our films] to be timely but at the same time timeless,' she explains. 'So in 10 years, when we revisit a film, it tells us what was going on in Canada at that time; what were we thinking about, why was this story important?' This long view is central to the NFB's approach. It supports not just emerging artists but also those with decades of experience. 'There is emulation between both,' says Guèvremont. 'Experienced filmmakers are provoked by the innovations of newcomers, and emerging creators benefit from the wisdom of veterans.' A Strategic Vision for the Future The NFB's recently unveiled 2025–2028 Strategic Plan underlines this dual commitment to heritage and innovation. The four pillars – shaping the NFB for next generations, fostering a culture of creativity, elevating awareness of the NFB and expanding audiences – are a call to action. 'In this moment of uncertainty,' Guèvremont says, 'the role of inspiring and meaningful storytelling has never been more important as a means of protecting and ensuring the survival of our cultural sovereignty and identity.' The plan also underscores the NFB's commitment to Indigenous narrative sovereignty, environmental and ethical sustainability and equity for underrepresented communities. Telefilm Canada: A Strategic Partner in Animation's Ascent On the production and market side, Julie Roy emphasizes Telefilm Canada's essential role in supporting animation as both a cultural force and an export-ready industry. 'Animation is not a genre, it's a cornerstone of our cultural and economic impact,' Roy says. 'Telefilm is proud to help shape its future.' That future is being built on strong foundations. From globally recognized titles like the Oscar-nominated 'The Breadwinner' to recent domestic box office successes such as 'Katak' and 'Zoopocalypse,' Canadian animation is increasingly turning heads internationally. Four Telefilm-backed features will appear at this year's Annecy Festival, including Félix Dufour-Laperrière's 'Death Does Not Exist,' Eric San aka Kid Koala's 'Space Cadet,' Zaven Najjar's 'Allah is Not Obliged,' and Pete and Seth Scriver's 'Endless Cookie.' In short-term goals, Roy highlights a focus on projects with 'strong audience potential and market readiness,' particularly those aimed at young Canadians. 'Ensuring the next generation grows up with stories that reflect their identity, values and lived experiences is a clear priority for us.' Long-term, animation is seen as a powerful export vehicle. 'It travels well across borders and cultures,' Roy notes. That's why Telefilm is investing heavily in initiatives that connect Canadian creators with global markets, including First Look, which introduces Canadian films in post-production to U.S. sales agents and festival programmers. Co-Productions as Creative Bridges International and domestic co-productions are another vital component of both organizations' strategies. 'Co-productions are, at their core, collaborations between Canada and other countries,' Roy explains. 'They allow for shared risks and benefits, diversified funding and access to wider audiences.' Telefilm facilitates these partnerships at high-profile industry events, hosting the Canada Pavilion at international festivals, and co-priming networking opportunities at Annecy with the NFB. 'We're helping to build bridges that lead to impactful co-productions and long-term growth for Canadian audiovisual storytelling.' Guèvremont agrees: 'When we engage in co-productions, we want to be involved from the early stages. It's about relationships, learning experiences and joining forces to create something unique.' Recent international co-productions from the NFB include 'Miserable Miracle' (with Japan and France) and 'Affairs of the Art' by Joanna Quinn – who will receive an honorary Cristal at this year's Annecy – a U.K.-Canada collaboration that earned an Oscar nomination. Bringing Canadian Stories to the World For both organizations, the job doesn't end at production. Telefilm's National Marketing Program covers up to 75% of promotional expenses for funded projects. Its Audience Engagement initiative recently supported 19 films with over 60 events across nine provinces. The NFB, meanwhile, has a fully integrated pipeline. 'We have in-house teams for marketing, distribution and audience engagement,' says Guèvremont. 'We follow through from the initial idea until the film reaches platforms like PBS, Netflix or receives community screenings.' The reach is profound. According to Guèvremont, the NFB has had 78 Oscar nominations, 38 of which were for animated shorts, making it the third most nominated entity in that category after Disney and MGM. 'That's not just a fun fact,' she says. 'It reflects the cultural impact we've had globally.' Annecy: A Showcase for Canadian Talent This year's Annecy Festival will see Canada making a major splash. Chris Lavis and Maciek Szczerbowski's 'The Girl Who Cried Pearls' will premiere during the opening ceremony, and four other shorts, including 'Hairy Legs' by Andrea Dorfman, 'Fusion' by Richard Reeves, 'The Gnawer of Rocks' by Louise Flaherty and 'Bread Will Walk' by Alex Boya, are in official competition. Meanwhile, Telefilm and the NFB will co-host the panel Investing in the Future: Canadian Animation at the Forefront, focusing on how public funding fuels creativity and international success. 'It's not just about us executives talking,' says Guèvremont. 'We're making space for creators to tell their own stories.' A Culture of Continuity and Creation The hallmark of both organizations is continuity. Guèvremont describes the NFB as a 'family,' where artists' careers are supported at every stage. 'You're now part of our family album forever,' she tells filmmakers. Roy echoes this sentiment: 'We strive to meet creators where they are, supporting a diversity of creative visions, storytelling approaches and business models.' It's a dynamic vision, one built not only on legacy and funding but on imagination, innovation and impact. In the words of Guèvremont: 'In a world searching for clarity and meaning, the NFB will always be here, crafting essential stories that matter for a Canada ready to imagine what comes next.' And with the committed partnership of Telefilm Canada, those stories are reaching audiences at home and abroad, defining not just Canadian animation, but Canadian identity itself. Best of Variety 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Animated Program — Can Netflix Score Big With 'Arcane,' 'Devil May Cry' and the Final Season of 'Big Mouth?'
Globe and Mail
29-05-2025
- Business
- Globe and Mail
The NFB's new strategy: milk the ‘Stream Canadian' moment and reinvest in creativity
The National Film Board has always been ahead of its time. But the federal cultural agency, which has produced thousands of documentaries, animated films and interactive digital works since its inception in 1939 – collecting a dozen Academy Awards along the way – hit a particularly prescient nerve this past March when it launched its 'Stream Canadian' campaign, pointing audiences to the free streaming service. 'It was prepared well before the Canadian election,' and certainly any of Donald Trump's movie-tariff talk, says NFB chair Suzanne Guèvremont. 'It was something that we were reflecting upon, because in our new strategic plan one of our priorities is to elevate the awareness and esteem of the NFB. So when we came into the elections, we just said, 'Oh god, this is so timely.'' The response has been encouraging, with the NFB reporting a 25-per-cent increase in new online Canadian visitors to the site (the world's largest non-commercial streaming platform) compared with the same period last year. Guèvremont is hoping to keep the NFB headline momentum going, too. Last week, she was at Cannes for the premieres of two NFB animated shorts, Martine Frossard's Hypersensitive and Alex Boya's Bread Will Walk, just a few days ahead of the organization's debut of its 2025-2028 strategic plan. The plan (titled 'Sharing Our Past, Shaping Our Future, Stories for Today') prioritizes shaping the NFB for next generations and expanding its audience – not surprising directions given the current and intense war for eyeballs when it comes to the attention economy. But the plan also arrives after a period of years-long tension inside the NFB between its filmmakers and Guèvremont's predecessor, Claude Joli-Coeur, who was alleged to have prioritized administrative salaries over resources for content production. Guèvremont, whose background in the development of Quebec's 3-D animation and video-game industries stands in contrast to Joli-Coeur's history in entertainment law, says that the NFB's current relations with the creative community are strong. 'We're engaging in dialogues with the creators, with the filmmakers – we have scheduled meetings every year, to give them updates on the strategy before it comes out,' says Guèvremont, who was appointed to a five-year term in 2022. 'We're really trying to make sure that when we make a decision, we inform them, we give them the rationale behind it. And we did make a promise to reinvest in production, which was part of the exercises that we did last year.' Guèvremont acknowledges, though, that the NFB isn't exactly in a safe financial situation, noting that it has been in a structural deficit for the past eight years. Last year, the organization underwent a restructuring, eliminating 55 jobs, or roughly 14 per cent of its work force. The cuts have led to resources being reinvested into production, Guèvremont says, as well as lower administrative costs. 'This is a transitional year, so we are adapting our structures, adapting our teams and our boots on the ground,' she adds. 'We hope in the years to come, with the renewal of our funding, that we will actually be able to increase our budgets for production. Reinvestment is absolutely necessary.' Another pillar of the strategic plan is to 'foster a culture of creativity and innovation,' a goal that may initially seem at odds with the NFB's decision last year to close its interactive studios in Montreal and Vancouver. 'We realized that what we needed to do right now was focus on innovation, so we stopped producing installation works, because those are really expensive – it was brick-and-mortar installations,' Guèvremont says. 'We needed to refocus on animation and documentaries and storytelling in innovative ways. We'll continue to foster that creation in all the different fields of the NFB.' Just before Cannes, Guèvremont was in Ottawa to address the Canadian Radio-television and Telecommunications Commission, which was holding consultations about the definition of Canadian content as part of its hearings over the Online Streaming Act (Bill C-11), and how much domestic broadcasters should contribute to the production of homegrown documentary programming. 'We're talking about real documentaries – not lifestyle or, you know, reality television," Guèvremont says, referencing the 'factual' programming more often favoured by Canada's big broadcasters. 'These are timely and timeless stories that you can watch and learn from, and they need to be protected.' 'The NFB is the largest producer of documentaries in Canada, but we certainly don't want to be the only.'
