Despite Canada’s enormity, it shares only one land border with another nation, the United States to the south. It is an impossibly vast and wildly diverse country. Inhabited by Indigenous people for thousands of years, the land was colonized by the British and French in the 16th century. In present-day Canada, the population is a mix of many ethnic groups, including Indigenous peoples (First Nations, Inuit, and Métis). While English and French are the two official languages, there are still more than 60 Indigenous languages spoken. Accordingly, Canadian cinema is highly eclectic, influenced by language, geography, and various cultural communities. The eight curated programmes presented here showcase the complexity of this cinema as well as its evolution through history.
One of the key institutions in Canadian film is undeniably the National Film Board (NFB). Established during World War II with war-oriented films, the NFB is now a leader in documentary, animation, and interactive experiences. Postwar, new innovative departments were created, thanks to which we now know the work of animator Norman McLaren, Direct Cinema documentarians Pierre Perrault and Michel Brault, as well as Colin Low and the Challenge for Change / Société Nouvelle project, which focused on giving voice to Indigenous filmmakers. More recently, the NFB has grown into a public film and digital media producer and distributor funded by taxpayer money through the Department of Canadian Heritage.
After the 1970s, French-speaking Quebec filmmakers distanced themselves from documentary and animation to pursue fiction. They delved into personal narratives, themes around language, and explored political disillusionment in their characters and storylines. Two referendums (1980 and 1995) asked the population whether Quebec should pursue sovereignty and become an independent country. Voters rejected secession both times, but the referendums impacted the political tenor of the times. Filmmakers like Denys Arcand, Léa Pool, André Forcier, and Francis Mankiewicz created existentialist works about Quebec society and its distinctive character, language, and culture within Canada.
Outside big cities like Montreal, Toronto, and Vancouver, cinema was always a difficult art to fund, but a remarkable epicentre of independent cinema emerged in Winnipeg. Through the Winnipeg Film Group, films were funded, produced, and shown in their own cinematheque. Thanks to this vibrant community, Winnipeg gave us filmmakers such as Guy Maddin, Deco Dawson, Caroline Monnet, Matthew Rankin, and Ryan McKenna.
Canada and its land inevitably bring to mind an image of mysterious wilderness and infinite possibilities. Its complicated history notwithstanding, the country prides itself on societal values of tolerance, freedom of speech, and respect. These have produced a cinema that is daring and resolutely punk in its attitude. There is an abundance of perspectives and creativity born of the diversity of voices that come from disparate and sometimes marginalized communities.
Émilie Poirier
Challenge for ChangeChallenge for Change / Société nouvelle was a trailblazing initiative that tapped into the power of media for social transformation. Launched in 1967 by the National Film Board (NFB) of Canada in collaboration with government agencies, the programme aimed to address poverty in Canada. Over its 14-year run, it tackled a wide range of social issues, including women’s rights, housing, First Nations’ struggles, and agriculture. From 1967 to 1980, CfC produced nearly 250 films and videos in both French and English, making a significant contribution to the NFB’s acclaimed body of work. The ambitious initiative brought together the unlikely partners of government bureaucrats, documentary filmmakers, community activists, and «ordinary» citizens.
Video technology was crucial to the programme’s success. Portable video allowed filmmakers to engage with communities more intimately and document them in a less intrusive manner. This technological advancement gave filmmakers greater flexibility and immediacy in capturing the realities and struggles of marginalized individuals and communities. Videotape became a powerful tool, enabling more immersive and personal storytelling.
CfC’s approach was unique and pioneering in that the filmmakers actively participated in communities, collaborating with the subjects of their films rather than merely documenting their lives. Filmmakers and activists worked together to identify groups directly affected by the issues explored in the films and arrange screenings in community centres, schools, and other accessible venues within the communities themselves. This aimed to ensure that the films reached their intended audience, allowing for a more personal and engaging experience.
Watching a film was seen as a collective, communal experience, with film serving as a conversation starter. The goal was to gather people and keep them in the room afterwards. Screenings were followed by facilitated discussions and Q&As involving community members, filmmakers, experts on the topic, and even government officials. Integral to the programme's philosophy, these discussions aimed to keep the conversation going and generate ideas for potential solutions.
At its core, CfC promoted media democracy – a concept that emphasized the presentation and representation of local concerns, as well as the participation of citizens. By creating a platform for greater understanding and awareness of people’s causes and experiences, CfC aimed to improve communication across all segments of society in order to tackle pressing issues, empower individuals, and provoke social change.
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