Telefilm eyes feature films in Canada

Telefilm Canada has just published a report on Canadian Movie Consumption – Exploring the Health of Feature Film in Canada.

The study, by ERm Research, provides an “understanding of overall consumption patterns, media sources used by audiences, their decision-making process, genre preferences, barriers to watching more movies, and their theatrical moviegoing habits, as well as perceptions of Canadian content.” The study contacted 2,200 feature film consumers in Canada from September 17 to October 2, 2023.

Three of the report’s findings:

  1. 95% of Canadians aged 18+ have seen one or more feature films in the past year, with nearly three-quarters seeing a movie in theatres.
  2. Paid streaming accounts for 54% of all feature film consumption. Around nine in ten movie consumers use at least one streaming service, with most accessing multiple.
  3. French Canadian movie watchers are more inclined to see Canadian content theatrically and generally have a higher opinion of Canadian films.

Some things that stood out to me:

  1. 55% of the audience on opening nights are under the age of 35 whereas by the second week 50% of the audience is 45 or older. (Page 33.)
  2. Canadian moviegoers see on average only 1.4 feature films annually. (Page 38.)
  3. The top five streamers in Canada are Netflix (67%,) Amazon Prime (50%,) Disney+ (39%,) Crave (21%) and Apple TV+ (12%.) (Page 35.)

You can download the full report here.

My take: not very encouraging. I think we need to take our cue from the Quebecois who see (and like) more Canadian films. Why is that? The obvious answer is that they’re watching French-language films, fare that Hollywood is not producing. A more nuanced answer is that they’re watching films that reflect life in their province. Unfortunately, because Canadian movies have highly limited access to cinema screens in the rest of Canada, Canadians outside of Quebec don’t have that luxury.

Liberals Want Broadcasting Act Changes

The Canadian Liberal government has tabled proposed changes to the Broadcasting Act.

The Act authorizes the Canadian Radio-television and Telecommunications Commission (CRTC) to set the rules for media in Canada. It’s a big reason there is a music business and television industry in Canada.

The Act was last updated in 1991 — almost 30 years ago — well before the rise of the Internet and online streaming.

Some of the changes the Liberals propose are:

  • Confirming that online broadcasting is covered under the Act. Currently, online undertakings that deliver audio and audio-visual content over the Internet are exempt from licensing and most other regulatory requirements. The Bill clarifies that online undertakings are within the scope of the broadcasting regulatory system. The Bill provides the CRTC with new powers to regulate online audio and audio-visual services, allowing the CRTC to create conditions of service and other regulatory requirements under which these online broadcasters would operate in Canada. It also updates the CRTC’s regulatory powers as they relate to traditional broadcasters. The Bill ensures that the Act would not apply to users of social media services, or social media services themselves for content posted by their users. The Bill ensures that online broadcasters will only be regulated when doing so would contribute in a material manner to the objectives of the Act. It will be up to the CRTC to determine which services will be regulated.
  • Updating the Broadcasting and Regulatory Policies for Canada. The Bill updates key elements of the broadcasting policy for Canada so that the broadcasting system is more inclusive of all Canadians. The Bill recognizes that the Canadian broadcasting system should, through its programming and the employment opportunities arising out of its operations, serve the needs and interests of all Canadians—including Francophones and Anglophones, Indigenous Peoples, Canadians from racialized communities and Canadians of diverse ethnocultural backgrounds, socioeconomic statuses, abilities and disabilities, sexual orientations, gender identities and expressions, and ages. The Bill underscores that programming that reflects Indigenous cultures in Canada should be provided within the Canadian broadcasting system, regardless of resource availability. It also says there must be a space for Indigenous media undertakings in the Canadian broadcasting system. Additional amendments would also serve to promote greater accessibility for persons with disabilities.
  • Creating a more flexible approach to regulation and sustainable funding for Canadian stories. The Bill facilitates a flexible approach to regulation, which will allow the CRTC to tailor the conditions of service and other regulatory requirements imposed on broadcasters by considering the Act’s policy and regulatory objectives, the variety of broadcasters in the system (and the differences between them), and determining what is fair and equitable depending on the circumstances. The Bill provides the CRTC with express powers to require broadcasting undertakings, including online undertakings, to make financial contributions to Canadian content and creators.
  • Modernizing the CRTC’s enforcement powers. The Bill provides the CRTC with new enforcement powers through an administrative monetary penalty scheme (AMPs), which aligns the CRTC’s enforcement powers with how it regulates telecommunications and spam. The objective of the AMPs scheme would be to promote compliance, not to punish.
  • Updating oversight and information-sharing provisions. The Bill ensures that the CRTC has the tools it needs as a modern regulator, so that it may gather information from stakeholders and liaise with other departments and agencies. It also ensures that commercially sensitive information that is collected by the CRTC in the course of its proceedings is properly protected.

The expected outcomes are:

  • More opportunities for Canadian producers, directors, writers, actors, and musicians to create high quality audio and audiovisual content and to make that content available to Canadian audiences.
  • An equitable and flexible regulatory framework where comparable broadcasting services are subject to similar regulatory requirements, taking into account their distinct business models and other relevant circumstances.
  • Canadian music and stories being more available through a variety of services.
  • A more diverse and inclusive broadcasting system that is reflective of Canadian society and that serves Canadians from all walks of life.

See Lexology for further analysis.

Mobile Syrup notes: “If the CRTC requires online broadcasters, such as Netflix and Spotify, to contribute to Canadian content at a similar rate to traditional broadcasters, then their contributions to Canadian music and stories could amount to up to $830 million by 2023.”

Not everyone is happy though.

The Friends of Canadian Broadcasting are: “concerned by the fact that multiple sections of the Broadcasting Act have been repealed or amended to remove protections for Canadian culture. For example, the bill moves from mandating ‘maximum or predominant use’ of Canadian creative resources to using Canadian resources ‘to the extent that it is appropriate.’ It also removes language that the broadcasting system should be owned and controlled by Canadians, opening the door to foreign companies to buy up what’s left of Canada’s traditional broadcasting system.”

Michael Geist argues:

“In the short term, this bill creates considerable uncertainty that could lead to reduced investment in Canadian film and television production and less consumer choice as potential new streaming entrants avoid the Canadian market until there is greater clarity on the cost of doing business. Canada is set to become a highly regulated market for Internet streaming services and the uncertainty regarding those costs are sure to have an impact. The regulatory process will take years to unfold with a call for public comment, a lengthy hearing, the initial decision, applications to review and vary the decision, judicial reviews, and potential judicial appeals. If any of the appeals are successful, the CRTC would be required to re-examine its decision and the process starts anew. This lengthy process could have a major impact on investment decisions. For example, if you’re a large Internet streaming company that is already investing $100 million per year in film and television production in Canada, you might delay some of that spending until there is greater clarity on what ‘counts’ for the purposes of meeting your new regulatory requirements. New entrants may also delay entering into the Canadian market given the prospect of significant new spending requirements and regulatory intervention into confidential business information. Canada was once a highly attractive market for new services, but this bill may cause new entrants to rethink their plans.

My take: change is almost always difficult. However, given that the Liberals helm a minority government, the chance of this legislation actually becoming law is very slim. More likely it will die on the Order Paper when the next election is called — I’m guessing in June 2021.

Curation coming to Netflix?

Sarah Perez of TechCrunch reports that Netflix tests human-driven curation with launch of ‘Collections’:

“Netflix is testing a new way to help users find TV shows and movies they’ll want to watch with the launch of a “Collections” feature, currently in testing on iOS devices…. According to Netflix, the titles are curated by experts on the company’s creative teams, and are organized into these collections based on factors like genre, tone, story line and character traits.”

A Netflix spokesperson confirmed the test, saying:

“We’re always looking for new ways to connect our fans with titles we think they’ll love, so we’re testing out a new way to curate Netflix titles into collections on the Netflix iOS app.”

My take: This is fascinating because it’s a bit of deja vu all over again. Years ago Netflix bragged that its algorithm would learn from our viewing habits and only recommend movies to us that it calculated we would want to watch. It worked to some extent; my home screen is quite different from my wife’s. However, we both still have to do a lot of scrolling to find something we want to watch. I think brining back curation is an acknowledgement that we all yearn for some degree of commonality. Remember that, before the internet changed everything, the media was a de facto curator, only showing us what they had already selected. I would like to see a blending of curation and algorithmic selection so that I can see what the masses are consuming in Collections, and personalized offbeat suggestions in Recommended for Me.

IFC Films Unlimited SVOD to launch on Amazon Prime Video Channels

Brent Lang reports for Variety that IFC will launch its SVOD service IFC Films Unlimited on Amazon Prime Video Channels.

“In an interview, IFC Films co-president Lisa Schwartz said that the company has quietly been unwinding many of its licensing deals in recent years with an eye towards starting its own service. It will still maintain its distribution pacts with Showtime and Hulu, which have some of IFC’s films in first pay television window. The goal is to start releasing movies on IFC Films Unlimited in the second pay television window. “This is part of a deliberate strategy,” said Schwartz. “We watched the landscape shifting and realized that we’ve got such a terrific large library that we might be better served by taking some rights back and releasing those films under our own roof.” Although IFC’s subscription service is launching on Amazon, the company hopes to add other platforms. “We’re going to continually evaluate as we grow our subscriber base,” said Schwartz. “But our goal is to make this a destination where you can find great films.””

The service will cost $5.99 USD per month after a 7-day trial and requires Amazon Prime Video Channels.

What’s that? From Amazon:

“Channel subscriptions from Prime Video are paid monthly subscriptions to third-party premium networks and other streaming entertainment channels. Eligible Prime members have the option to purchase these subscriptions directly through Prime Video. All of the movies and TV programming included with the subscription are then available to watch on demand, on all compatible Prime Video devices — including TVs, Blu-ray players, Amazon Fire TV, Fire TV Stick, Fire tablets, computers, and Android and iOS mobile devices.”

In other words, like Roku.

But wait, there’s more!

Jared Newman of TechHive reports that Apple TV has just launched “channels” too!

“With Apple TV Channels, you can sign up for services like HBO and Showtime directly through the TV app on iPhones, iPads, and Apple TVs. You don’t have to download separate apps to start using those services, and you can manage all their subscriptions through iTunes billing. Apple TV Channels also supports offline viewing on iOS, so you can download Game of Thrones episodes before your next flight.”

See his chart showing which platforms play which Premium Channel Services:

Macworld has a chart comparing the cost of AppleTV’s premium channels with the native apps, monthly and annually.

My take: this was bound to happen. As digital content continues to proliferate in apps from individual curators, forces of consolidation are appearing to counter the splintering of the viewing environment. It’s a battle between two or three big players to recreate your TV set of old within their app/device. I predict Netflix will go the Premium Channel Service route too.

European Parliament bends digital single market for indie films

Scott Roxborough relates in The Hollywood Reporter that the Indie Film Business Wins European Territory Rights Battle.

Recall that European Commission President Jean-Claude Juncker had a vision where:

“…we must create a digital single market for consumers and businesses – making use of the great opportunities of digital technologies which know no borders. To do so, we will need to have the courage to break down national silos in telecoms regulation, in copyright and data protection legislation, in the management of radio waves and in competition law. If we do this, we can ensure that European citizens will soon be able to use their mobile phones across Europe without having to pay roaming charges. We can ensure that consumers can access music, movies and sports events on their electronic devices wherever they are in Europe and regardless of borders.”

This threatened the traditional country-by-country pre-sales strategy filmmakers have used to raise money for their budgets in Europe, fearing the digital single market would mean distributors could pay for one territory and get 27 for free. Roxborough first reported on this four years ago; see What’s Behind a Europe Plan That Would “Destroy” Independent Film.

Late last month, in the midst of Brexit, the European Parliament finally got around to approving this legislation, by a vote of 460 to 53. But with a few key compromises:

“The digital single market will apply to online services for news and current affairs — meaning the BBC or Italy’s RAI can offer their online reporting to anyone in Europe. The same applies to productions, including films and TV series, that are fully financed by a single network. But co-productions or films pre-sold in the traditional manner, as well as sports rights, are excluded from the new law. Here the old rules apply: online platforms will have to clear rights in each territory they want to operate in.”

My take: So it’s a blending of old and new. The “fully-financed” stream is interesting because I think it means rich producers (Netflix et al) will be able to treat Europe as one 500-million-viewer territory. Truly indie filmmakers though will still have access to traditional pre-sales, cobbling together an amalgam of territories, soft money and some actual investment in order to raise enough cash to shoot. I know which avenue sounds easier to me.