How to fix Canadian Film

National Canadian Film Day is April 15, 2026Find a free screening in your town.

If you don’t go, you might be one the 40% of Canadians who haven’t seen a movie in a cinema in over a year. (And that’s for any film from any country.)

So how do we fix Canadian Film?

Annelise Larson thinks there are 5 Things Wrong with the Canadian Film Industry (& How to Fix Them):

“1. Movies are expensive to make. The fix: Smaller movies with smaller budgets ($1 million to $100K or less) would allow more movies to get made each year.

2. Canadian films are not Hollywood filmsThe fix: Small films can dream big but need to think strategically small…and deep. This means niche audiences and niche marketing.

3. Not enough investment in audience development & marketingThe fix: Filmmakers should budget at least 10% of their production budget for marketing.

4. Filmmakers don’t know their audienceThe fix: Think about your audience and learn who they are. Part of this is understanding and targeting relevant niches.

5. There is little sharing of data among filmmakersThe fix: Success needs to be redefined for the industry. It is more than box office and awards.”

Get this — that post is from September 8, 2015. Over 10 years ago and nothing has changed.

My take: I’m more hopeful for Canadian Film today than I have been in a while simply because of the degree to which service work has dried up. Here’s how I would fix Canadian Film:

  • Enact a Screen Quota for Canadian Distributors.
  • Approve Three Comedy, Action and Romance films for every Drama or Documentary.
  • Use smaller budgets to create shorter films, i.e. 90-105 minutes.
  • Mandate one 10 minute Canadian short before every feature.
  • Encourage the media to create a meaningful Canadian star system.
  • Gradually replace government funding with 100% tax write offs.

With these changes and others, hopefully we can celebrate Canadian Film for more than one day a year.

Indie filmmakers need the email addresses of their superfans

Joel Gouveia of The Artist Economy published “The Death of Spotify: Part II” on Substack that I think has a way forward for indie filmmakers.

Although he’s talking about the music business using an analogy of music as water, his thesis applies to film as well:

“Because music has been commodified to zero, managers and artists can no longer survive selling tap water. We need to focus on selling Fiji water to superfans, while letting the tap water exist for the masses.”

Because Spotify is central to the dominant musicverse, he asks:

“Why does Spotify force artists to use Laylo for texting, Discord for community, and Patreon or Substack for subscriptions? Why do we need to build communities on other platforms?”

He holds that the key to servicing your superfans is to get their email addresses asap.

Then you can add value to your relationship and offer them the opportunity to buy:

  • Merch like DVDs, posters, scripts, t-shirts, etc.
  • Access like IRL watch parties, hanging out before screenings, etc.

Joel believes, “1,000 passionate fans is a business model.

My take: thanks, Joel, for cutting through the technology and reminding us of the fan clubs that early bands used to build community. Here’s an AI Overview (and keep in mind you probably made a bunch of this merch for your Kickstarter/Indiegogo/Seed&Spark campaign):

Indie filmmakers with a dedicated email list of superfans can move beyond traditional crowdfunding to sell high-margin merchandise that fosters community and brand loyalty. The most successful merchandise for indie film is often creative, thematic, and in limited supply, rather than simple branding.

Here are the types of merch indie filmmakers sell to superfans:

  1. Apparel (Beyond the Simple T-Shirt)
    * Superfans want to wear gear that looks stylish and acts as a “niche signal” to others who know the film.
    * Embroidered Sweatshirts and Hoodies: Premium, cozy items that look higher quality than screen-printed tees.
    * Thematic Caps & Hats: Specifically, items featured in the film (e.g., a “First Reformed” denim hat) or “dad hats” with a subtle logo or quote.
    * Unique Streetwear: Limited-run clothing collaborations (e.g., A24 style) that feel exclusive.
  2. High-Value Physical Media
    * Fans willing to sign up for emails often care about building a personal film library.
    * Signed/Limited Edition Blu-Rays or DVDs: These command a higher price point than standard digital rentals.
    * Vinyl Soundtrack Albums: A popular, collectible, and high-quality item for cinephiles.
  3. “In-World” Collectibles & Props
    * Items that feel like they were taken directly from the set are highly valuable to superfans.
    * Signature Items: Replicas of specific items, such as the hot dog fingers from “Everything Everywhere All At Once”.
    * “Prop” Apparel: Clothes worn by characters in the movie.
    * Trading Cards: Cast members and key scenes, particularly effective for genre films.
  4. Collector’s Art & Paper Goods
    * Posters with Alternative Artwork: Collectors often prefer artistic, limited-edition screen prints over the standard theatrical poster.
    * Handmade Zines/Behind-the-Scenes Books: A “making-of” booklet, script excerpts, or personal notes from the director.
    * Stickers and Pins: These are popular, inexpensive to ship, and allow fans to customize their own gear.
  5. High-End & “Superfan” Experiences
    * Once you have direct email access, you can offer experiences that are impossible through mass-market retailers.
    * Producer Credits/Naming Rights: Listing a fan in the credits of the next project.
    * Private Screenings or Virtual Q&As: A “Zoom-with-the-director” session for top supporters.
    * Virtual or Physical “Experiences”: A top-tier package might include having a character in the next film named after the fan, or a 1-on-1 acting workshop with the lead actor.
  6. Functional & Daily-Use Items
    * Custom Mugs & Tumblers: Enamel mugs are popular for creative, cozy designs.
    * Tote Bags: A functional item with a strong graphic design.
    * Unique Tech Accessories: Phone cases or USBs with the movie’s soundtrack pre-loaded.

Strategy: The “Email” Advantage
With email, indie filmmakers should focus on limited-edition drops rather than always-in-stock items. This creates urgency.

Postcard Method: At festivals, handing out postcards with a QR code that leads to an exclusive, mobile-friendly merch store.

Bundling: Combining the movie, a poster, and a t-shirt into a single “superfan” package increases the average order value.

How to watch the 2026 Oscar nominees for Best Picture

Where can you watch the 2026 Oscar nominees for Best Picture?

Rotten Tomatoes provides a handy list. And here are some sources for the Best Pictures in Canada:

Best Picture Nominee Where to Watch Link to Site Official Trailer
Bugonia Rent/Buy on Apple TV or Prime Rent on Apple TV Official Trailer
F1 Stream on Apple TV Watch on Apple TV Official Trailer
Frankenstein Stream on Netflix Watch on Netflix Official Trailer
Hamnet Rent/Buy on Apple TV or Prime Rent on Prime Video Official Trailer
Marty Supreme Rent/Buy on Apple TV or Prime Rent on Prime Video Official Trailer
One Battle After Another Stream on Crave Watch on Crave Official Trailer
The Secret Agent In Theatres / Rent/Buy on Apple TV Rent on Apple TV Official Trailer
Sentimental Value Stream on MUBI Watch on MUBI Official Trailer
Sinners Stream on Crave Watch on Crave Official Trailer
Train Dreams Stream on Netflix Watch on Netflix Official Trailer

My take: whatever you think of the Oscars, you have to agree they are the pinnacle of motion picture marketing.

The state of Canadian feature films in 2025

Telefilm Canada has released its annual report on moviegoing and distribution in Canada.

The trend continues to be dire.

Canadian films accounted for only $14M of $837M box office revenue, or just 1.7%.

That 1.7% doesn’t do justice to French-language films though, which garnered 13%, leaving Canadian English-language films at just 0.4%. Less than half of one percent!

(Telefilm does attempt to put a better spin on this by breaking out “independent films” from “major Hollywood productions”, but to no avail.)

Only three Canadian films made more than $1M revenue at the box office.

“The summer comedy Menteuse stood out, achieving box office revenue of over $2.6 million. The children’s films Ma belle-mère est une sorcière and Night of the Zoopocalypse round out this trio, both having generated box office revenue of over $1.1 million in Canada.”

The top ten films at the box office were all Hollywood productions.

“Of all the films screened in Canadian theatres, the feature film A Minecraft Movie, based on the popular video game, stood out with box office revenue of almost $45 million in 2025. This was followed by Jurassic World: Rebirth and Superman, which both surpassed $30 million. Apart from F1: The Movie, all the top ten titles were sequels or adaptations based on existing intellectual property.”

The figures are from the Movie Theatre Association of Canada.

Download the report here.

My take: I don’t begrudge Telefilm its $100M+ budget, but I submit that something is wrong with this picture. Either project selection is not taking the cinema-going audience in mind, or there’s not enough marketing happening, or both. If we truly want a national cinema and not just a feature film service industry for foreign producers, I can think of a few things that have to happen: a screen quota, lower budgets, a tax credit for film investors, a star system, a Canadian film media; all working together to create a meritocracy that makes movies Canadians want to watch in Canadian theatres, eh!

Your 2026 Roadmap to Success

Ah! It’s a new year! 2026! How to not only survive, but to thrive? You need a plan.

Elliot Grove of Raindance offers 7 Ways Writers, Directors, Actors & Producers Can Actually Survive 2026.

You should read his post yourself but here’s the TLDR:

  1. Build an Audience Before You Need One
  2. Create Assets, Not Single Projects
  3. Use AI as a Lever — Not a Crutch or a Threat
  4. Diversify Your Income Into Three Lanes
  5. Work in Public — and Make Repetition Your Religion
  6. Build Collaborative Triangles — Not Industry Contacts
  7. Develop the 7 Soft Skills That Will Matter More Than Talent

He concludes with this:

“The Good News: 2026 Favors the Brave

  • Yes, the industry is shifting.
  • Yes, synthetic performers exist.
  • Yes, freelancers are absorbing the shocks.
  • Yes, budgets are a rollercoaster.

But there has never been a better time to be an independent filmmaker.

  • Never easier to reach audiences.
  • Never easier to build IP.
  • Never easier to experiment.
  • Never easier to collaborate globally.
  • Never easier to launch a career without asking permission.”

My take: if you want a roadmap to success in these turbulent times, Elliot’s advice is very much worth considering. Bonne chance!

 

Database of Canadian Feature Films

Do you own the rights to a Canadian feature film? If so, you should add it to the new Canadian Movie Database.

Created by the Network of Independent Canadian Exhibitors (NICE), the database powers a new B2B platform that connects Canadian independent cinemas with film distributors or rights holders, offering curated films by genre or theme.

This new digital marketplace is vital for the expanding ecosystem of independent Canadian film exhibition, providing access to more topical content to the film-going community.

My take: finally a way for all those movies made in Canada to appeal directly to Canadian cinemas and hence to Canadian viewers. You’ve made a feature, did the festival circuit and came this close to a distribution deal. Now you can post your film on this database and reach out to appropriate screens directly. Of course, your chances of getting a booking increase if you give the theatre a great reason to book: the theme of your film is suddenly topical, one of your actors breaks big, your genre film matches the calendar (think Valentines, Halloween, Christmas, etc.) Or you band together with other local filmmakers and offer “The Victoria New Wave” package of movies, for instance. The Canadian Movie Database is a great way to get Canadian films in front of Canadian audiences.

The new age of cinema begins

Dana Harris-Bridson reports in IndieWire on Creator Camp and the Three-Picture Theatrical Deal: Attend Is Betting the Internet Can Fill Movie Screens.

She writes, “The Austin-based creator collective distribution arm, Camp Studios, signed a three-picture theatrical deal with Attend Theatrical Marketplace, the Fithian Group company that connects filmmakers directly with movie theaters, streamlining the process of booking and releasing films.”

“The real bet is if creators already know their audience, why can’t that audience show up to a cinema?”

The first test is indie rom-com Two Sleepy People.

My take: I’ve been waiting for this moment for twenty years, ever since video first started appearing on the Internet.

This is much more than a story about a distributor picking up a movie for distribution; it’s tentative proof of a new and emerging theatrical distribution model that will replace the crumbling one.

The big difference to me is the importance of Audience. In the Legacy Model, it was simply assumed that the audience would show up if enough money was spent on marketing. In the New Model, online creators have ongoing relationships with their audiences before making their movies and then rely on them to manifest local screenings on demand through critical mass.

In simple terms:

OLD = Legacy Creator -> Movie -> Distributor -> Cinemas -> Audience.

NEW = Online Creator -> Audience -> Movie -> Distributor -> Audience -> Cinemas.

Best wishes to Attend and Creator Camp!

When is a Film a Movie?

Stephen Follows asks the question, “Which types of features films are called ‘films’, and which are called ‘movies’?

His analysis reveals that audiences tend to call all films movies, with Action, Adventure and Sci-Fi genres the most likely to be “movies.”

Whereas, audiences only tend to call War, History and Biography genres “films,” with all others more likely to be “movies.”

His conclusion:

“We could say that the more fun a genre appears to be, the greater chance it has to be a movie.”

My take: no real surprise here; audiences want to be entertained. A good story, well told. Another consideration is that almost no-one actually films on film anymore.

Rio and friends step up to save Vancouver’s Park Theatre

Part of Vancouver’s film history has been saved by Corinne Lea of the Rio Theatre and a group of private investors, reports The Hollywood Reporter.

 

View this post on Instagram

 

A post shared by Corinne Lea (@corinne_riotheatre)

From her statement:

“The Rio Theatre is very excited by the opportunity to revive Vancouver’s historic, art-deco Park Theatre in the beloved Cambie Village neighbourhood. We are grateful for the support of this impressive group of film industry professionals, and could not do this without them! After almost two decades of rocking the Rio, we look forward to this expansion, and bringing the same fun, energy and passion to a new location.”

Among the investors are:

  1. Chris Ferguson
  2. Osgood Perkins
  3. Mike Flanagan
  4. Sean Baker
  5. Samantha Quan
  6. Zach Lipovsky
  7. Finn Wolfhard
  8. Graham Fortin
  9. Eugenio Battaglia
  10. Andy Levine
  11. Jill Orsten
  12. Christina Bulbrook

My take: I applaud this effort because local control of movie screens is critical for a truly independent national cinema.

Hollywood vs. Tilly Norwood

Lily Ford of The Hollywood Reporter reports that the Creator of AI Actress Tilly Norwood Responds to Backlash: “She Is Not a Replacement for a Human Being”.

A new AI-generated actress named Tilly Norwood has caused a stir in Hollywood, with her creator, Eline Van der Velden of the company Particle6, claiming talent agencies are interested in signing her.

The news has sparked a fiery backlash from human actors, who see the creation as a threat to their livelihoods and the integrity of their craft.

In a response on Instagram, Van der Velden defended Tilly as a work of art and a new creative tool, not a replacement for human performers.

“To those who have expressed anger over the creation of my AI character, Tilly Norwood, she is not a replacement for a human being, but a creative work—a piece of art.”

Van der Velden argued that AI characters should be judged as their own genre, much like animation, puppetry or CGI, and could coexist with traditional acting.

The Screen Actors Guild (SAG-AFTRA), however, disagrees, stating, “To be clear, ‘Tilly Norwood’ is not an actor, it’s a character generated by a computer program.

My take: Still less robotic than some of the Transformers cast.