DOCSLIB.ORG

2018-2019 New Horizons Annual Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2018-2019 New Horizons Annual Report SEE BIGGER NEW HORIZONS 2018-2019 ANNUAL REPORT TABLE OF CONTENTS 1 HIGHLIGHTS MANAGEMENT DISCUSSION 15 AND ANALYSIS 6 ACHIEVEMENTS INDUSTRY AND 16 ECONOMIC CONDITIONS 8 ABOUT US CORPORATE 25 PLAN DELIVERY 11 MESSAGES 26 INNOVATE 31 STRENGTHEN 39 EXPORT CORPORATE SOCIAL 63 RESPONSIBILITY 46 EXCEL 66 TALENT FUND 52 FINANCIAL REVIEW 74 GOVERNANCE 60 RISK MANAGEMENT FINANCIAL 88 STATEMENTS ADDITIONAL 111 INFORMATION TELEFILM CANADA / 2018-2019 ANNUAL REPORT 1 THE CANADIAN INDUSTRY HAS REACHED A POINT OF STRENGTH HIGHLIGHTS AND MATURITY WHERE IT IS NOW WELL-POSITIONED TO BUILD ON ITS STRONG FOUNDATIONS AND INVEST IN THE NEW GENERATION OF TALENTED CANADIANS THAT ARE LEAVING THEIR INDELIBLE MARK ON MODERN CINEMA. TELEFILM, IN PARTNERSHIP WITH THE INDUSTRY, CAN NOW SEE BIGGER TOWARDS NEW HORIZONS AND BEYOND. LOCAL STORIES GLOBAL IMPACT Anthropocene: The Human Epoch Documentary Anthropocene: The Human Epoch, from the award-winning team of Jennifer Baichwal, Nicholas de Pencier and Edward Burtynsky, travelled to the world’s top film festivals – Berlin, Sundance and TIFF – vividly demonstrating the environmental impact of our actions. Sharkwater Extinction The late Rob Stewart’s environmental legacy lives on through his documentary Sharkwater Extinction, which had its world premiere at TIFF. The documentary focuses on shark finning –a practice that has been largely banned worldwide thanks to awareness created by his earlier work, Sharkwater. TELEFILM CANADA / 2018-2019 ANNUAL REPORT 2 HIGHLIGHTS LOCAL STORIES GLOBAL IMPACT 2019 – INTERNATIONAL YEAR OF INDIGENOUS LANGUAGES TO RAISE AWARENESS OF THE CONSEQUENCES OF THE ENDANGERMENT OF INDIGENOUS LANGUAGES ACROSS THE WORLD Sgaawaay K’uuna (Edge of the Knife) Gwaai Edenshaw and Helen Haig-Brown’s Sgaawaay K’uuna (Edge of the Knife) marks a significant moment for Canadian Indigenous film: it is the first feature performed entirely in Haida, an endangered language with fewer than 20 fluent speakers. “The language has healed me—made me feel whole, made me realize what it means to be Haida. That’s how I'm going to help my people, help my kids.” Erica Jean Ryan, Edge of the Knife actor and on-set language coach CANADA – COPRODUCTION PARTNER OF CHOICE The Hummingbird Project Academy Award-nominated director Kim Nguyen’s The Hummingbird Project is an official Canada-Belgium coproduction that also benefited from Eurimages funding. The film has sold in 25 countries. Dans la brume (Just a Breath Away) The Fantasia International Film Festival declared Daniel Roby’s Canada-France coproduction, Dans la brume (Just a Breath Away) Best Film stating, “the apocalypse hasn’t been this captivating and emotionally charged in decades.” TELEFILM CANADA / 2018-2019 ANNUAL REPORT 3 HIGHLIGHTS CANADIAN LEGENDS THE MODERN CANADIAN FILM INDUSTRY EMERGED IN THE LATE 1960S. DESPITE THIS SEEMINGLY SHORT HISTORY, CANADA BOASTS A NUMBER OF LEGENDARY FILMMAKERS, SEVERAL OF WHOM WERE RECOGNIZED AROUND THE WORLD IN FISCAL 2018-19. The 20th anniversary of François Girard’s The Red Violin was celebrated with red carpet screenings in New York and Ottawa, accompanied by live orchestral performances of the film’s Academy Award-winning original score. FRANÇOIS GIRARD David Cronenberg, the father of “body gore” with such early credits as The Fly, Videodrome and Dead Ringers, received a prestigious Golden Lion for Lifetime Achievement at the Venice Film Festival. The auteur’s impressive filmography also includes such lauded films asEastern Promises, Crash and A Dangerous Method. DAVID CRONENBERG TELEFILM CANADA / 2018-2019 ANNUAL REPORT 4 HIGHLIGHTS CANADIAN LEGENDS DEEPA Deepa Mehta was honoured with a Lifetime Achievement Award from the Academy of Canadian Cinema and Television. Known for MEHTA films that explore Indo-Canadian cultural identity, Mehta’s films includeMidnight’s Children, the Oscar-nominated Water and the Genie Award-winning Bollywood/Hollywood. Canada’s first Inuit production company, Isuma— led by Zacharias Kunuk—was named to represent Canada at the 2019 Venice Biennale. Isuma’s groundbreaking work includes Maliglutit (Searchers), Atanarjuat The Fast Runner, The Journals of Knud Rasmussen, Sgaawaay K'uuna (Edge of the Knife)— the first Haida-language feature film—and ZACHARIAS One Day in the Life of Noah Piugattuk. KUNUK Academy Award winner Denys Arcand returned en force with The Fall of the American Empire—which received a coveted Critics’ Pick from the New York Times. Arcand has built a collection of accolades throughout his career for his filmography, which includes The Decline of the American Empire, Jesus of Montréal, Stardom and DENYS The Barbarian Invasions. ARCAND TELEFILM CANADA / 2018-2019 ANNUAL REPORT 5 HIGHLIGHTS THE FUTURE LOOKS BRIGHT AN IMPRESSIVE LINEUP OF CANADIAN FIRST FEATURES WAS FÊTED AT HOME AND AROUND THE WORLD SOPHIE DUPUIS’ GENEVIÈVE JASMIN MOZAFFARI MIRANDA DE Chien de garde DULUDE-DECELLES’s wins Achievement PENCIER’s narrative (Family First) named Une Colonie in Direction at the feature directorial debut, Canada’s pick for (A Colony) brings home 2018 Canadian Screen The Grizzlies, receives Best Foreign Language a Crystal Bear at Awards for her debut the 2018 Directors Film Oscar the Berlinale feature Firecrackers Guild of Canada Award for Outstanding Directorial Achievement in a Feature Film EISHA MARJARA’s FÉLIX DUFOUR- KRISTINA ZOE LEIGH HOPKINS’ Venus picks up LAPERRIÈRE’s WAGENBAUER’s Kayak to Klemtu Best Female-directed animated feature first feature,Sashinka , wins the 2018 Best Narrative Feature at the Ville Neuve was nominated at the Director Award at Whistler Film Festival nominated for Best Film Gala Québec Cinéma, the American Indian and the Grand Jury prize (Venice Days) at the the Canadian Screen Film Festival at the Milan International 2018 Venice Film Festival Awards and the Lesbian and Gay Seattle International Film Festival Film Festival TELEFILM CANADA / 2018-2019 ANNUAL REPORT 6 ACHIEVEMENTS INNOVATE INNOVATION IN DISCOVERABILITY INDUSTRY INTELLIGENCE THROUGH PARTNERSHIPS Regarding innovation INNOVATION PROGRAM DIVERSIFYING FUNDS TALENT TO WATCH PROGRAM To identify new industry-led initiatives Innovative funding source GROUNDBREAKING to support emerging talent talent discovery program STRENGTHEN PRIORITIZING GENDER PARITY IMPROVING SUPPORT FOR INDIGENOUS CREATORS ON-SCREEN PROTOCOLS & PATHWAYS: A MEDIA PRODUCTION GUIDE TO WORKING WITH FIRST NATIONS, MÉTIS AND INUIT COMMUNITIES, CULTURES, CONCEPTS AND STORIES CANADA IS A LEADER imagineNATIVE Film & Media Arts Festival’s seminal IN GENDER PARITY publication On Screen Protocols & Pathways was published to encourage informed, respectful dialogue between communities, content creators, and production companies March 25th, 2019 PROVIDING EXTENDING OPTIMIZING PREDICTABLE FUNDING SUPPORT FUNDING PROGRAMS Fast track stream under Theatrical Exhibition Program the Talent to Watch Program to amplify awareness and encourage attendance Fast track stream for second feature films Fast track stream in production TELEFILM CANADA / 2018-2019 ANNUAL REPORT 7 ACHIEVEMENTS EXPORT INTERNATIONAL MARKETING RDVCanada.ca brings Canada’s EXPORT ASSISTANCE PROGRAM PROGRAM audiovisual industry to one screen Brought 103 FILMS to international Designed to encourage festivals and events in 24 countries the international distribution of Canadian feature films Canada – member of Eurimages since 2017 – now boasts ACTIVITIES TO INCREASE EXPORT 9 projects funded – yielding 3 million euros in support Canada Now, a curated selection of films available to programmers in key territories First Look, a preview of films in post-production Eurimages is the European Cinema Support Fund for the international acquisition community which supports coproduction of cinematographic works between member countries EXCEL IT World Canada awards Telefilm the The League of American Communications Professionals 2018 DIGITAL TRANSFORMATION AWARD recognized Telefilm Canada’s 2017-18 annual report as for Dialogue ONE OF THE TOP 100 REPORTS WORLDWIDE EYE ON THE WORLD 2017-2018 ANNUAL REPORT Client Satisfaction Telefilm’smanagement $1.5M level remains strong at expense ratio remains low at administrative budgetary 84% 5.7% savings transferred back into funding programs ★ ★ ★ ★ TELEFILM CANADA / 2018-2019 ANNUAL REPORT 8 ABOUT US OUR VISION BOARD OF DIRECTORS Canadian productions, on all consumption platforms, in Canada and abroad. EXECUTIVE DIRECTOR OUR MISSION PROMOTION AND PUBLIC AND Telefilm Canada’s mission is to foster and promote the development COMMUNICATIONS GOVERNMENTAL AFFAIRS of the Canadian audiovisual industry by playing a leadership role LEGAL SERVICES AND through financial support and initiatives that contribute to the TALENT FUND industry’s commercial, cultural and industrial success. ACCESS TO INFORMATION PROJECT FINANCING HUMAN RESOURCES WHAT WE DO BUSINESS AFFAIRS AND FINANCE First and foremost, we are a team of some 190 enthusiasts of COPRODUCTION Canadian media content dedicated to the commercial, cultural and industrial success of Canada’s audiovisual industry. ADMINISTRATION AND CORPORATE SERVICES CMF PROGRAMS ADMINISTRATOR As a Government of Canada Crown corporation in the Canadian Heritage portfolio, we support dynamic companies and creators INFORMATION, by providing financial support to Canadian film projects as well PERFORMANCE AND RISK as by promoting and exporting Canadian content at festivals, markets and events—regionally, nationally and around the world. We are responsible for making recommendations to the Minister of Canadian Heritage on whether
Load more

Recommended publications
  • Presents a Film by TRACEY DEER 92 Mins, Canada, 2020 Language: English with Some French
    Presents a film by TRACEY DEER 92 mins, Canada, 2020 Language: English with some French Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com BEANS Festivals, Achievements and Awards Awards & Achievements DGC Discovery Award – 2020 WGC Screenwriting Award, Feature Film – 2021 Canadian Screen Awards – 2021 Best Motion Picture, Winner John Dunning Best First Feature Film Award, Winner Achievement in Casting, Nomination Achievement in Sound Mixing, Nomination Achievement in Cinematography, Nomination Vancouver Films Critics Circle – 2021 One to Watch: Kiawentiio Best Supporting Actress: Rainbow Dickerson Festivals Berlinale, Generation Kplus, Germany – 2021 Crystal Bear for Best Film Toronto International Film Festival, Canada – 2020 TIFF Emerging Talent Award: Tracey Deer TIFF Rising Stars: Rainbow Dickerson TIFF’s Canada’s Top Ten Vancouver International Film Festival, Canada – 2020 Best Canadian Film Yukon Available Light Film Festival, Canada – 2021 Made in the North Award for Best Canadian Feature Film Audience Choice Best Canadian Feature Fiction Kingston Canadian Film Festival, Canada – 2021 Limestone Financial People’s Choice Award Minneapolis St. Paul International Film Festival, USA – 2021 Audience Choice Award: Nextwave Global Features Provincetown Film Festival - 2021 NY Women in Film & Television Award for Excellence
    [Show full text]
  • A Canadian Perspective on the International Film Festival
    NEGOTIATING VALUE: A CANADIAN PERSPECTIVE ON THE INTERNATIONAL FILM FESTIVAL by Diane Louise Burgess M.A., University ofBritish Columbia, 2000 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the School ofCommunication © Diane Louise Burgess 2008 SIMON FRASER UNIVERSITY Fall 2008 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or by other means, without permission ofthe author. APPROVAL NAME Diane Louise Burgess DEGREE PhD TITLE OF DISSERTATION: Negotiating Value: A Canadian Perspective on the International Film Festival EXAMINING COMMITTEE: CHAIR: Barry Truax, Professor Catherine Murray Senior Supervisor Professor, School of Communication Zoe Druick Supervisor Associate Professor, School of Communication Alison Beale Supervisor Professor, School of Communication Stuart Poyntz, Internal Examiner Assistant Professor, School of Communication Charles R Acland, Professor, Communication Studies Concordia University DATE: September 18, 2008 11 SIMON FRASER UNIVERSITY LIBRARY Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the "Institutional Repository" link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work.
    [Show full text]
  • Myth and Patriarchy in Deepa Mehta's Heaven on Earth
    223 Manjeet Roden: Deepa Mehta Myth and Patriarchy in Deepa Mehta’s Heaven on Earth Manjeet Ridon University of Nottingham _______________________________________________________________ This article analyses how Heaven on Earth (2008) uses Indian mythology to expose the reality of culturally driven violence against Sikh Punjabi women in Canada, occurring as a result of transnational marriages between diaspora-based Non-Resident Indian (hereafter NRI) men and Sikh Punjabi women. Referring to Bruce Lincoln’s theory of myth as ideology, I argue that the film explores how some of these women have experienced marginalisation and how a discourse of abuse can be challenged through myth. _____________________________________________________________ My analysis of Deepa Mehta’s Heaven on Earth (2008) focuses on the fictional depiction of a poor, working-class, first-generation Indian family, living in Brampton, Ontario, which provides a microcosm of the pressures and realities of everyday immigrant life affecting the family from within. The text represents the ancient Indian myth of the Sheesh Naag, the King Cobra, with the ability to shape-shift and transform into human form, to raise awareness about the issue of culturally driven violence against women in South Asian Canadian communities, which is on the increase in Canada’s immigrant communities (Papp) and, along with the incidence of gang rape,1 an even more alarming trend in India (Lakhani). Mehta’s interpretation of the myth is based on Naga-Mandala (1994), a popular play by Girish Karnad, a South Indian dramatist heavily influenced by ancient Indian mythology. Karnad’s play is a story about the mythical figure of a cobra, which, in human form, rescues a lonely bride from an abusive husband and empowers her through storytelling.
    [Show full text]
  • The Feminine Eye: Lecture 5: WATER: 2006: 117M
    1 The Feminine Eye: lecture 5: WATER: 2006: 117m: May 2: Women Directors from India: week #5 Mira Nair / Deepa Mehta Screening: WATER (Deepa Mehta, 2005) class business: last class: next week: 1. format 2. BEACHES OF AGNES 3. Fran Claggett 2 Women Directors from India: Mira Nair: [Ni-ar = liar] b. 1957: India: education: Delhi [Delly] University: India Harvard: US began film career as actor: then: directed docs 1988: debut feature: SALAAM BOMBAY! kids living on streets of Bombay: real homeless kids used won Camera d’Or: Cannes Film Festival: Best 1st Feature clip: SALAAM BOMBAY!: ch 2: 3m Nair’s stories: re marginalized people: films: focus on class / cultural differences 1991: MISSISSIPPI MASALA: interracial love story: set in US South: black man / Indian woman: Denzel Washington / Sarita Choudhury 2001: MONSOON WEDDING: India: preparations for arranged marriage: groom: Indian who’s relocated to US: Texas: comes back to India for wedding won Golden Lion: Venice FF 2004: VANITY FAIR: Thackeray novel: early 19th C England: woman’s story: Becky Sharp: Witherspoon 2006: THE NAMESAKE: story: couple emigrates from India to US 2 kids: born in US: problems of assimilation: old culture / new culture plot: interweaving old & new Nair: latest film: 2009: AMELIA story of strong pioneering female pilot: Swank 3 Deepa Mehta: b. 1950: Amritsar, India: father: film distributor: India: degree in philosophy: U of New Delhi 1973: immigrated to Canada: embarked on professional career in films: scriptwriter for kids’ movies Mehta: known for rich, complex
    [Show full text]
  • 2021 Annual General Meeting Dick Auchinleck Chair of the Board Welcome to the 2021 Annual General Meeting
    2021 annual general meeting Dick Auchinleck Chair of the Board Welcome to the 2021 annual general meeting Keeping people connected Leading the world in social capitalism Commitment to diversity ● First adopted our Board diversity policy in 2013 ● Women and men to each represent 33⅓% of independent directors ● At least two directors who represent a visible minority or are Indigenous by 2023 AGM Darren Entwistle President and CEO, TELUS Andrea Wood Chief Legal and Governance Officer Christopher Main Associate General Counsel and Assistant Corporate Secretary Caution regarding forward-looking statements Caution regarding forward-looking statements Today’s discussion may contain forward-looking statements, including statements relating to our objectives and strategies, our targets, outlook, updates, our plans and expectations regarding the impact of the COVID-19 pandemic and responses to it, and our multi-year dividend growth program. Forward-looking statements use words such as assumption, goal, guidance, objective, outlook, strategy, target and other similar expressions, or future or conditional verbs such as aim, anticipate, believe, could, expect, intend, may, plan, predict, seek, should, strive and will. Forward-looking statements are subject to inherent risks and uncertainties (such as the impact of the COVID-19 pandemic and responses to it, regulatory decisions and developments, the performance of the Canadian and provincial economies, the competitive environment, the impact of technological substitution, challenges in deploying technology, our earnings and free cash flow, and our capital expenditures), and are based on assumptions, including about future economic conditions and courses of action. These assumptions may ultimately prove inaccurate and, as a result, our actual results or events may differ materially from expectations expressed today.
    [Show full text]
  • Film Reference Guide
    REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld.
    [Show full text]
  • Bureaucrats and Movie Czars: Canada's Feature Film Policy Since
    Media Industries 4.2 (2017) DOI: 10.3998/mij.15031809.0004.204 Bureaucrats and Movie Czars: Canada’s Feature Film Policy since 20001 Charles Tepperman2 UNIVERSITY OF CALGARY c.tepperman [AT] ucalgary.ca Abstract: This essay provides a case study of one nation’s efforts to defend its culture from the influx of Hollywood films through largely bureaucratic means and focused on the increasingly outdated metric of domestic box-office performance. Throughout the early 2000s, Canadian films accounted for only around 1 percent of Canada’s English-language market, and were seen by policy makers as a perpetual “problem” that needed to be fixed. Similar to challenges found in most film-producing countries, these issues were navigated very differently in Canada. This period saw the introduction of a new market-based but cultural “defense” oriented approach to Canadian film policy. Keywords: Film Policy, Production, Canada Introduction For over a century, nearly every film-producing nation has faced the challenge of competing with Hollywood for a share of its domestic box office. How to respond to the overwhelming flood of expensively produced and slickly marketed films that capture most of a nation’s eye- balls? One need not be a cultural elitist or anti-American to point out that the significant presence of Hollywood films (in most countries more than 80 percent) can severely restrict the range of films available and create barriers to the creation and dissemination of home- grown content.3 Diana Crane notes that even as individual nations employ cultural policies to develop their film industries, these efforts “do not provide the means for resisting American domination of the global film market.”4 In countries like Canada, where the government plays a significant role in supporting the domestic film industry, these challenges have political and Media Industries 4.2 (2017) policy implications.
    [Show full text]
  • Mother Tongue Film Festival
    2016–2020 Mother Tongue Film Festival Five-Year Report RECOVERING VOICES 1 2 3 Introduction 5 By the Numbers 7 2016 Festival 15 2017 Festival 25 2018 Festival 35 2019 Festival 53 2020 Festival 67 Looking Ahead 69 Appendices Table of Contents View of the audience at the Last Whispers screening, Terrace Theater, Kennedy Center. Photo courtesy of Lena Herzog 3 4 The Mother Tongue Film Festival is a core to the Festival’s success; over chance to meet with guest artists and collaborative venture at the Smithso- time, our partnerships have grown, directors in informal sessions. We nian and a public program of Recov- involving more Smithsonian units and have opened the festival with drum ering Voices, a pan-institutional pro- various consular and academic part- and song and presented live cultural gram that partners with communities ners. When launched, it was the only performances as part of our festival around the world to revitalize and festival of its kind, and it has since events. sustain endangered languages and formed part of a small group of local knowledge. The Recovering Voices and international festivals dedicated We developed a dedicated, bilingual partners are the National Museum of to films in Indigenous languages. (English and Spanish) website for Natural History, the National Museum the festival in 2019, where we stream of the American Indian, and the Cen- Over its five editions, the festival has several works in full after the festival. ter for Folklife and Cultural Heritage. grown, embracing a wide range of And, given the changing reality of our Through interdisciplinary research, audiovisual genres and experiences, world, we are exploring how to pres- community collaboration, and pub- drawing audiences to enjoy screen- ent the festival in a hybrid live/on- lic outreach, we strive to develop ef- ings often at capacity at various ven- line model, or completely virtually, in fective responses to language and ues around Washington, DC.
    [Show full text]
  • Women's Executive Network (WXN) Announces Canada's Most Powerful Women: Top 100 Award Winners
    Women's Executive Network (WXN) Announces Canada's Most Powerful Women: Top 100 Award Winners NEWS PROVIDED BY Women’s Executive Network Nov 22, 2018, 09:00 ET As a proud WXN collaborator, KPMG is proud to help develop iconic female leaders TORONTO, Nov. 22, 2018 /CNW/ - The list of Canada's Most Powerful Women: Top 100 Award Winners presented by KPMG, was released today paying tribute to the outstanding women across Canada who have advocated for diversity in the workforce, and who serve as an inspiration for the next generation of leaders. Canada's Most Powerful Women: Top 100 Award Winners (CNW Group/Women’s Executive Network) "We are celebrating 110 of Canada's highest achieving women in diverse fields," said Sherri Stevens, CEO of WXN. "All 110 are role models for the generations who will follow – which is why it's very important to recognize and celebrate their great achievements." The Top 100 Awards span the private, public and not-for-profit sectors, with the initial candidates selected by WXN's Diversity Council. The final vetting process for the 2018 Top 100 Award Winners was completed by WXN's 2017-2018 Diversity Champions. "KPMG is proud to support the work of WXN and celebrate the country's most powerful women," said Elio Luongo, CEO and Senior Partner, KPMG in Canada. "An inclusive Canada is key to our strength and success as a nation. It is imperative that we break down barriers and create the necessary conditions and opportunities for women to thrive and succeed in leadership positions." Past Award Winners includes Canada's most iconic women trailblazers: Margaret Atwood, best-selling author, Dr.
    [Show full text]
  • TIFF Premiere: Sgaawaay K'uuna, the First Feature Film About the Haida People
    Academic rigour, journalistic flair TIFF premiere: Sgaawaay K'uuna, the first feature film about the Haida people September 5, 2018 7.27pm EDT High school honour roll student Trey Arnold Rorick acts in the ‘Edge of the Knife.’ Rorick also works as a Cultural Interpreter at the K_ay Ilnagaay Haida Heritage Center. Facebook TIFF premiere: Sgaawaay K'uuna, the first feature film about the Haida people September 5, 2018 7.27pm EDT Sgaawaay K'uuna (Edge of the Knife), premiering at the Toronto International Film Author Festival, is the first feature film about the Haida people and in the Haida language. The mystery-thriller, directed by Gwaai Edenshaw and Helen Haig-Brown, started as a collaboration between myself at the University of British Columbia (UBC), the Inuit film production company Kingulliit and the Council of the Haida Nation (CHN). Leonie Sandercock Professor, University of British Columbia We hope the film will be a catalyst for language revitalization as well as community economic development. In 2012, fewer than one per cent of the Haida were fluent in the Haida language and most of those were over the age of 70, so the language was regarded as in crisis. Edge of the Knife emerged out the results of a community planning process our students had been involved in at Skidegate a year earlier, a year of community engagement and envisioning Haida hopes and dreams. The top three priorities identified by the Skidegate community were language revitalization, the creation of jobs that would keep youth on Haida Gwaii instead of moving to Vancouver and protecting the lands and waters of Haida Gwaii through sustainable economic development.
    [Show full text]
  • Building Resilience Through Partnership
    BUILDING RESILIENCE THROUGH PARTNERSHIP 2019-2020 ANNUAL REPORT TABLE OF CONTENTS 1 HIGHLIGHTS 9 ACHIEVEMENTS 11 ABOUT US 14 MESSAGES MANAGEMENT DISCUSSION 18 AND ANALYSIS INDUSTRY AND 19 ECONOMIC CONDITIONS CORPORATE 28 PLAN DELIVERY ATTRACT ADDITIONAL FUNDING 29 AND INVESTMENT EVOLVE OUR FUNDING 33 ALLOCATION APPROACH OPTIMIZE OUR 45 OPERATIONAL CAPABILITY ENHANCE THE VALUE 50 OF THE “CANADA” AND “TELEFILM” BRANDS 57 FINANCIAL REVIEW 64 RISK MANAGEMENT CORPORATE SOCIAL 66 RESPONSIBILITY 70 TALENT FUND 81 GOVERNANCE FINANCIAL 95 STATEMENTS ADDITIONAL 117 INFORMATION TELEFILM CANADA / 2019-2020 ANNUAL REPORT 1 The Canadian industry and audiences embraced female voices and HIGHLIGHTS Indigenous expression in fiscal year 2019-2020. Telefilm remained committed to greater representation in the films we support and to bringing Canadian creativity to the world. LOOKING TO THE FUTURE, our vision is for Telefilm and Canada to strengthen their role of Partner of Choice—creating and building ties, expanding opportunities and deepening impact. BRINGING CANADIAN CREATIVITY TO THE WORLD The Canada-Norway coproduction THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN, directed by KATHLEEN HEPBURN and ELLE-MÁIJÁ TAILFEATHERS, received praise around the world— premiering at the Berlin Film Festival in 2019, selected as “REMARKABLE” a New York Times Critic’s Pick and being called “remarkable” by the Los Angeles Times. The film went on to be picked up ★★★★★ by Ava DuVernay’s ARRAY releasing for U.S and international. levelFilm distributed the film in Canada, while Another World LOS ANGELES TIMES Entertainment handled Norway. TELEFILM CANADA / 2019-2020 ANNUAL REPORT 2 HIGHLIGHTS BRINGING CANADIAN CREATIVITY TO THE WORLD MONIA CHOKRI’s debut feature filmLA FEMME DE WINNER MON FRÈRE (A Brother’s Love), which she both wrote COUP DE CŒUR AWARD and directed, premiered at the Cannes Film Festival CANNES opening the Un Certain Regard section, bringing home FILM FESTIVAL the jury’s Coup de Cœur award.
    [Show full text]
  • Kayak to Klemtu
    Presents KAYAK TO KLEMTU A film by Zoe Hopkins Running time: 90 minutes, Canada, 2018 Languages: English, some Hailhzaqvla Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Twitter: @starpr2 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com @MongrelMedia MongrelMedia Kayak to Klemtu Logline 14-year-old Ella is determined to kayak the length of the inside passage to protest an oil pipeline and honour her late uncle’s legacy. Kayak to Klemtu Short Synopsis 14-year-old Ella is determined to travel the length of the Inside Passage by kayak in order to protect her home. She plans to protest a proposed pipeline that would have oil tanker traffic spoil her beloved homeland’s waters. Ella is prepared to handle all of the challenges put in front of by her this adventure, but most of all the challenge of her whacky family. Her neurotic aunt, her cranky uncle, her wayward cousin, and the memory of her late uncle all tag along for the ride, throwing Ella for a loop. From Tla'Amin to Klemtu, British Colombia, this family navigates their blend of cultures and ideals, while their spirits honour the coast as a place for not just Ella, but everyone, to call home. Kayak to Klemtu One Page Synopsis 14-year-old Ella’s Uncle Bear has passed away. It was his dying wish to have Ella testify against the proposed oil pipeline that is going to ruin their home waters.
    [Show full text]