This will not come as a shock to loyal readers but I do not determine what makes a Canadian film Canadian. There are points in multiple categories and if a project scores enough points, the film is considered Canadian.
A recent CBC article pointed out that neither Turning Red nor Dune are Canadian films. Canadian directors and Canadian actors appear in American films all the time. Enemy from Denis Villeneuve was considered a Canadian film but not because of him.
Films written and directed by Canadians usually qualify as a Canadian film but often because of producers involved.
Turning Red shows the beauty of Toronto thanks to Domee Shi
The Canadian influence on Dune from Denis Villeneuve and others
The Nest from Sean Durkin, which somehow made the TIFF Top Ten Canadian films of 2020, would not convince you that it is a Canadian film. Same with Brooklyn.
This comes up because Bill C-11, which replaces Bill C-10, is winding its way through Parliament. You might recall that Bill C-10 was in the Senate when the last government was tabled in 2021.
The article notes that Heritage Minister Pablo Rodriguez plans to ask the Canadian Radio-television and Telecommunications Commission (CRTC) "to spell out what counts as Canadian content after Bill C-11 passes through Parliament."
We make a distinction in our film reviews: we label Canadian films in name only as a "case study" where an obvious Canadian film doesn't have this distinction. Both of Canada's entries in the Best International Feature Film for the 2021 Academy Awards — Funny Boy and 14 Days, 12 Nights — were Canadian films in name only. Both had brief peeks of Canada and mostly non-Canadian actors.
Canadian films such as The Nest don't need help getting noticed. Canadian films such as All My Puny Sorrows need help getting noticed, even with known entities on the U.S. side such as Alison Pill and Sarah Gadon (who are Canadian).
The sugar daddy concept making its way into Canadian films
We loved Shiva Baby. Sugar Daddy had a harder time getting noticed. The New Romantic, a terrible Canadian film, easily attracted attention from Netflix.
Made | Nous does a wonderful job at promoting content made in Canada, a distinction from Canadian content. If the definition is broadened to include such work, that will diminish actual Canadian films.
The article quotes Michael Geist, Canada Research Chair in internet and e-commerce law at the University of Ottawa, on adding "flexibility about defining what makes a film Canadian."
"It's one of the most restrictive, narrowly defined systems in the world, even excluding Canadian authors," said Geist. He cites the TV adaptation of The Handmaid's Tale, which is not a Canadian production.
We love Margaret Atwood. We love that the show shoots in Canada and has Amanda Brugel. Television is very different than film. We wouldn't care if The Handmaid's Tale became a "Canadian production" unless that came at a sacrifice to Canadian productions.
CanadianCrossing.com Canadian TV coverage
CanadianCrossing.com television coverage
Orphan Black and Transplant are Canadian TV shows that had help from outside Canada. The difference is that they are Canadian to the core that happened to have an audience outside Canada.
Canadian TV shows aren't having as much trouble crossing over to the United States. Canadian film still struggles even within Canada.
"Those rules require a Canadian producer and a Canadian director or screenwriter. Points are awarded for the number of Canadians in leading roles or other key creative positions. Canadians must also feature prominently in the production and post-production."
We are not saying the rules can't change. Maybe the rules are too hard core for where Canada is now. We might even agree to change the rules a bit even if that hurts Canadian films that are "visibly Canadian."
Creating more co-productions by slapping a Canadian label won't make them more Canadian.
The idea of more money to spend on Canadian content is the temptation behind Bill C-11. Any change needs to be good change for those worthwhile projects to get more money and attention. Falling further behind with more money doesn't help Canadian content thrive.
Those who want changes: Show us how this will improve the chances of good but struggling Canadian films.
Even if you agree with change, should Heritage Minister Pablo Rodriguez and the Trudeau Government be the ones to decide those changes?
CanadianCrossing.com film reviews
CanadianCrossing.com film coverage
Turning Red looks and feels Canadian. Dune does not. We can't label Canadian content based on feel.
The people who produce Canadian content should decide any changes. "Netflix tax" proceeds should boost Canadian content projects that fit the current rules. There will be co-productions (Brooklyn) that are fairly invisible. The Nest and My Salinger Year will easily get made. Films such as Giant Little Ones should have better opportunities, not worse ones.
We have argued that films shot by Canadians in Canada should have a higher priority than international productions that happen to be Canadian. Bill C-11 and Pablo Rodriguez shouldn't change that.
Editor's note: Tomorrow is National Canadian Film Day. We will have plenty of Canadian film suggestions. Some of the options will be in name only while we will suggest more deserving Canadian films.
photo credit: Turning Red film
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