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.

The state of GAIV in March 2026

Tim Simmons of Theoretically Media has just released an astounding short film that showcases the state of Generative AI Video in March 2026 called “Dragon Blue“:

He generously shares his workflow online and in his newsletter.

Like most generative video pipelines, Tim made single frames and then animated them, using Google Nanobanana Pro and ByteDance Seedance 2.0 via Dreamina.

He used Claude Cowork as his “Production Office” (subscribing to the Pro plan). The key here is to grant it access to one folder on your computer and give it instructions in a .md markdown file.

He used Luma’s Agent Canvas as his “Studio”. Watch the masterclass to see his process.

And sign up for his newsletter to download the SKILL.md instructions markdown file.

My take: wow! Such a great short film! Such a generous man! Way to go, Tim!

Social Media for film marketing in 2026

Emma Jamieson, on her Reeling and Dealing Substack, just published the insightful: You’re not running a film release campaign — You’re building an ecosystem.

You’re not running a film release campaign. You’re building an ecosystem. by Emma Jamieson

Today’s successful film marketing campaigns are fully-rounded ecosystems.

Read on Substack

She reminds us it’s no longer 2015 and a funnel strategy no longer works:

What she recommends for 2026 is “a looped ecosystem continuously feeding audiences”:

She says what’s needed to accomplish this is:

  • Audience Discovery
  • Cultural Positioning
  • A Conversation Hub
  • A Conversion Engine

“In 2026, we build strategic content ecosystems and native communities, and the platforms decide who to show it to and if it’s worth showing. For filmmakers, studios, streamers and distributors, this changes how campaigns are designed from the start.”

She’s very generous with Resources and offers a cheat sheet on How to plan a social media content strategy for your film.

My take: as I said, very insightful! lol, my mental image of the long tail is now a dog chasing its tail — in an echo chamber….

Hollywood is dead; long live filmmaking

On the heels of the Academy Awards, Bloomberg Originals has posted Why Hollywood is Facing a Very Unhappy Ending.

The short documentary explores the current downturn in the Los Angeles-based film industry, questioning if Hollywood is confronting a temporary or a terminal decline.

It outlines the economic crisis…

  • Production Slump: Shooting days in Los Angeles dropped 16% in 2025, falling roughly 50% below the 2017 peak.
  • Box Office Decline: US and Canadian box office receipts totalled $8.6 billion in 2025, a significant drop from the $12 billion reached in 2018.
  • Labor Impact: Employment in California’s motion picture industry, which peaked in 2016, was decimated by the pandemic and the 2023 actor and writer strikes. Approximately 41,000 workers left the industry between 2022 and 2024.
  • Streaming Losses: Major media companies poured billions into streaming services but are now pivoting toward profitability, leading to mass layoffs and fewer project greenlights.

…and blames it on technological and cultural disruption:

  • Artificial Intelligence: AI is viewed as an existential threat with tools now capable of recreating voices, faces, and movements.
  • Creator Economy: Platforms like YouTube and TikTok are capturing younger audiences.
  • Consolidation: Aggressive mergers are accelerating as legacy media companies seek the scale needed to survive against tech giants.

Meanwhile, Dara Resnik, showrunner, writer, indie producer and educator, has posted For the Pragmatic F*cking Dreamers on Substack.

In it she outlines her survival strategy for filmmaking in Hollywood:

“1. The job (writing pilots/screenplays)
2. The hustle (pitching)
3. The work I own (making MY shit)
Most people in this industry are already doing at least two of these and feeling like that means they’ve somehow failed. I need you to know that it’s not just okay, it’s the strategy now. Here’s what it actually looks like to live inside this moment without either pretending it’s fine or giving up.”

She goes on to explain her creative life and raison d’être — well worth reading.

Dara, like the Bloomberg doc, believe that indie films are the future, what Ted Hope and others call NonDē or “non-dependent” or “non-dependent on the studio machine”, referring to a type of filmmaking that is self-driven, micro-budget, and community-powered.

My take: ah, those were the days, eh? By the way, Hollywood is still making films, just not in L.A. right now — check out the very last credits of any movie these days to see tax-payer dollars at work in Hollywood films from: Canada, British Columbia, Ontario, Quebec, Georgia, United Kingdom, Ireland, Australia, Spain, Malta, and on and on.

Netflix buys AI post-production company from Ben Affleck

Netflix has bought InterPositive, Ben Affleck‘s stealth AI post-production company.

From the media release:

“InterPositive’s mission — to use emerging technology in ways that protect and expand creative choice — is deeply aligned with Netflix’s long-standing belief that innovation should serve storytellers and the creative process.”

According to Variety:

“The InterPositive system builds an AI model based on an existing production’s dailies, then lets a filmmaker introduce that model into the postproduction process to provide the ability to do things like mix and color, relight shots, and add visual effects.”

Note that InterPositive owns a patent on technology that Ben invented called “Method, system, and computer-readable medium for training a captioner model to generate captions for video content by analyzing and predicting cinematic elements”. It describes systems designed for enhancing video content analysis and generation through cinematic element recognition and metadata utilization.

Price has not been disclosed.

My take: is this the beginning of Netflix turning into a “dream factory”? Imagine sitting down on the couch and prompting the movie you’d like to see. Or a spin-off with some of your favourite characters. Or — and I want this so much — “Yeah, this movie, but make it 90 minutes instead of two hours and forty-five minutes.”

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!

I love you — in movies!

Stephen Follows has launched a YouTube channel appropriately called The Film Data Scientist.

In honour of Valentine’s Day, his first post is I analysed every ‘I Love You’ in 72,000 movies.

Takeaways:

  • 55% of movies don’t say, “I love you.”
  • Romance, music and comedy films say it the most.
  • War, history and western movies say it the least.
  • The utterance is accepted more than rejected only if it’s spoken in the last 5% of a film.
  • “I love your ___.” Hair is the most popular fill in this blank.

My take: sure, it’s on the nose, but sometimes you just gotta hear it to believe it. I love you!

All-in-one platform Higgsfield

As you begin to explore generative video, you’ll probably quickly yearn for an all-in-platform that gives you access to most (if not all) of the best tools.

Enter Higgsfield. This video is a great overview and gives you a cheat sheet for both images and video as of February 2026.

There are a few features that make Higgsfield stand out.

Cinema Studio.

Apps.

My take: as still and motion imaging becomes easier than ever, what still remains most important is a great story.