Has there ever been a more self-consciously Canadian show than Super Team Canada? A show that not only skips merrily through fields of distinctly Canadian references, but requires its audience to, as Canadians are said to be uniquely able to do, laugh at themselves for an episode’s entire 10-minute duration?

Within the first two minutes of the episode “The Pooch Pack Goes Wack,” for example, the show manages to poke fun at tax credits, The Guess Who, PAW Patrol, and itself—or, at least, the idea of a Canadian cartoon for adults. “Everybody knows our cartoons are specifically designed to appeal to only children and simpletons,” intones the country’s leader, voiced by Kevin McDonald (Kids in the Hall).

Certainly, Canada is better known for animated preschool shows featuring anthropomorphic pups than it is for animated shows for adults. But everything else about the show, from its plotlines to its tongue-in-cheek humour to its theme song—sung by Bryan Adams, who else— could not be more slyly patriotic.

Crave’s first-ever original animated series premiered in May, and is the brainchild of Calgary-born, LA-based brothers Joel M. Cohen (“Not the Joel Coen you want,” he jokes) and Robert Cohen. Self-deprecation aside, these Cohen brothers are hardly slouches: Joel is a writer and producer who’s worked on Saturday Night Live; Robert’s long list of writing and producing credits includes The Big Bang Theory. Both have written for The Simpsons. Both have won Emmys—which Robert has also written for.

The show’s concept—a squad of low-rent Canadian superheroes is called in to save the world after all other superheroes have been vanquished—was borne of COVID restlessness, and the script was written on spec. The brothers decided to make it an entirely Canadian production, “because we love the Canadian system so much, and because the normal way of pitching animated shows in the States is not that appealing,” says Joel.

They reached out to their friend Will Arnett (Arrested Development), who quickly agreed to play the concussion-addled ex–minor hockey hero Breakaway. Arnett’s production company, Electric Avenue, also jumped in.

Then Cobie Smulders (How I Met Your Mother) signed on to play Niagara Falls, the group’s hydro-powered leader. Atomic Cartoons said yes. Crave said yes. Other voices signed on: Brian Drummond as Sasquatchewan, a nonverbal Bigfoot; Veena Sood as RCM-PC, a sensitive cyborg; Ceara Morgana as Chinook, a preteen First Nations superhero; Charles Demers as Poutine, a French-Canadian crimefighter who blasts curds and hot gravy out of his potato canons; and, of course, Kevin McDonald as the PM who must balance statesmanship with his second job at a big-box store.

And then, after years in the lab, the show was unleashed on the country at an extraordinarily fortuitous moment: a moment in which the American president’s annexation overtures had Canadians shaking off their collective apathy and digging up that old Molson commercial. A show about unabashedly Canadian super-heroes was exactly what the doctor ordered.

“The thing that is absolutely the worst turn of events for the planet ended up being great for us,” deadpans Robert. “We never wanted it to be a political show, but I love the ‘elbows up’ pride that Canadians are feeling. That pride is, in an odd way, kind of what we felt when we were first talking about the idea of the show during COVID.”

“We’re very proud Canadians, and we’ve always tried to do stuff in Canada and with other Canadians,” says Joel. “The timing of the show’s release was a complete coincidence, but great luck for us. Crave was supportive enough to crank out some promos that were tied into the political environment, and I think that helped get us noticed. But, for us, we were just really excited about doing a show in Canada.”

Alex Cichon, producer at Atomic, adds: “It was the perfect storm: looming trade war, the federal election in Canada, and just everything happening around the world. It was perfect timing. Silver lining on the world falling apart.”

The Cohens, long used to working south of the border, are effusive about both their production partners and the collaborative process itself.

“Crave has been phenomenal and really supportive,” says Joel. “When either they or Atomic have notes for us, they’re really smart. It’s actually been a very, very easy process, and much different than it would have been were we doing this in the US.”

From Atomic’s viewpoint, “We just tried to bottle Rob and Joel as much as we could,” says Cichon. “We wanted their voice on screen, and tried to partner them with good people who would deliver on that.”

The partnership is paying off, as Super Team Canada has already begun to win awards—if not yet an Emmy, at least a couple Leo Awards, given to BC film and TV productions. The show won Best Animation Series, and Brian Drummond, who voices Sasquatchewan, grunted his way to a Best Voice Performance award. And it’s just getting started. The show has the go-ahead for season two, which is scheduled for release in 2026. The team of absurdist, unlikely superheroes will live to fight another day.

When asked which of these heroes they enjoy most, the Cohens and Cichon are diplomatic. Joel loves the PM, but appreciates Poutine’s characterization and Drummond’s work on Sasquatchewan. Robert admires Breakaway’s jackassery, but thinks Niagara Falls might be the winner for him. Cichon is “a sucker” for Poutine, but admits Chinook has her moments throughout the season.

“Look at us, just giving the most politically correct answer, covering everybody,” says Joel. After all, what could be more Canadian than refusing to coalesce behind a single strong identity?

“It’s not a melting pot,” affirms Robert. “It’s a mosaic.”

Indigenous storytellers in the film and television industry in Canada have been fighting for narrative sovereignty for decades. This struggle for rights, autonomy and self-determination is an extension of the larger fight for Indigenous sovereignty, as verified by treaty and in law.

Sovereignty is perhaps one of those things you don’t really think about until it’s threatened—and for Indigenous people, sovereignty in all its forms has been under attack for more than two centuries.

In recent months, Canadians are starting to see the imperative of fighting for our national sovereignty. They are starting to understand that narrative sovereignty is grounded in our actual sovereignty, and that storytelling is key to cultural independence and cultural autonomy. They are starting to feel what Indigenous peoples have been talking about this whole time and the urgency of this fight.

Over the last five years, Indigenous storytellers have experienced some long overdue opportunities, in large part due to new funding in the system for Indigenous screen content through the ISO. But behind that is decades of persistent advocacy by the Indigenous screen community and industry.

This advocacy has long been focused on narrative sovereignty: the ability to control the storytelling and receive the economic benefits that emerge from the content, wherever it is sold and distributed. Put another way, IP ownership is central to the definition of Indigenous content. And since the ISO, as a funder, doesn’t have the resources to support the entire Indigenous screen industry in creating that content, it is crucial that the entire industry is aligned on that definition. This means that money will flow to Indigenous storytellers and their companies, and that economic reconciliation will also be part of the conversation around narrative sovereignty.

At the ISO’s latest CRTC intervention in May 2025, the ISO argued strongly against proposed cuts to programs of national interest (PNI), which we believe will lead to a devastating loss of support for Canadian long-form documentaries and drama. These types of national programs are critical vehicles for Indigenous storytelling and narrative sovereignty and are already at risk in an increasingly consolidated and homogenized market.

The argument we have been making for the necessity for narrative sovereignty, as well as ownership and control, in the Indigenous context is clearly just as urgent for the broader Canadian broadcasting ecosystem, of which we are an important part.

We have seen the benefits and rewards of prioritizing and investing in Indigenous storytelling and talent: what emerges are compelling stories that people are excited about and want to watch. Take the new series North of North—a great example of unique contemporary storytelling with a universal global appeal, and a demonstration of the broadcasting system coming together as an ecosystem to support a project.

ISO is thrilled that we have eight of our funded feature films at TIFF this year, showcasing the breadth of talent of the Indigenous filmmaking community. These films come from across Canada, from a diversity of Indigenous peoples and nations, and exemplify the expansive possibilities of Indigenous storytelling, innovation and leadership, all of which are more urgent than ever.

Kerry Swanson is the CEO of the Indigenous Screen Office (ISO), an independent funding organization serving First Nations, Inuit and Métis screen-based creators across Canada. She is a member of Michipicoten First Nation, with familial ties to Chapleau Cree First Nation.

Over his three decades in the film industry, one thing always bothered David Hardy: diesel generators.

“The pollution is gross. It’s killing us. There’s got to be a better way,” Hardy says of the loud, emission-spew- ing generators traditionally used by film crews to power equipment when shooting on location.

Seven years ago, Hardy—a former VP at equipment-rental giant William F. White—got serious about finding a better way. He teamed up with a group of engineers working in the hydrogen space to explore new eco-friendly power solutions.

After a years-long development process “that’s been a little bit more of a journey than we expected,” Hardy and his company, Hone, have a brand-new, zero-emission hydrogen generator ready to be put to work on Canada’s film and TV sets. It’s powered by an internal combustion engine, and costs roughly as much as a diesel generator. It burns “100 per cent clean,” says Hardy, with no carbon dioxide emissions.

Hone’s generator looks and operates much like the diesel generators film crews are used to. “The power output is the same. The connections on the interface look the same,” says Hardy. One significant difference is that each generator is connected to a fuel block trailer with a flexible hose. The trailers carry cylinders filled with hydrogen gas. When the generator isn’t running or is being moved, it has zero fuel in it, reducing the risk of spills or fires.

These are all marks in the generator’s favour. Another one: apart from the internal combustion engine, which comes from Germany, the generator is a Canadian-made product. What could prevent the screen industry from adopting this technology on a large scale?

Hardy believes the greatest obstacle will be the price of hydrogen gas (measured in kilograms) compared to diesel fuel (measured in litres), and educating people on what that actually means for their budget. Hydrogen costs $15 to $20 a kilogram, and one fuel block trailer carries up to 130 kilograms. While that total might seem steep compared to diesel, Hardy points out that one trailer can keep the generator running for two days of filming—considerably longer than most diesel generators.

He also believes the price will drop as soon as more hydrogen producers enter the ring. “Like any new technology, when it comes in, it’s usually a little more expensive, until it scales to a point where it kind of crosses over with the incumbent,” says Hardy. “We expect that to happen within a couple of years. We’re confident that soon, nobody will think, ‘Oh, that’s more expensive than diesel,’ because it won’t be.”

According to Hardy, it’s high time this kind of technology joined the mainstream: “The ability to show up on set, plop your generator on base camp, and not have to worry about the crew and the talent and the kids on set breathing all this crap—it’s an idea whose time has come, and we hope the industry feels the same way.”

Canada is well known as a co-production powerhouse: we have co-production treaties and memoranda of understanding with nearly 60 countries. But what good is that if you don’t know a soul in those countries? The CMPA is committed to putting our members in direct contact with new partners and new opportunities through our international delegations, which take our members to key locations, markets and forums around the world. As well, we host events at key conferences and festivals that bring together potential collaborators and strengthen international ties. We do it for one reason: to help our members succeed in a competitive global market and get their projects onto global screens. Check out where we’ve been lately!

Toronto
October 2024

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Recognizing that interprovincial partnerships continue to grow in importance, CMPA-BC led a delegation of 10 producers to Toronto. The goal: to build relationships with decision makers, funders and Ontario producers. The CMPA hosted a reception to help Ontario and BC producers connect further, and a consultant met individually with each producer to give feedback on their strategies, goals and pitches.

London
December 2024

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In collaboration with the UK’s High Commission of Canada, the CMPA connected Canadian producers with their UK counterparts at the Canada–UK Co-Production Forum. The day after, more than 150 Canadians were in attendance at Content London, a three-day conference for the international television community, where the CMPA hosted a Meet the Canadians networking lunch to bring together Canadian and international executives, as well as a networking dinner in with Australian producers, in partnership with Screen Producers Australia. Commonwealth connections galore!

Berlin
February 2025

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The annual eight-day European Film Market, held in conjunction with the Berlinale, brings together film and media producers, buyers, sales agents, distributors and financiers to network, do business and explore new opportunities. The CMPA sponsored five member companies to attend the festival and conference, where they joined hundreds of Canadians from all over the country who were in attendance.

Copenhagen
March 2025

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International cooperation is particularly common—and advantageous—in the documentary space. To keep the collaborative juices flowing, the CMPA took eight documentary producers to the Copenhagen International Documentary Festival (CPH:DOX) in Denmark, where they participated in roundtables, networking events and mentorship programs— and strengthened their ties with potential collaborators from 20 delegations of producers from around the globe.

France
March 2025

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Vive la coopération! The CMPA partnered with France’s Union syndicale de la production audiovisuelle (USPA) to lead a joint delegation of Canadian and French producers to France to explore co-production opportunities for drama and documentary projects (particularly English-language TV series). The first stop was Series Mania in Lilles, France, then over to Paris to meet with potential collaborators, commissioners and studio execs.

Australia
May 2025

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Fourteen Canadian producers travelled to Australia to—no, not catch waves—accelerate global partnerships through a curated program. In Sydney, delegates attended meetings and networking events coordinated by Ontario Creates and Screen Australia. They then travelled to the Gold Coast for Canada Connect, a co-production program arranged by the CMPA and Screen Producers Australia, held as part of the pitching market at the Screen Forever industry conference.

Banff
June 2025

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The Banff World Media Festival is not only one of the most prestigious gatherings of the world’s media representatives, from producers to press—it’s also held in one of the most breathtaking places on Earth. On opening night, the CMPA hosted the Global Decision Makers Dinner, bringing together over a hundred global content commissioners, decision makers and top Canadian producers to exchange ideas and spark new collaborations.

Ireland
July 2025

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Transatlantic opportunities abounded with the CMPA’s delegation to Ireland, coordinated in partnership with Screen Producers Ireland (SPI), PictureNL and Innovation PEI. In Dublin, producers explored financing opportunities and built relationships with potential collaborators through panels, one-on-one meetings and networking events (including a reception hosted by the CMPA and the City of Toronto). Then, participants skipped over to the Galway Film Fleadh, an international film festival, to meet with Irish production studios, buyers and distributors, participate in site visits—and even take in a film or two.

Where to next?

In September twelve Canadian producers will be adjusting to some serious jet lag in South Korea to attend the Asian Contents & Film Market at the 30th Busan International Film Festival. They’ll participate in diverse programs—panels, case studies, seminars, networking events—and look for new partnerships or co-production and co-financing opportunities with their Asian counterparts. One particularly exciting highlight: Canada will be the focus country at the festival’s Producer Hub, which will showcase co-pro projects, producers and trends from our national industry.

Here’s what producers are saying

“The future of our industry is co-production—and the best way to make them happen is to travel to different countries and meet the local producers, distributors, broadcasters and funders. The initial in-person connection is invaluable.”

— Jane Loughman, Monkeys & Parrots Productions

“Participating in international film and TV markets is crucial in developing co-production opportunities. When we attend festivals and markets, we are able to connect with established contacts, but also make new contacts in an ever-shifting industry. We are able to make pre-sales to international broadcasters and distributors, find producing partners for our projects and meet producers with high-calibre projects who are seeking a Canadian producing partner. Without a place to connect at a market or festival, none of this would happen.”

— Trish Dolman, Screen Siren Pictures

“The CMPA’s presence at Content London 2024 and 2023 has led to connections with a number of UK and Irish TV producers that I wouldn’t have had an opportunity to connect with otherwise.”

— Damon D’Oliveira, Conquering Lion Pictures

If you’re a producer, apply to join a delegation at cmpa.ca/international

If you’re an independent producer working in Canada today, chances are pretty darn good that you’ve come through the CMPA’s National Mentorship Program. For 30 years, the program has acted as a springboard for aspiring media producers through its varied mentorship opportunities, and today celebrates nearly 2,000 alumni who have participated in the program. It’s no wonder the program sets the standard for industry training initiatives: it’s unquestionably effective.

We zoom in on several program alumni from over the years, who share what they appreciate about their experience. The mentorship program may not be able to take all of the credit for their success, but “stepping stone” is credit enough for us.

Jigar Thakkar
Mentor company: Accent Aigu Entertainment (2025)

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“The mentorship has pushed me forward to realize my potential. After the mentorship, I was offered a position as an associate producer for the show Heated Rivalry, which will take Canadian screens by storm when it releases on Crave.”

Meg Robinson
Mentor company: Eagle Vision (2024)

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“Attending the CMPA Prime Time event as a mentee was a really big deal for me. I learned so much about pitching, networking, distribution, and the industry in Canada as a whole. That was a pivotal moment in my career where I saw the step between where I was as an indie producer, and where I fit into the—sometimes mysterious—business landscape of Canadian film.”

Temesghen Naizghi
Mentor company: First Generation Media Inc. (2023)

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“Each day brought new tasks and new questions. Seeing the work that other mentees were doing was motivating, and I had the chance to meet some incredible people in the industry. I am currently working in business affairs at First Generation.”

Emilija Davidovic
Mentor company: Devonshire Productions Inc. (2016)

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“I was Canadian Film Centre’s supervising producer for two years, blending creative mentorship with production, and I helped a number of emerging producers get into their CMPA mentorship programs. It’s an honour to be able to give back!”

Marc Tetreault (CMPA board member)
Mentor company: Emotion Pictures Inc. (2010)

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“I own my own production company, Shut Up & Colour, and have successfully produced 10 feature films and four seasons of one-hour television for both CBC and Bell.”

Induk Lee
Mentor company: Shut Up & Colour (2025)

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“I worked across multiple projects at various phases from development to post-production, experienced international markets, and met and worked with industry professionals across Canada and around the world. I got a clearer sense of what my next steps could be, both as a producer and as a creative.”

Nancy Shaw
Mentor company: Optic Nerve Films (2012)

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“I now work for the Northwest Territories Film Commission, administering funding programs and helping guest productions find their way in this incredible part of the country.”

Susanne Ritzau
Mentor company: Strada Films (2011)

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“While I am passionate about storytelling, it quickly became clear how crucial financing, budgeting, and navigating contracts are to getting a project off the ground—and keeping it on track. That insight shaped my career path. I am now the director of business affairs at McGillivray Entertainment.”

Meron Gaudet
Mentor company: Markham Street Films (2017)

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“I learned the importance of the development stage prior to bringing a project out to market. I am now a development producer at Big Time Decent, previously a development manager at Muse Entertainment.”

Priyanka Desai
Mentor company: Lark Productions (2019)

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“My mentorship made me dream big. I was a new immigrant at the time, and the dream of owning and running my own company was very distant. But this mentorship gave me the vision to create my own company based on the values I strongly believe in. I now run a production company, Real People Real Stories Inc., producing stories that impact and entertain.”

Luc Trottier
Mentor company: Club Red Productions (2023)

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“The program gave me the tools I need to produce on my own and expand my network to make the work I want to create. Now I run a production company called Human Moves Media Inc. between PEI and Toronto, and I am currently producing two series.”

Mentorship master

Having run the CMPA’s mentorship program for over 20 years, Sarolta Csete knows a thing or two about the importance of fit

Sarolta Csete is director of mentorship and international development at the CMPA. She’s managed the CMPA National Mentorship Program since her first day on the job, more than 20 years ago. According to her, the success of the program rests on matching both the skill sets and the personalities of the participating producers.

Sarolta Csete is director of mentorship and international development at the CMPA. She’s managed the CMPA National Mentorship Program since her first day on the job, more than 20 years ago. According to her, the success of the program rests on matching both the skill sets and the personalities of the participating producers.

One of Csete’s favourite things about her job is watching the career trajectory of mentees: “It’s always inspiring to see people start from something like producer’s assistant to being on the CMPA board. And it’s a proud moment when you recognize names of people who’ve come through the program in Playback or during awards season.”

Of course, before mentees can go on to win awards, they first need to find their mentor match. Mentors and mentees apply to the program together, and Csete is adamant that mentees should never settle.

“It needs to be a good fit, because if you don’t like the person you’re working with, six months can be very long,” she says. Goals should be aligned, and there should be a clear outline of what each party hopes to accomplish during the mentorship.

“Do your research and find a company that creates the kind of content you’re passionate about,” she urges. “Find the producers you look up to and persuade them that you’re worth taking a chance on.” To that end, prospective mentees might mention the benefit of adding an employee who’s eager to succeed: “For small companies with maybe one or two employees, adding another person can really make a huge difference in terms of the capacity of that company and what they are able to accomplish.”

And who knows: the mentorship may just stretch into a decades-long working relationship—something else that Csete knows a lot about.

YouTube channel producers, distributors and content creators have become a powerful industry, generating millions in advertising sales globally and driving meaningful revenue. However, many undervalue their channel by failing to properly monetize their content on YouTube.

When it comes to monetizing video, YouTube has fewer restrictions than other streaming platforms. Currently, every video uploaded to YouTube automatically undergoes an ad suitability review Adam Rumanek according to YouTube’s guidelines, and creators receive a green, yellow or red dollar-sign icon to indicate whether their content is eligible for all, some or no ads.

It’s important to understand the distinction between YouTube video views and ad views when thinking about potential earnings. The first thing to understand is how YouTube’s payment system operates. YouTube pays channel owners through its Partner Program. This program enables creators to monetize their content by sharing revenue from ads displayed on their videos.

The eligibility criteria for fan funding and the eligibility for monetization with advertisements is different. Fan funding is a feature that allows viewers to make voluntary donations to support their favourite channels. For access to fan-funding features such as Super Thanks and memberships, a channel must meet the following requirements: 500 subscribers, three public uploads within the last 90 days, and either 3,000 public watch hours in the past 12 months or 3 million Shorts views in the past 90 days. For full monetization, including advertisements and fan funding, the criteria are 1,000 subscribers and either 4,000 public watch hours in the past 12 months or 10 million Shorts views in the past 90 days.

Let’s explore actionable strategies and YouTube monetization best practices that channel owners and content creators can use to turn the tide in their favour.

There are automated systems (such as Aux Mode’s) that simplify the revenue reporting process on streaming platforms, offering clear and concise monthly reports by region. This eliminates the need for manual tracking and spreadsheets, providing a straightforward overview of revenue generated in regions where you own the intellectual property.

Understanding YouTube’s monetization measurement is crucial, although predicting the exact earnings per view is challenging due to the platform’s complex algorithm. Key metrics that influence revenue include views, which indicate how many times a video is seen (distinguishing between Premium and other users); watch time, which measures the total minutes a video is watched across a channel; specific videos; and playbacks. Furthermore, user engagement—including comments, likes, subscribers, shares, lost subscribers, dislikes, and additions to playlists and favourites—also plays a vital role.

In addition to these core metrics, YouTube’s monetization system also considers playlists, annotations, end screens, live streams, audience retention, channel memberships, estimated revenue and ad performance when determining the channel’s health.

Adam Rumanek is founder and CEO of Aux Mode, a digital rights management company, specializing in content monetization, protection and revenue reporting for content creators, studios and distributors on platforms like YouTube and other streaming services.

Best Practices for optimizing content on Youtube

The guidelines below outline key areas to enhance visibility, engagement and monetization for your video content.

Optimize metadata and thumbnails Enhance discoverability and click-through rates by using clear titles, detailed descriptions, relevant tags and high-quality, custom-designed thumbnails.	Engagement and community Foster a strong community by engaging with comments, utilizing the Community tab for updates and polls, considering livestream events, and moderating comment sections to maintain a brand-safe environment.	Leverage YouTube features Utilize features like YouTube Shorts for promotion, premieres to build anticipation, end screens and cards to drive further views, and YouTube Analytics for ongoing performance improvement.
Promote across channels Expand reach through cross-promotion on social media platforms, encouraging cast and crew amplification and collaborating with influencers or fan channels.	Content strategy and programming Diversify content formats to include full episodes, clips, behind-the-scenes footage and more. Maintain a consistent upload schedule and organize videos into playlists for improved navigation and watch time.	Monetization and rights management Leverage YouTube’s Content ID to automatically detect and monetize your content. Explore various monetization options such as ads, channel memberships and a merch shelf. Implement global rights management and strategically claim user uploads.
AI dubs and global reach Provide accurate subtitles and closed captions, consider multi- language channels for global content, and carefully manage territory controls in line with licensing agreements.	Protect your brand Regularly monitor for trademark and copyright infringement, report fake channels, and ensure consistent use of branding assets like logos and watermarks.	Experiment and iterate Continuously test new formats, thumbnails and video lengths. Use A/B testing tools to compare divergent tactics, and learn from analytics such as watch time, retention and click-through rates to refine your strategy.

Since 2006, the Indiescreen Awards, presented by the Canadian Media Producers Association, have honoured the best, brightest and most promising producers in Canadian feature film. This year, for the first time, the awards will also honour the best in Canadian television, with a brand-new award that recognizes the exceptional accomplishments of an independent TV production company. Take a look at this year’s impressive roster of nominees.

TV Producer

The TV Producer Indiescreen Award, presented in partnership with the Canada Media Fund, recognizes the outstanding achievements of an independent Canadian television media production company.

Blue Ant Studios
Qualifying Film: Slaycation

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Blue Ant Studios is an international production studio and rights business with a diverse production slate and operations in Toronto, Los Angeles, New York, Miami, London, Singapore and Sydney.

Eagle Vision
Qualifying Film: 7TH GEN

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Celebrating 25 years since its founding, Eagle Vision is a prolific Manitoba-based Canadian production company with Indigenous ownership.

Frantic Films
Qualifying Film: Still Standing

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A true live-action production powerhouse since 1997, award-winning Frantic Films operates from Toronto and its Winnipeg headquarters.

Lark Productions
Qualifying Film: Allegiance

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Lark Productions is an award-winning Vancouver-based company with a proven track record of producing exceptional scripted and unscripted programming in Canada for the global marketplace.

New Metric Media
Qualifying Film: Shoresy

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New Metric Media is an award-winning independent entertainment studio specializing in building comedy brands across TV production, live entertainment, distribution, merchandising and licensing.

Feature Film Producer

Nominees for the Feature Film Producer Indiescreen Award, presented in partnership with Telefilm Canada, are recognized for their collective body of work, as well as their contribution to the reputation of Canadian cinema on the world stage.

Chris Ferguson

Company: Oddfellows/Phobos
Qualifying Film: Keeper

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Chris Ferguson is the founder of award- winning, Vancouver-based Oddfellows, and co-founder of Phobos. Keeper will be released theatrically in November 2025.

Matthew Miller

Company: Zapruder Films
Qualifying Film: Nirvanna the Band the Show the Movie

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Award-winning writer and producer Matthew Miller is co-founder and president of Zapruder Films in Toronto. Nirvanna the Band the Show the Movie premiered at SXSW and will have its Canadian premiere at TIFF.

Merit Jensen-Carr

Company: Merit Motion Pictures Inc.
Qualifying Film: Everest Dark

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Merit Jensen-Carr is the president of award-winning production company Merit Motion Pictures. Everest Dark premiered at CPH:DOX.

Paula Devonshire

Company: Devonshire Productions Inc.
Qualifying Film: Blood Lines

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Award-winning producer Paula Devonshire is the owner of Devonshire Productions Inc., and a member of the Mohawks of the Bay of Quinte. Paula’s film Blood Lines is premiering at TIFF 2025.

Tim Doiron, James van der Woerd

Company: Wango Films Inc.
Qualifying Film: Little Lorraine

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Tim Doiron is founding partner and CEO and James van der Woerd is COO of award-winning Wango Films. Little Lorraine will premiere at TIFF 2025.

Kevin Tierney Emerging Producer Award

Nominees for the Kevin Tierney Emerging Producer Indiescreen Award are recognized for inspirational work, demonstrating promise of a bright career ahead as a Canadian independent feature film producer.

Andy Marshall

Company: Mahaica Point Media Inc.
Qualifying Film: A Tribe Called Love

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Andy Marshall is a producer, writer and cultural worker, and has also acted in over 50 film, television and theatre projects. A Tribe Called Love will have its world premiere in 2025.

Daniel Quinn

Company: When We Were Kids
Qualifying Film: Sweetness

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Daniel Quinn has sold and developed projects as both a writer and producer across a range of genres. Sweetness had its world premiere at SXSW.

Lauren Corber

Company: LoCo Motion Pictures
Qualifying Film: My Dead Mom

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Lauren Corber is an International Emmy– nominated producer and the founder and president of LoCo Motion Pictures. My Dead Mom began its festival run in 2025.

Leena Minifie

Company: Stories First Productions
Qualifying Film: The Good Canadian

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Leena Minifie is an award-winning film and television producer and impact strategist based in Vancouver, BC. The Good Canadian will air on APTN and CBC.

Ryan Bobkin

Company: Nine Behind Productions, Bobkin & Sons
Qualifying Film: A Mother Apart

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Ryan Bobkin is an independent producer who has worked in Canada and the US and was named one of Playback’s 10 to Watch in 2022. Blue Heron had its world premiere at Locarno Film Festival and will have its North American premiere at TIFF.

For a niche broadcaster, Accessible Media Inc. (AMI) boasts a remarkably broad audience.

That’s because AMI’s mission is to entertain, inform and empower Canadians with disabilities—and with nearly 30 per cent of Canadians age 15 or older currently experiencing a disability, AMI’s target audience includes approximately 8 million people across every demographic, from all over the country.

“We’re one channel, so we have to be everything to everybody,” acknowledges Cara Nye, AMI’s director of content development and production.

AMI has come a long way since it was established in 1989 as the National Broadcast Reading Service, which operated a radio reading service before it launched The Accessible Channel in 2009. The Accessible Channel, a must-carry specialty channel that included closed captions and described video for all of its programs, evolved into AMI-tv; AMI-télé, its French-language counterpart, was launched in 2014. A fully accessible free streaming service, AMI+, was added in 2023.

“We’re really looking at anything that anybody wants to consume,” says Nye.

And how does AMI know what viewers want to consume? A research panel of more than 3500 participants, all members of the disability community, is one major way. Every year, the panel participates in a program monitor, reviewing synopses of series to help the broadcaster gauge what types of shows its audience is interested in. AMI also does “deep dives” on its on-air series, in which it asks the panel “questions about characters, about plot lines, where they’d like to see the series go. Is it resonating with them? What do they want to see more of? Less of?” explains Nye.

No doubt, AMI is finely attuned to its audience—and hungry for fresh content. That makes the broadcaster particularly open to partnering with producers, disabled or not, to create the kinds of series its viewers want to watch.

When choosing who to work with, AMI has one overarching requirement. AMI’s producer partners must be prepared to centre the disability community through storytelling, hiring practices, and the production process itself.

“If you’re pitching us a show, the most important thing is that it’s guided by the disability community,” says Nye. “It doesn’t mean that you, as a producer, have to have a disability yourself. But you really should be engaging with the community in roles that control that narrative: writers, producers, directors, editors.”

René Brar is head of development at BC’s Big Time Decent Productions, whose first scripted series recently got the green light from AMI. Adapting is a coming-of-age half-hour dramedy about a girl with cerebral palsy, determined to lose her virginity before winding up in a wheelchair. Brar affirms the importance of having “the right folks tell the story”—in this case, creator Rachael Ransom, whose real-life experience with cerebral palsy guides the script. Having a disabled individual helm the show does much more than check a box; it ensures that the show is “authentic, stronger, more genuine,” says Nye.

“We loved that the script for Adapting connected to universal themes: of acceptance, of family, of friendship, of getting laid in high school,” says Brar. “But Rachael was able to do it by telling a very, very specific story that I don’t have access to.”

This universal-in-the-specific quality applies equally well to Big Time Decent’s unscripted series Underdog Inc., which AMI has renewed for a second season. Underdog Inc. is the company’s latest entry in the ever-popular trucker docuseries category. The show follows Dale Kristensen, a daring “hotshot trucker” who first appeared on Global in Backroad Truckers (also produced by Big Time Decent)—and who happens to be a little person.

Both shows steer clear of what Brar calls “inspiration porn,” shows in which “you just root for the little guy and all the disabled characters are saintly. Avoiding that is really important for us, and I believe for AMI as well.”

Apart from inclusive storytelling, AMI also stresses the importance of including—and accommodating—disabled individuals on set, whether they’re members of the cast or crew. “To work with us, it’s essential to have a really robust DEI plan. How are you going to engage employees from the disability community?” says Nye.

According to her, 55 per cent of the cast and crew of the buddy docuseries Crip Trip (Catapult Pictures) identify as having a disability. For the news parody series The Squeaky Wheel: Canada (Hitsby Entertainment), 100 per cent of the creative team are disabled. “Those are very high bars,” says Nye, but it’s not just about stats: “The producers that we like to work with are the ones who are willing to understand what it takes to work with people with disabilities, engaging them and asking the questions early on.”

For Black Rhino Creative, the prodco behind AMI’s multisensory travel series Postcards From…, that means strict eight-hour days during production. It means ensuring that series host Christa Couture, who is an amputee, feels comfortable on screen and has her needs met on set (“Like you would with any talent, but we’re just dialled in that much more,” says director/producer Ryan Mah).

It also means training directors and producers in the use of integrated described video (IDV), a method of producing content for visually impaired audiences. In contrast to described video—which tacks on an audio track to relate what’s happening on screen—IDV bakes accessibility into the production, with the show’s host or a cast member describing what’s happening on screen.

Nye explains it this way: “With described video, a third voice comes in to say, for example, ‘Cara puts on her reading glasses.’ With IDV, I might say, ‘Oh, I can’t read a thing without these.’” Mah describes the method as “producing every episode like it’s going to be on the radio.”

AMI pioneered IDV, and it’s just one more way the broadcaster prioritizes its audience. “Described video is great, but it can be quite annoying to people who don’t require it,” says Nye. “We’ve actually heard from people that they’ll watch the same show in different rooms because their spouse or child doesn’t want to hear that description. Not a very inclusive experience.” IDV, on the other hand, is seamless, and makes content accessible to everybody.

“The feedback has been phenomenal,” says Nye. “We’ve been impressed with how our producer partners have stepped up to incorporate IDV into their productions. Black Rhino, for example, can just do it with their eyes closed.”

“We’re even hearing of producers who are starting to do that in their other productions, too,” Nye adds. “Because why not?”

For his part, Brar of Big Time Decent calls AMI “a dream” to work with: “They’re willing to find strong partners and trust their judgment.” Mah of Black Rhino concurs: “They’re amazing. They’re very passionate about making sure the content is accessible for everyone.”

AMI’s focus on accessibility is simply a focus on audience, and it’s an audience no other broadcaster can claim to cater to in the same way. Nye is grateful for the partners who help deliver the content that audience craves.

Says Nye: “The fact that we have such great production partners, who are willing to work with young creators and bring their stories to the screen—that is what success looks like to me.”

In consultation with the Disability Screen Office, we adapted the following from Emily Ladau’s Demystifying Disability. It provides helpful guidance on which terms to use when referring to people with disabilities. Remember, it’s always best to ask a person which terms work best for them based on their own lived experiences and identity.

Adapted from Demystifying Disability. Copyright © 2021 by Emily Ladau. Published by Ten Speed Press, an imprint of Random House.

The Honourable Steven Guilbeault, Minister of Canadian Identity and Culture, is no stranger to the culture file. He was Minister of Canadian Heritage from 2019 to 2021, and while the job title—and the political landscape—has changed, Guilbeault is still going to bat for Canadian creators in a tempestuous time. He spoke with Indiescreen on the role of government in our “elbows up” moment and what a country can do to protect its cultural sovereignty. In light of the CMPA and Screen Producers Australia’s recent joint initiative to bring Canadian and Australian producers together through Canada Connect, we also asked the minister about the importance of teaming up with like-minded nations such as Australia.

From travel planning to grocery shopping, Canadians across the country have been very supportive of Canadian businesses, and more broadly, standing up for our national industry and cultural sovereignty. What role do you believe the media and creative industries can play in this moment of national pride, and how can government assist?

In this moment where Canadians are rallying around what makes us strong and proud, the media and cultural industries are key. Culture is not only an expression of who we are; it’s a core pillar of our sovereignty and economic strength. When our stories are told, our values are carried, and our sovereignty is affirmed.

That’s why our government is using every lever available to ensure that Canadian identity and culture thrive: by supporting our creators, strengthening our official languages, promoting Indigenous knowledge, and investing in initiatives like the Canada Strong Pass, which gives Canadians greater access to our national parks, railroads, museums and historic sites this summer. These places and experiences are what bring us together, and they’re living embodiments of Canadian identity and pride.

We believe that cultural policy is economic policy, and through targeted investments, updated legislation, and incentives for domestic and international co-productions, we are ensuring that Canadian culture is not only protected, but promoted, at home and abroad.

Canada has nearly 60 co-production treaties and memoranda of understanding with other nations, and Canadian producers have a strong track record of working across borders with producers in other countries to get projects developed, produced, sold and seen. What role do you see government playing to ensure creative export of Canadian content remains strong and continues to grow?

Canada’s cultural sector is stronger when it is connected—not just coast to coast to coast, but also globally. Our co-production agreements are more than paperwork; they are creative bridges. Our government remains committed to deepening these partnerships, especially with like-minded countries such as Australia.

We need to work together to tackle today’s challenges in a fast-changing world, such as artificial intelligence and algorithmic biases. Canada has been a leader at international fora like UNESCO, the G7, the OECD and the OIF in pushing for a fair, diverse and transparent digital cultural space.

By supporting Canadian content creators through export-ready programs, increasing international promotion via Telefilm and the Canada Media Fund, and leading coordinated action on international cultural policy, we are ensuring that Canada’s voice is heard at home and abroad.

How do you think Canadian content resonates with global audiences?

Canada has a lot to offer to the world. Our country reflects a diversity of experiences and values that are meaningful to many beyond its borders. Our country is home to Indigenous creators, newcomers, artists from all corners of the country, and voices in both official languages. That breadth of experience and unique identities shapes the stories we tell.

Whether it’s the powerful drama Maid, filmed in Victoria and showcasing the rugged beauty of the West Coast; original Québec productions like Révolution, La famille Plouffe and Les Parent, all created here and now adapted and loved in numerous countries around the world; The Place That Thaws, an Indigenous-led podcast from Canada’s High Arctic; or Ontario’s singer Shania Twain, the bestselling female solo artist of all time and creator of the highest-selling country album in history—Canadian content connects us, emotionally and culturally. We’re proud to see this content being seen, consumed and resonating with audiences around the world.

“Our intention is clear: we want to ensure that Canadian stories are seen, heard and valued on all platforms.”

The passing of the Online Streaming Act in 2023 was a significant step toward modernizing Canada’s broadcasting framework. As the CRTC’s regulatory implementation of this legislation moves forward, what is your hope for how this bill will impact Canadian stories told on screen?

Our intention is clear: we want to ensure that Canadian stories are seen, heard and valued on all platforms.

The Online Streaming Act will make sure Canadians can see themselves in the stories and music available in the new online reality, and will reinvest in future generations of artists in Canada. Online streamers are being asked to contribute to Canada’s cultural sector’s sustained success and to support our talented creative and media sectors to ensure they have a real and fair chance to succeed now and in the future.

When our artists shine, it’s Canada that shines. This bill ensures they have the spotlight they need.

Canada and Australia share similar challenges and values when it comes to supporting national content. How can our two countries strengthen collaboration, whether through co-productions, policy alignment or knowledge exchange, to help bring more of our stories to the world stage?

Countries’ cultural sectors are stronger when they are connected—both domestically and internationally. Through co-productions, shared regulatory dialogue and strategic export programs, countries like Canada and Australia can reinforce each other’s cultural sovereignty while amplifying the global reach of our creators. Strengthening collaboration across borders ensures that our stories—diverse, inclusive and grounded in our identities—are not only produced but seen and celebrated worldwide.

“Cultural sovereignty means making sure our creators can not only produce their work but also be fairly compensated and discovered by audiences at home and abroad.”

Like Canada, other mid-sized English-speaking countries, such as Australia, are looking to develop their own solutions to ensure US-based streaming companies don’t inundate their markets with US shows and movies at the expense of domestic content. Given your experience with the Online Streaming Act, what advice would you give to other jurisdictions trying to safeguard their cultural sovereignty?

Cultural sovereignty means making sure our creators can not only produce their work but also be fairly compensated and discovered by audiences at home and abroad.

Our country produces incredible content—in English, in French and in Indigenous languages—and that’s why we adopted one of the first laws in the world to ensure that online platforms contribute fairly to our creative sector.

These measures are rooted in the belief that our cultural sector isn’t just a reflection of who we are—it’s also a driver of economic growth, democratic sovereignty and international influence.

Our approach focuses on levelling the playing field, so Canadians can see their stories told and hear their voices represented. This means supporting Canadian artists and creative industries; advancing Indigenous storytelling; increasing representation of equity-seeking groups; ensuring regulations are equitable, fair, and flexible; and redefining Canadian programs to reflect today’s media landscape.

We also believe in a strong, well-funded public broadcaster. Since its creation, CBC/Radio-Canada has been an essential tool for protecting Canadian stories that are central to our national identity, our cultural sovereignty, and Canadians’ ability to discover and consume Canadian content. In a sea of American media and disinformation, we need Canadian voices more than ever. That is why our government is committed to strengthening our national public broadcaster, so CBC/Radio-Canada continues to deliver reliable news and information that is crucial to an informed public and a well-functioning democracy.

How it’s done down under

Canada and Australia’s production industries have plenty in common: top-shelf film crews, diverse and stunning scenery, robust production infrastructure, large English-language audiences. They also face some of the same challenges, particularly with adapting legislative and regulatory frameworks for the digital age in the face of global streaming giants. Against the backdrop of the CMPA’s partnership with Screen Producers Australia, we reached out to the office of The Honourable Tony Burke, Minister for the Arts in Australia’s current Labour government, to hear how they’re handling cultural sovereignty and supporting homegrown stories down under.

The linchpin in Australia’s strategy is its National Cultural Policy, called Revive. Established in 2023, Revive recognizes the role of the screen industry in supporting the nation’s cultural expression, and aims to ensure its stories reach audiences in Australia and around the world. Crucially, the policy includes a commitment to introduce Australian content requirements on streaming platforms. Minimum levels of Australian content are already required by Australia’s commercial television broadcasters and national broadcasters (ABC, SBS and NITV).

In the early 2010s, before today’s streaming platforms had taken hold, Burke glimpsed a future where people watched the internet through their TV. He has been arguing for policy reform ever since. “It’s taking longer than I wanted, but I know we need this to ensure our stories are always on our screens,” says Burke.

The Labor government has undertaken a consultation process to consider how best to support the production of Australian stories and to ensure that it gets the new obligation right.

“Screen quotas are not just about jobs. They’re about culture,” says Burke. “They’re about the relationship between the person sitting on the lounge and then what they see on the screen. I want people to see themselves, their neighbours, to learn about their country, and as an added bonus, this is also how the world then comes to know us.”

In 2024–25, the Australian federal government invested a record $1.2 billion in the screen sector through direct funding or incentives. Australian production companies receive indirect support through production incentives. And Ausfilm, a government-industry partnership, works to market Australia as a world-class production destination.

With so much in common, it’s not surprising that Canada has become Australia’s most active partner country in international co-productions (their co-production treaty was signed in 1990). Stuff the British Stole, a co-pro between Canada’s Cream Productions and Australia’s Wooden Horse and WildBear Entertainment, is one recent example. It won Best History Documentary Program or Series at the 2024 Canadian Screen Awards. Canada and Australia teaming up behind the scenes? Sounds good to us.

What a moment for Canada’s independent production industry.

Our regulatory system is on the verge of modernization. There’s never been more pride in homegrown content.

With all eyes on them, Canadian creatives and producers are ready to make the most of their moment—and have some ideas about how to do it. Here, some of our industry’s leading lights share why our nation’s cultural sovereignty is worth protecting, and how we can ensure a world- class future for Canadian content.

Mary Sexton

Producer
Rink Rat Productions

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“We need to keep telling good stories. Good, unapologetic, Canadian stories.

All parts of Canada included. We just made an indie Newfoundland film titled Skeet, and it was held over at Cineplex for eight weeks, a record for us. Audiences connected to the local story because our film mirrored real life in Newfoundland. Simply put, the film was relatable.”

Marsha Greene

Writer/Showrunner

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“It feels more important than ever to protect our cultural sovereignty and safeguard the rights and values of this nation. Canadian film and television have a huge impact on defining, reflecting and informing our culture to Canadian citizens and across the world, and the content we make gives us the opportunity to lead by example, rather than follow by fear.

We need investment—not just financial, though that is vitally important, but investment in Canadian talent.

We need to nurture Canadian artists, create more opportunities for them to stay and work in this country, and believe that their talent can compete in a global market.”

Kyle Irving

Co-Owner and Executive Producer
Eagle Vision

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“Film and television are powerful tools for telling Canadian stories— they reflect who we are, foster national unity and ensure diverse voices, including Indigenous, francophone and regional perspectives, are seen and heard. A strong commitment to Canadian content protects us from cultural dilution, strengthens our democratic values and secures our place in the global conversation on our own terms.

As we modernize our regulatory and funding frameworks, we have a critical opportunity to set the terms for a thriving, future-ready sector. This includes ensuring that global streaming giants contribute meaningfully to the system, not only by helping to finance Canadian content, but by partnering with Canadian producers in ways that allow us to retain intellectual property and benefit from the long-term revenue of our work.

Getting this right means building a sustainable ecosystem where Canadian stories, talent and businesses can flourish at home and compete on the world stage.”

Jennifer Holness

President
Hungry Eyes Media

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Recently, Canada has had to declare its fundamental right to be a nation and define what being Canadian means. I’m proud to be Canadian at this moment in time. I recently produced a thriller movie, 40 Acres, that centres a Black and Indigenous family in the narrative. Now, I’m not saying this has never been done before, but I haven’t seen it! So, I think that 40 Acres is a uniquely Canadian story that is also universal. I think that’s worth protecting. Producers know that there are thousands of original stories out there to go alongside the rinse and repeats of what Hollywood largely generates.

If you build it, they will come. Give us the same resources, and I believe it!”

Shant Joshi

President and Executive Producer
Fae Pictures

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“As we begin to see the contraction of Hollywood driven by new governmental policies and shifting consumer habits, the ability to create partnerships across borders will be crucial to our sustainability.

A strong and sustainable future for Canadian content necessitates a thorough re-evaluation of our cultural policy concerning international collaboration. As a country built by its Indigenous, settler and immigrant populations, and in a time of rising division and geopolitical conflict, Canada’s culturally unique identity, people and content can play an essential role in nurturing social unity and cohesion.”

Hilary Hart

Co-President

Game Theory Films

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As a distributor, a major concern for us in the changing market is that we ensure a future where Canadian IP remains Canadian controlled, and early investment in feature films is encouraged and incentivized. Without support for independent producers within Canada, we risk losing our best talent.

Canadian feature films give new and diverse voices a chance to share their stories on a global scale.

Ensuring a healthy film ecosystem is not only critical for the thousands of Canadians who work in the film industry, but for all Canadians who deserve the opportunity to see their vibrant culture reflected on screen. Canadians are acutely aware in this moment of their unique identity, and film and television are a powerful tool for sharing our culture not only at home, but abroad.”

Jennifer Pun

Producer
Edge Entertainment

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“I am a proud first-generation Canadian. I’ve seen firsthand the mosaic that Canada has weaved and waves as its multicultural flag. We have a powerful southern neighbour, but we are uniquely Canadian. We are a culture, a business practice, a personality and a voice that is embraced and welcomed internationally.

Canada’s cultural sovereignty is worth protecting because it is also our competitive advantage.

It is the reason foreign professionals want to move to Canada and why international companies want to work with Canadians. Canada has the most film and TV production treaties in the world. This makes international partnerships second nature. Now more than ever, Canada’s partnerships are being tested, and increasing relations outside of the US is more important to remain competitive and sovereign.”

Brian Hamilton

CEO
Omnifilm Entertainment

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“Canada’s cultural sovereignty is the foundation of our identity as a nation. Now more than ever, we need to pull together and defend our values.

Telling Canadian stories is one of the most powerful ways to bind our country together. While we modernize Canada’s screen-based entertainment industry, it’s imperative to maintain and grow original commissions. As linear declines, more of these commissions will need to come from global streamers.

Regulation has an important role to play, but our industry also needs to develop new talent and take more creative risks in order to earn our place on screens around the world.”