It’s good to be us

Members of the Canadian film and tv industry spend an inordinate amount of time flitting about the country to sit on panels or join in various lobby initiatives ­ decrying regulations, budget cuts, or other outrages and expectation shortfalls. Meanwhile, outside Canada, a very positive spin on Canada’s film and tv achievements (which producers somehow managed to undertake despite cuts and between panels) is evident.

While the spotlight is on the Cannes Film Festival pick, Atom Egoyan’s The Sweet Hereafter, one of the ultimate fonts of Cancon ­ the National Film Board ­ has three films joining the ‘in competition’ circle in France: Dinner For Two by Janet Perlman, George Geersten’s Words and Paul Driessen’s The End of the World in Four Seasons are in competition at the International Animated Film Festival in Annecy.

Film invites to Cannes, an impressive convoy of Canadians (plus a kids’ producers collaborative promotional cd-rom) heading to the premiere anifx (natpe’s animation and special effects conference and exposition) and lots of Canadian presence at Annecy are just some of the ways Canada’s cinema, tv and f/xpertise are making noise this spring. The work displays uniquely Canadian colors ­ unconventional indie filmmakers, an engaging and intelligent kids’ production sector, a sophisticated effects industry, a whack of innovative animation, and the especially attractive thread running through it all, Canada’s coproduction strengthsŠ

From the depth of the funding pockets inventoried in the Investment and Finance special report, it appears that despite cuts, there’s still more money than lint out there. And while the scrutiny on foreign investment levels has grown keener in some instances, cavco’s tougher producer-control guidelines have reportedly sparked some better deals for Canadian producers.

The tv production slates are huge this year, with the majors boasting multiple series and bevies of one-offs with promising new outside broadcast partners along for the ride; film production also seems to be picking up steam.

There’s potential for better box office fates, which is the hoped-for bottom line driving the plethora of posh megatainment complexes poised to tempt the masses in new droves with vr amusements, curved screens, cushy seats, designer cookies and java.

The dark side remains, such as Canadian films’ still-pitiful screen time in Canada, more impending distribution turf wrangling, and straitened pubcasting means. However, (and maybe it’s the sudden exposure to sun) increasingly there seems to be more to celebrate than censure, like the flip side of screen time; the second window offered by the Film Circuit in smaller centers in Canada and the potential of Encore, or the fact that Margaret’s Museum and Intimate Relations (both Canuck/u.k. copros) and Crash (following last year’s Cannes impact) hit London screens this month.

And as to future feature luck in the u.k., there could be Canadian elements among the Lottery franchise winners.

At the very least, the care and tending of Canada/u.k. ties tip the odds in favor of indirectly co-scooping some of the jackpot.