Thirteen months and 62 pages later, Telefilm Canada and SODEC have confirmed what was already known, or at least, suspected, by a good number of the film professionals in this country – that the Atlantic and Vancouver film festivals are booming thanks to strong regional representation and on-the-ball organization; that TIFF is almost too successful for its own good; and that the World Film Festival in Montreal is, well, let’s say ‘difficult.’

As reported previously in Playback, a study issued July 27 by both organizations had damning words for the WFF, citing poor attendance and lack of business opportunities at the fest, while also criticizing organizers for their lack of organization and poor relations with the film community.

The fest, now prepping for its 28th edition, which runs Aug. 26 to Sept. 6 (see special report, p. 19), has a reputation for being troublesome and is oddly shy of both publicity and dealmaking, positioning itself as an intimate affair for small films and cinephiles.

The study got underway last summer to ‘critically assess’ WFF, which gets funding from both Telefilm and SODEC – comparing it on several points to the fetes in Halifax, Toronto and Vancouver. The results cast doubt on the possibility of continued support.

The study, conducted by SECOR Consulting, notes that WFF garners strong public interest and, thanks to its highly international and eclectic programming, has made a name for itself as an alternative stop on the festival circuit. But public attendance is low for a city the size of Montreal and moviemakers, it adds, take a dim view of the fest’s film market, which is poorly attended and offers few opportunities for meetings or forums. WFF drew 1,180 industry pros in 2003, mainly from Canada, and claims to have had a total of 680,000 attendees, although SECOR suggests that the actual number was ‘far short’ of that, noting that the total seating capacity of its theaters was just 278,000.

Attendees, and apparently researchers, also resent the fest’s ‘attitude and lack of openness.’ WFF did not cooperate with the study, which seems to have further annoyed its backers.

‘Efforts to involve WFF in the process were met with refusal by the organization’s management and board of directors,’ according to a statement issued by SODEC and Telefilm. ‘SECOR was nonetheless able to compile various data on this festival, some of which WFF has confirmed.’ Researchers used focus groups made up of festival-goers and met with industry stakeholders in Quebec.

SECOR also notes that after 27 years in business, WFF has attracted few cash sponsors and still draws ‘a far greater share’ of its funding from public sources than the other fests, although it did not publish specific numbers.

Telefilm may pull its funding for 2005 and beyond if WFF does not correct these problems. According to chairman Charles Belanger, the federal agency will consider proposals from other Montreal festivals for next year, beginning in September.

‘We’re opening up the field to competition,’ he says. ‘I think it’s good to see if there are fresher ideas, new concepts, new ways to further the presence of [the city of] Montreal among the great festivals of the world.’

He insists WFF is not being shut out. ‘Nobody is excluded, but there is an opening for newcomers who want to get involved in the business. We’ll see from there who shows up and who manifests interest.’ Representatives at SODEC were not available to comment.

Previous to its release, the WFF had downplayed the possible impact of the study and now says it will not respond until after the festival wraps in September.

The festival has made some efforts in the past to improve its industry relations – it has gone through three spokesmen in as many years, each filling in for its all-but-invisible president Serge Losique – but seems to have made little progress.

SECOR gave high marks to the Atlantic, Toronto and Vancouver film festivals, with only a few caveats. VIFF got nods for its high attendance, its representation of Asian film, and for its self-generated income, but needs to improve attendance to its trade forum, which saw only 336 attendees in 2003, down by half from 2002. The AFF in Halifax needs to stabilize its financing in order to ensure long-term growth, but gets points for boosting East Coast filmmakers and for its relaxed, convivial atmosphere.

Toronto’s festival, now prepping for its September run, is cheered as a ‘prime example’ of an event that combines public and professional interest, and is commended for audience satisfaction and financial responsibility. But, it adds, small filmmakers often find the massive fest difficult to manoeuvre, and TIFF organizers will be challenged in the coming years as they work to complete the fest’s new $200-million home in downtown Toronto.

-www.telefilm.gc.ca

-www.sodec.gouv.qc.ca