Toronto distributor Game Theory Films is heading into its busiest September yet as they prep to attend virtual festivals across Canada.

President William Woods will play a dual role as buyer and seller at this year’s Toronto International Film Festival (TIFF), with two films from his Woods Entertainment production banner – The Kid Detective and Like a House on Fire – headed for the newly created TIFF Industry Selects.

It’s a market they’ll also be participating in as buyers, according to Hilary Hart, director of acquisitions and distribution at Game Theory, with hopes that a side market will bring a new value-add to the festival. The distributor also will premiere Ruth Lawrence’s Little Orphans at the FIN Atlantic International Film Festival, which starts Sept. 17.

Hart has already navigated the evolving world of virtual film markets, attending both Hot Docs and the Cannes markets earlier this year.

“I probably took more meetings over Zoom than I would have in person,” says Hart on her experience with Hot Docs. “I took them over the whole month, so it ended up being a large time commitment. And I probably watched more films than I would’ve at a regular Hot Docs.”

Hart says TIFF will also be a key indicator of the viability of outdoor theatrical runs, thanks to its hybrid model of drive-in and outdoor venues with a handful of indoor screenings paired with a streaming platform.

The distributor launched in early 2019 with a strategy of day-and-date VOD releases paired with theatrical event screenings with guest speakers and Q&As. When theatres shut down due to the pandemic, Game Theory had to quickly pivot and cancelled March screenings for Johnny Ma’s To Live to Sing, swapping out live performances and Q&A with the director for a VOD launch paired with social media marketing.

Game Theory recently struck a non-exclusive deal with the film curator and streaming service MUBI for eight titles to launch this year and next, which includes To Live to Sing, as well as A White, White Day and Ash – two other films forced to abandon a theatrical release.

“We started having conversations with MUBI six months ago,” says Hart. “It was a very fast-forming decision that we were going to work together because we had very similar tastes. It’s a place where cinephiles look to find content and it’s a prestige streamer in my mind. It speaks well to a film that they would select it.”

It’s a move that will help Game Theory pinpoint the niche audiences for the indie films that Woods says rely on “community buzz” to build momentum. One saving grace for the distributor was Spinster, which starred Chelsea Peretti of Brooklyn Nine-Nine fame and co-produced by Woods Entertainment, thanks to Peretti’s strong social media presence and built-in fanbase eager to see her film.

Outside of finding new or underrepresented voices in virtual markets, Game Theory has also launched a new initiative focused on giving Black, Indigenous and people of colour in the film industry an opportunity to make and distribute their films. The $100,000 fund includes minimum guarantees for filmmakers, provided by Woods Entertainment, JoBro Productions, Comweb Foundation and William F. White. The latter company will also provide in-kind services along with Crave, which will license the first title selected for the initiative, MARZ, Urban Post and Entertainment Partners. The fund will be handed out quarterly, with the first round of submissions due Oct. 15.

“We felt that Game Theory was in a unique position to be able to offer some resources and offer distribution, but then because of the relationship between [Game Theory and Woods Entertainment], we could also offer mentorship to help people navigate making their first or second film,” says Woods.

The initial plan was for Woods Entertainment to put up $20,000 toward a minimum guarantee provided by Game Theory, along with mentorship opportunities. When Jonathan Bronfman, who co-produced The Kid Detective under JoBro Productions with Woods, caught wind of the plan, he not only came on board with additional funds, he brought in a number of industry partners to boost the offerings.

“Some people were willing to give cash, some people were willing to give in-kind, but everyone wanted to give something and be available to help and mentor filmmakers in their own vertical,” says Woods.

“We’re starting to get submissions and there’s some high quality projects,” he adds. “It’ll be great to start working with some new filmmakers and I think it’ll be great for Game Theory.”