The path to financing an independent feature film in Canada is increasingly difficult, but there are opportunities if producers stay nimble, according to a panel of indie producers that took place on Tuesday (Oct. 24) at the Playback Film Summit.

“You have to be responsive to the market,” said Cineflix Productions president and head of content J.C. Mills during the panel, titled “Navigating financing for Canadian film in a global ecosystem,” which also featured Adani Pictures producer Jessica Adams, Devonshire Productions owner Paula Devonshire, and Freddie Films president Floyd Kane.

Mills pointed to the Cineflix-produced documentary Summer Qamp, directed by Jen Markowitz, which he said was initially pitched as a four-part limited series, but was revamped into a feature film due to a contraction the team perceived in the docs market. “That’s the business we’re in — we want to make projects, tell stories, get them out there, and you have to be flexible,” he said.

Flexibility is also increasingly important when it comes to navigating the funding system in Canada. Devonshire said producers are having to go to more funding sources to complete financing, which results in complications when certain funds are required to bring others on board.

“These days, there’s just so little funds coming out of each funder. Yes, we’re grateful to have them, but you’re getting 10% here, 20% there. Even Telefilm, who used to come in for a lot more, you’re lucky to get 30% out of,” she said, noting that bringing in coproduction partners can complicate the situation even further.

However, Adams said that coproductions also remain a significant option to increase funding opportunities. In the case of her Canada-Switzerland copro, Luis De Filippis’ Something You Said Last Night, she said having Cinédokké as the project’s Swiss partner unlocked several new financing and licensing avenues, including Eurimages, which “allowed us to not reinvest any of our fees.”

Another avenue discussed during the panel was the use of sales agents. While Devonshire said sales agents brought in before production can often help trigger funds, Kane noted that getting an agent to board a lower-budget indie project with a minimum guarantee in advance is “near impossible” without a recognizable director or cast member attached.

There are still opportunities to work with sales agents after production, however. Kane said Freddie Films brought the Canada-Nigeria copro Orah, directed by Lonzo Nzekwe, to the Toronto International Film Festival as part of the 2023 Industry Selects program with the specific goal of landing an agent.

“We got very lucky and CAA came on board to rep the film, and they’re taking it out now … the agent we’re working with, they know the territory, they understand that even though it’s a Canadian movie, it’s an African story and this person is very proficient in selling films in that territory and using Africa as an anchor for global deals,” he said.

WATCH THE ENTIRE PANEL CONVERSATION: Available to Playback Film Summit virtual pass holders: log in to the agenda, or register for the event. Sessions are available to view until Dec. 30.

Pictured (L-R): J.C. Mills, Jessica Adams (top), Paula Devonshire and Floyd Kane (bottom)