The seeds of change that Telefilm Canada planted back in 2020 have germinated into growth following a period of “epic modernization and transformation,” according to the organization’s top execs.

Francesca Accinelli, interim executive director and CEO of Telefilm Canada, and Mehernaz Lentin, Telefilm’s national director of feature film for the English market, discussed the Crown corporation’s recent evolution on the second day of the virtual Playback Film Summit on Wednesday (Nov. 16). Amos Adetuyi, CEO and executive producer at Circle Blue Entertainment, moderated the keynote conversation.

Accinelli (pictured top left) said Telefilm has been building on the pan-Canadian consultation it started with members of the industry in 2020, addressing systemic challenges to meet all filmmakers wherever they’re at and ensure they all feel welcome and have the opportunity to submit an application for funding. Now, it’s time to slow some of that evolution down to ensure the ship is pointing forward as the search for a permanent successor to previous executive director Christa Dickenson concludes.

“I think we also need to let things settle a little bit to make sure that: did we unintentionally create barriers that we didn’t realize? Are we still excluding certain communities? Are there things that we can do to improve?” said Accinelli, who was named Telefilm’s interim head in July after Dickenson announced her plans to step down.

“If you’re always changing, you don’t take a pause. When you keep doing that rapid change and you’re also trying to create access, the two compete,” she added, noting ever-evolving guidelines can confuse filmmakers applying for funding. “We’re trying to create predictability in the way our programs interact with one another and the way that we can interact with you.”

Lentin (pictured top right) said it’s been “quite an inspiring year” since she started her five-year term at Telefilm in December 2021, and feels “everyone’s collective efforts are paying off” with updates across all of the funder’s streams — from Talent to Watch and low-to-big budget, to theatrical docs right through to marketing, distribution, sales and festivals.

One of the biggest changes has been a shift to decentralizing the decision-making process over funding with the establishment of advisory committees, which Accinelli said are constructed to be as inclusive as possible.

“We now have internal and external advisory committee members, and these decisions are based on the multiple facets involved in each project, because each film is like a unique child — there’s a nuance, there’s a focus, there’s a character, there’s a point of view,” said Lentin. “What we’re really looking at is the strength, the originality and the authenticity of the creative vision; we’re looking at the talent of the team behind that vision; we’re looking at the viability of the financing; and first and foremost, we’re also looking at the cultural reach and audience potential for the project.”

In the big-budget stream, Telefilm now has meetings with everyone who’s applied and, in some cases, foreign sales agents and coproducing partners. “It’s a wonderful opportunity to everyone to be aligned, to get on the same page, and for us to be able to communicate that to the advisory committees so that your words are not just on a blank page that’s going to be read and then recited,” she said.

“We’re going to take that right across to the low-budget as well, where all our regional executives will be connecting with the applicants, and it gives an opportunity for you to pitch your project. We’re here to listen, we’re open, we’re available.”

Lentin said she’s “really quite excited” with the evolution of the Stream for Black and People of Colour, noting Telefilm doubled the submissions this year compared to last year, coming to 68 in total.

Accinelli said Telefilm has also worked hard where possible to reduce the pain points in unlocking funding by providing educational webinars. Making Canadian filmmakers feel that Telefilm is “less bureaucratic” has been one of the federal funder’s main goals in the past couple of years.

“Listen, we’re still a Crown agency, we’re still a government. So there are always going to be layers, and it’s public funds,” said Accinelli. “But we want everyone to know that we are an ally and that we’re here to support all of you.”

Other changes in the past two years have included a data collection initiative; support for films in all languages; a partnership with the Arctic Indigenous Film Fund; support for discoverability and impact of films; support for green initiatives in the screen world; and new working groups focusing for diversity and inclusion, gender parity and Indigenous needs.

Next week, Telefilm plans to reveal the next phase of its equity, diversity and inclusion plan.

Such modernization has been made possible because of increased government funding, said Accinelli.

“We have an additional $105 million that are big sunsets in next fiscal year. We also had targeted funding for reopening, recovery, to help our festivals and distributors. And now we’ve got additional funding to help compensate distributors in total.”