David Vaisbord offers a six-point manifesto to help Canadian documentary filmmakers cut it in an industry with modest means.
The stories told in Morgan Neville's Twenty Feet from Stardom form a bittersweet chorus about a passion for music that endures.
Award winning filmmaker Molly Dineen was born in Canada, but identifies as British and is driven by the need to understand the world.
There appears to be a fundamental disconnect between the various public bodies empowered to fund documentaries in Canada.
With NCR: Not Criminally Responsible at Hot Docs, John Kastner’s films continue to be preoccupied with weightily Dostoyevskian themes.
Canadian broadcasters are forced into making promises they’ll inevitably break, and find themselves dealing with pesky independent producers.
Most documentary film festival audiences go to the cinema in search of veracity. But only at the True/False Film Festival are they encouraged to sing about that desire.
Larry Kent was the first feature filmmaker to make English-Canadian movies with the urgency of the European new waves of the 1960s but his work was barely seen by audiences and ignored by critics and, later, academics.
Debra Zimmerman has taken the feminist non-profit Women Make Movies from grassroots production facility to the world’s largest distribution outlet of films by and about women.
Director Ann Shin recounts her experience making The Defector: Escape from North Korea and learning new ways to see the world.