Carly Stone on NORTH OF NORMAL, Motherhood and Telefilm Canada – Interview by Liz Braun

Carly Stone was at the American Film Institute in the screenwriting program when she decided to become a writer-director — and that’s exactly what she did. The Toronto native began by volunteering to write The New Romantic (2018). After she’d proved she could write it, she said she thought she could direct it, too. So she did, creating a delightful rom-com about growing up, female ambition, and the brave new world of relationships. The film won her Special Jury Recognition for First Feature at SXSW 2018, and drew a lot of attention to her potential. It didn’t hurt that Telefilm, a Canadian government body that fosters the arts, championed Stone’s work. The certain knowledge that it’s possible to make independent movies in Canada because of Telefilm is one of the reasons Stone moved back to Canada from the U.S.

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SPOTLIGHT December 2022: Sarah Polley, Actor, Author, Writer/Director of WOMEN TALKING

Sarah Polley is an iconic independent filmmaker who has throughout her career made choices that explore the lives of women and reflect her own experiences and feminist point of view. Keen insight and compassion distinguish her movies. Her work is authoritative and honest, and always gives audiences a safe space in which to contemplate the issues that impact their lives. We are glad to see her return to directing after a hiatus of 10 years and applaud Women Talking as an artistic achievement well worth all of the awards buzz it is generating

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Sharon McGowan & Jan Miller: Canadian Tax Credit Changes to Benefit Female Filmworkers (Guest Post)

The tax credit program distributes close to one billion dollars annually to Canadian and foreign-service production but does not include policies to address gender equity or inclusion of workers marginalized in the screen industry. The Federal Minister of Canadian Heritage has agreed to address and rectify the issue.

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SPOTLIGHT November 2019: Jen and Sylvia Soska, Canadian Twin Filmmakers, RABID

For far too long, women horror film directors have been considered an oddity. Key figures in the contemporary ‘women in horror’ movement, Canadian filmmaking twins Jen and Sylvia Soska established themselves as noteworthy directors and screenwriters with their 2009 debut feature Dead Hooker in a Trunk. The film’s cult status has changed the horror genre landscape and perceptions about female horror directors. The Soska effect continues with this year’s Rabid.

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