Cameron Bailey on TIFF 2022, Curation and Share Her Journey – Liz Braun interviews

For the first time in two years, The Toronto International Film Festival will be fully in-person. After falling back on drive-ins, streaming and limited screenings during the pandemic, CEO Cameron Bailey and his team were determined that TIFF 2022 would be extra special. “We knew we wanted to come back strong,” said Bailey in a recent interview. Mission accomplished.

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Women @ TIFF 2021 – Alexandra Heller-Nicholas reports

The 2021 Toronto International Film Festival program includes an impressive number of women-helmed films. coinciding with the festival’s Share Her Journey campaign which began in 2017 Originally conceived as a five-year program to focus on gender parity and amplify the role of women in the screen industries, 2021 marks its final year, and the films in this year’s program demonstrate that while the battle is certainly not over – for TIFF, for film festivals, or for the screen industries more broadly – if you make an effort to consciously elevate women in these fields, the results can be extraordinary.

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SPOTLIGHT October 2020: Joana Vicente, TIFF-Maker, Indie Producer and Film Activist

Joana Vicente’s first year as co-head of the Toronto International Film Festival was a triumph. The transplanted New Yorker oversaw a TIFF that had all the bases covered: superb films, A-list movie stars in attendance, initiatives in place to level the playing field for filmmakers (and journalists) and all the razzle dazzle required to make the festival a magnet for industry, audience and tourism dollars. Her second TIFF happened in a pandemic. It too was a triumph.

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TIFF’s Kathleen Drumm on the 2017 Festival’s ‘Share Her Journey’ Initiative — Interview by Julide Tanriverdi

There is always talk that there are not enough women in Hollywood. The latest study from the Center for the study of Women in Television and Film at San Diego State University revealed at the beginning of the year that only 7 percent of all directors working on the 250 highest-grossing domestic releases in 2016 were female – shockingly a decline of two percent compared to numbers in 2015 and in 1998. How is this possible? Why are we always talking and writing about this if there is no improvement? But change might be in the air – at least in Canada.

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