Distribution

The NFB explores new formats with ON FILME, a YouTube-based documentary initiative that launches online on May 7

From: National Film Board

News release: https://www.canada.ca/en/national-film-board/news/2026/04/the-nfb-explor...

April 20, 2026 – Montreal – National Film Board of Canada (NFB)

On Thursday, May 7, the National Film Board of Canada (NFB) will launch ON FILME, a documentary initiative designed specifically for YouTube. Its goal? To spark meaningful dialogue around timely social and political issues and engage audiences on the platforms they use every day. The works will also be available on nfb.ca and all NFB apps at a later date.

ON FILME invited three influential personalities from Quebec’s digital landscape—Mounir Kaddouri (a.k.a. Maire de Laval), Anne-Lovely Etienne and Simon Coutu—to find a new perspective on a contemporary issue close to their hearts. Each has created a work that’s available in four distinct but complementary formats. The idea is to build a space for sharing and experimenting in which each artist can contribute their creativity and unique viewpoint to current public discourse.

The first work, by Mounir Kaddouri, will be launching in its four formats on May 7.

Quote

“Born out of a creative lab, ON FILME allows the NFB to test and adapt new forms of documentary storytelling for digital platforms, drawing on its production studio’s unique mix of expertise. By bringing together creators with complementary profiles and embracing rapid experimentation, the project seeks to reach new audiences and position the NFB as a fully engaged participant in today’s conversations.” –  Stéphanie L’Écuyer, Director General, Programming and Production, NFB

Conversation at the Rendez-vous Pro

The three filmmakers, along with producer Pierre-Mathieu Fortin from the NFB’s French Documentary Unit and producer Laurence Dolbec from the NFB’s Innovation Lab, will participate in the event “Documentaire et YouTube: Conversation autour des formats, du storytelling et des auditoires” (“Documentary and YouTube: A Conversation on Formats, Storytelling and Audiences”) on Wednesday, April 29, at 1 p.m. at the NFB Space, as part of the Rendez-vous Québec Cinéma’s industry program.

About the NFB

Founded in 1939, the National Film Board of Canada (NFB) is a one-of-a-kind producer, co-producer and distributor of engaging, relevant and innovative documentary and animated films. As a talent incubator, it is one of the world’s leading creative centres. The NFB has enabled Canadians to tell and hear each other’s stories for over eight decades, and its films are a reliable and accessible educational resource. The NFB is also recognized around the world for its expertise in preservation and conservation, and for its rich and vibrant collection of works, which form a pillar of Canada’s cultural heritage. To date, the NFB has produced more than 14,000 works, 7,000 of which can be streamed free of charge at nfb.ca. The NFB and its productions and co-productions have earned over 7,000 awards, including 12 Oscars and an Honorary Academy Award for overall excellence in cinema.

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Online Screening Room: nfb.ca

Director's Notes: https://blog.nfb.ca/blog/category/directors-notes/

Curator's Perspective: https://blog.nfb.ca/blog/category/curators-perspective/

Cannes is one of the biggest distribution marketplaces in the world… are you ready?

Today’s Stage 32 blog is our annual Cannes Roll Call, kicking off our Cannes prep series with a full breakdown of our events, panels, and partnerships.

Read it here: https://www.stage32.com/blog/cannes-roll-call-2026-whos-going-who-has-fi...

For those focused on distribution, this is where deals are discussed, relationships are built, and global strategies take shape.

If you’ve been asking how to prepare or what to expect, this blog is essential reading.

If you’re attending, what are you most interested in exploring, sales, partnerships, international markets, or trends?

The microdrama arm of publicly-listed Chinese company COL Group appointed Narativ Media as its official distributor in the Middle East and North Africa (MENA) and CIS regions and Africa, and a struck new content deal with a new Dubai-based microdrama platform. For more: https://deadline.com/2026/02/col-group-international-deals-microdrama-12...

South Asian creators bring vertical video content to India.

https://www.instagram.com/reel/DWVxjq4l7cT/

Here's some background:

https://variety.com/2025/tv/news/global-microdrama-boom-1236560947/

If you have ever thought about going to Cannes, or any major festival or market, you probably already know it can feel equal parts exciting and overwhelming.

Yesterday, Lauren Simpson shared a Stage 32 Blog that is absolutely worth your time. It is a candid, practical, and refreshingly honest survival guide based on her first experience attending Cannes Film Festival with her own film.

This is not surface-level advice. Lauren walks you through what it actually feels like to show up, what to prioritize, what to let go of, and how to navigate the chaos in a way that sets you up for real connections and opportunities. And the best part is, the insights translate far beyond Cannes. Whether you are heading to AFM, Sundance, or your first regional festival, there is something here you can immediately apply.

You can read the full blog here: https://www.stage32.com/blog/so-youre-going-to-cannes-a-survival-guide-f...

After you read, I would love to open this up to the community:

What has been your biggest surprise when attending a festival or market, or what are you most curious or nervous about if you are planning your first one?

Jump into the blog comments as well to ask Lauren your questions directly or share your own hard-earned tips. These kinds of conversations are where preparation turns into confidence.

i would like to see if anyone knows the proper, legal, and safest way to send my movies to editors, colorist etc ? thanks in advance

https://youtu.be/2i4vHA2zYCI

Hi! I’m the writer/director/one of the producers for an indie feature film. the film is a romantic comedy, the run time is 96 minutes, we’re currently in post production and I’m trying to talk to distribution companies now for the intent of getting released into a platform for SVOD or AVOD after it has a (hopefully fruitful) festival run. any suggestions would be really great about where to seek out those companies, how to talk to them, etc! thanks again :)

Global success stories like 'The Secret Agent' and 'I'm Still Here' have reawakened a vibrant cinematic culture that goes back decades, but has been decimated by political shifts. Now its power players are seizing the opportunity for lasting change.

Read more here:

https://www.hollywoodreporter.com/movies/movie-features/secret-agent-bra...

No matter how strong a project is creatively, its success ultimately depends on how well it is positioned, marketed, and brought to the right audience. Distribution is where art and business truly collide, and understanding that side of the industry can completely change how you view development, production, and long-term strategy.

After more than three decades working across international distribution, production, and now publishing, I’ve seen the entertainment industry from many different angles.

From selling films territory by territory at global markets…

to producing projects…

to helping creators develop stories.

Over time, a few patterns become impossible to ignore.

Here are some of the truths the industry eventually teaches you. Feel free to add more in the comments below!

1. A great idea is not enough.

The industry runs on execution, relationships, and timing. Many brilliant ideas never make it to the screen.

2. The math always matters.

Behind every creative decision sits a financial reality: budget, recoupment, market demand.

3. Distribution determines destiny.

A beautifully made film without a distribution strategy can easily disappear.

4. Festivals are not a business model.

They can elevate a project, but they rarely guarantee financial success.

5. Casting is often a financial decision.

Recognizable actors or trending talent can unlock distribution discussions and investor confidence.

6. Relationships build careers more than projects do.

Projects come and go. The people who trust you and believe in you stay.

7. The market never stops changing.

What worked ten years ago—or even five—or even last Film Market may not work today.

8. Intellectual property has become incredibly valuable.

Books, articles, podcasts, and true stories increasingly drive development because they bring narrative depth and audience interest.

9. Ego has destroyed more projects than lack of talent.

I’ve seen films fall apart because of pride, politics, or power struggles, or just plain ignorance.

10. Reputation compounds over time.

In a relationship-driven industry, your name eventually becomes one of your most valuable assets.

Despite all of this, I still believe deeply in storytelling.

Because every once in a while, the right story finds the right collaborators at the right moment.

And when that happens, something extraordinary can still be created.

Going to Cannes this year? Let me help you refine your presentation (and mindset) in my very popular Stage 32 workshop.

Which of these truths do you think most creatives underestimate when it comes to distribution and getting their work seen?

I'm working on pitch decks for my various projects, and I had a couple of questions for anyone who might know.

1. For a film's pitch deck, should I put a synopsis in there or leave it out?

2. For a miniseries' pitch deck, should I put an overview of each episode (it's only 3 episodes long) as it encompasses the entire season or should I just overview the first episode?

Just read this IndieWire piece (https://www.indiewire.com/news/analysis/why-brands-will-not-finance-indi...) that goes into the brands aren't here to save indie film—they're changing it entirely. The key point: brands aren't just writing checks and walking away. They're building long-term assets designed to compound. That's a different game entirely.

But what really stands out is how branding has elevated the 2020s indie era in ways nobody predicted. Think about it. A24 isn't just a distributor anymore—it's a lifestyle brand. That little A24 logo in the corner of a poster tells you everything about the vibe, the tone, the audience. Neon has done the same thing, building a reputation for bold, awards-friendly films that feel dangerous in the best way.

And then there's Letterboxd. The rise of that app has completely changed how young audiences engage with movies. Logging a film, writing a review, curating your profile—it's turned movie-watching into a social activity. People aren't just seeing Past Lives or The Zone of Interest; they're showing their followers that they saw it. That's branding on a personal level.

For indie filmmakers, this shift is huge. Your film doesn't just need to be good anymore. It needs to feel like something people want associated with their identity. That's intimidating, but it's also an opportunity. The companies winning right now understand that audiences don't just consume content—they collect experiences.

What do you all think? Has the rise of Letterboxd and studio branding changed how you make or watch movies? Or is this just the industry overcomplicating things as usual?