State of the Art; Art of the State

Went to Telefilm Canada's web site recently to see what kind of films are being financed and subsequently unseen by Canadians this year.

I wasn't at all surprised to discover that of the 53 feature films financed, 64% of those films were produced out of Quebec!

But wait! Before you start bandying about epithets such as 'racist' and 'xenophobe,' I would like to take this opportunity to extol the virtues of Cinema in Quebec; it is by far one of the best cultural ambassadors we have to offer the rest of the world. In fact, I want to come back in my next life as a French filmmaker - why? Because there is a warmth, an earthiness, a quirkiness, a humanism, and a great sense of ironic humour about their films. There is also a deep-rooted cinematographic artistry which sometimes tends to elude more commercially-minded filmmakers of the other Solitude.

The Quebecois understand this - just by virtue of being next to English Canada and the States - which is why they have their own distinctive industry and star-system. I would much rather watch the thoughtful, provocative, artistic films of Denys Arcand, than say the chilly, calculating, cerebral, aloof, and in the end, not very interesting films of Atom Egoyan.

It didn't help in the 1970's when doctors, lawyers, used car salesmen, and other non-producers in English Canada took advantage of the generous 100% tax incentive of the Trudeau/Francis Fox era. They tainted the Canadian film industry by making the worst low-budget drivel this side of Roger Corman just so they could give their drinking buddies a terrific tax break. At the same time, the Australians were given a tax incentive of 150% and produced magnificent directors such as Bruce Beresford, Peter Weir, Gillian Armstrong, Paul Cox, Fred Schepisi and George Miller. These Wizards of Oz ushered in a new era of films such as 'My Brilliant Career,' 'Picnic at Hanging Rock,' 'The Chant of Jimmie Blacksmith,' 'Breaker Morant' and 'The Getting of Wisdom.' Meanwhile, the Canucks had to console themselves with films such as 'Terror Train.' We are still recovering...

There is a difference between a sincere, culturally cognizant art form, and the mini-mogul wannabe lifestyle that certain latté-sipping Toronto producers with cool crimson-framed glasses frequenting Hazelton Lanes tend to gravitate toward. (Wow, three hyphens in one sentence)! Thankfully, this is something the government officials at Telefilm have discerned, and are rewarding those who are in cinema for the right reasons.

Some of you cynics out there in Blogland may not agree, or care. What does it matter - you might say - the Americans have control of our screens anyway.