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Canadian Cinema Pushes Its Evolution With Arthouse Pics, Auteurs, Indigenous Filmmakers and Animated Offerings at Cannes
Canada lands at Cannes with a mission to shift the conversation away from the havoc U.S. tariffs could wreak on the global film industry.
As recent successes (Matt Johnson’s SXSW Midnighter audience-award winner “Nirvana the Band the Show the Movie”) and this year’s festival and market titles reveal, Canadian filmmakers are twisting horror and comedy into new shapes and reinforcing the country’s historic strongholds of animation and documentary with new ideas. Félix Dufour-Laperrière’s experimental animated feature “Death Does Not Exist,” also premiering in Directors’ Fortnight, explores the specter of violence in a world-shifting fantasy about a young woman who flees into the forest after an attack on wealthy landowners goes horribly wrong. Its Buyer’s Showcase includes Montreal illustrator and director Sebastian McKinnon’s buzzy, world-building medieval fantasy “The Stolen Child” (Metafilms and Vancouver’s Cowpi Films), repped by Germany’s Picture Tree Intl.
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