UniversalCinema Film & TV Journal’s Amir Ganjavie recently interviewed Carolyn Mauricette, a critic, film writer, and the Director of Canadian Programming for Fantasia Fest. What follows is some of that interview.
Amir Ganjavie, UniversalCinema Magazine (UM): Can you tell us a little about the section you program?
Carolyn Mauricette (CM): [It’s] called Septentrion Shadows. That word actually just means from the north, so I thought that was cool to name it since we’re in the Northern Hemisphere.
(UM): What is the selection process like for your section?
(CM): I’m programming specifically Canadian titles. I curate them in that one section. I also want to focus on across Canada, because there seems to be, and it’s within the nature of the beast where most films come from Toronto, Vancouver, and Montreal. Because that’s like the triangle of Hollywood North, right? That it just happens that way because they’re the largest city centers. But I still keep my eye out for films from PEI, or I programmed a film from Halifax last year called Compulsus and it was like a queer feminist revenge thriller. I do try to make it all-encompassing, so that’s my goal with the Canadian programming. I think Canadian film has such a bad reputation, where people roll their eyes, “Oh, it’s Canadian film.” We’re changing that now because I think the changes in the Canadian Screen Awards, and just all the talent that’s coming out of Canada, that’s definitely changing. That’s my long-winded answer.
(UM): How many films do you usually receive and how many can you program?
(CM): We always have a wealth of short films. I just always have short films. With the feature films, I’m going to say maybe, let’s see, maybe about 25, anywhere from 15 to 25. I personally think it’s just difficult to get things rolling here for feature films. A short film you can totally make independent. I’m sure as a filmmaker it’s a lot easier to just get your crew together for like, maybe a weekend, three days. Shoot your film and then it’s left up to you and your editor and your sound designer to get everything sorted. But I think with feature films it’s more of an undertaking. So, I think that’s why we don’t get a lot. Also, I think a lot of festival competition is like streaming services, people want to go that route as well.
My section gets eight features. Then I them with a short film. This year, we are going to have a Canadian Shorts Program as well. So, I’m very excited about that because there were so many I had to leave behind last year and it crushed me. But it’s nice to have a shorts program now. That hasn’t been announced yet, but we’re doing a shorts program.
(UM): What’s the definition of a good movie for you?
(CM): Oh my gosh. It just really varies. Personally, I like a very tight story. It doesn’t necessarily have to have a concrete resolution, just to really captures you and gets you really involved with it. And well-written characters. So again, even if maybe it doesn’t have a concrete resolution, you’re just really behind that character and you’re concerned, like, you want to know what happens. I like a good villain.
I just think, something that really grabs you. First of all, I try to be really objective. Does it look good? Is it going to look good on a big screen? Is the sound good? Because that’s a problem – if there are sound issues and it varies from scene to scene. And then, I just get my Spidey senses going and I’m like, oh, this is really speaking to me on another level. And sometimes I’ll be watching a film for 5-10 minutes and I’m like I want to program it. It’s a weird vibe that I get too. So, I think it’s a bit of both a technical and emotional attachment to the film. Although I don’t think being emotionally attached to the film is a good thing sometimes. You have to really make yourself objective and say, I love this film, but is it going to work for the audience? I had to pass on a couple of really great films, but they just didn’t quite work for the audience. Like people are paying for a ticket, right? They’re trusting you as a programmer to bring them something unique or something really interesting.
(UM): I’m attending lots of film festivals and seeing Canadian films, and they are often good, but not great. It often seems Canadian films play it safe, and don’t try to be bold or provocative. Do you have any thoughts on this?
(CM): That’s interesting. It’s an interesting point. I think for instance, David Cronenberg pushes the envelope when it comes to controversy in terms of visually the body horror and the gross-out factor and what he has to say about his subject matter and his stories. So, I think in that way because I’m immersed in genre, so that’s what I tend to look at. And I do program for another film festival, Blood in the Snow, where it’s all Canadian Genre Films. So just seeing all the genre filmmakers, I think that they do just within that area, I think they do push the envelope. And I think that I would like to see Canadian filmmakers get a bit more experimental. There’s a lot of really good experimental films out there, I think that would be really cool. But to respond to your question, I think that with our reputation in Canada being like “the nice country,” which I think it’s like a stereotype that it’s deceiving, I think it’s just that we’ve got that weight on our shoulders of being nice and trying to break out of that. I don’t know, I think the genre filmmakers, they do try to push the envelope. I really do. I think that people like David Cronenberg and now his son Brandon Cronenberg, I think they’re the pinnacle of pushing that genre envelope and telling those stories that are shocking and have commentary on society as well. Like, I loved Infinity Pool. Oh my God, it’s so good. Just such a commentary on privilege. I remember reading a Facebook post and somebody was saying it would be a great combination with Triangle of Sadness. I don’t know if you saw that film?
(UM): I saw both of them.
(CM): Okay. I was screaming during the storm in Triangle of Sadness, screaming. And I think in that way, we’re really pushing it within the genre, but I think sometimes people get rose-colored glasses and look at what Hollywood’s making, and they do want to continue that. Maybe they think that that’ll catch the eye of international attention? But I guess just Canada does have that sensibility of being nice, so sometimes maybe people fall under that trap. I don’t know how to put it.
(UM): No. I understand because I had this conversation with other filmmakers and friends who are saying sometimes that in Canada there is no concern or there is no push towards national cinema and nobody cares about Canadian cinema or Canadian identity. This is a huge problem for the Canadian film industry. We are promoting a lot of diversity, but sometimes you feel that there is no definition or there is no sense of being Canadian that impacts how filmmakers or artists could address their art. This is, it seems to be a big problem for at least culture because there is not too much support from the government for Canadian content.
(CM): Well, and it’s very true because you see an American filmmaker, and they could be from like Malaysia or something, but they were born in America and they would say this is my American experience. Right? I totally see, like, they have a very defined identity in the States and here in Canada, I think here there’s a push for multiculturalism. I get that’s an old-school word because I remember it in high school, but like, there’s a push to keep your identity. But I think within that, it’s true, Canada doesn’t have [an identity[, aside from being a country where everybody thinks that it’s like the land of milk and honey, whereas America is the land of opportunity. I think that’s why we don’t have a defined identity because I think in a way, Canada’s identity is to keep your identity, if that makes any sense. This is like the overview where assimilation isn’t pushed, but it’s like we’re being our nice selves, we’re like, well, you keep your identity, it would be good for you to integrate into Canada, but you could keep your identity. That’s how we are here, right? We want to know what your background is and your identity is, and I think that’s what makes it Canadian. It sounds really weird, but just talking it out with you, I think that the Canadian identity is to keep your identity to make it known where you’re from within your daily lives I guess. Does that make sense?
(UM): Yeah, it totally makes sense and I understand. Given the fact that you are a giant film festival, how is the importance of having crowd-pleasers?
(CM): Oh, it’s everything, because again, they’re paying for passes. They’re paying for their tickets. They have an expectation, especially with Fantasia, that when you’re going to Fantasia, you are going to get like the cream of the crop of: Asian genre, the best in animation, the best in what’s out there. That’s why the programmers are out there going to different festivals scouting films. There are so many submissions to go through. So, the expectation we have is to have either a crowd pleaser, something outside of the box that they’ve never seen, or something that they’ve heard about that they really want to see. I think that there’s a real expectation on the programmer’s side to bring them something that they’re going to blow their minds, right? Not everything’s going to be a hit. Like you’re going to think, oh my God, they’re going to love this film and then when you like, oh, I thought that more people would like this. And I think it’s definitely to please the audiences and it’s to showcase filmmakers that they may not have been exposed to as well.
(UM): Do you have quotas and how does diversity factor in?
(CM): Well, I think like just whittling it down to Canadian identity is keeping your own identity within Canada. So having said that, I want to represent the Canada that you see when you’re on the bus. You see people from everywhere on the bus. I think that’s true for most provinces and most cities in Canada. That’s the only thing I gun for is that I want to show, there’s no, like set quotas. Nobody’s saying you have to do this, this, and this and this, but I want a nice blend that represents the Canada we’re living in. As a black woman or woman of color, of course, I want to see myself represented. I want to see my Asian friends represented. What’s great with Fantasia is that it’s an International Film Festival, so you’re going to get films from all over the world, so that already checks the block. But for Canadian [films] specifically, I do want to maintain that as well. So sometimes it may not be as diverse as I’d like it because say people are always making their films and it might not be finished in time, so they might be there for the next film. I programmed a South Asian filmmaker’s film (The Protector from writer/director Lenin M Sivam). I had a queer woman director (Tara Thorne of the previously mentioned Compulsus). What else did I have? Oh my gosh. I programmed a queer documentary about queer wrestling (Out in the Ring). So I really do want to represent Canada as we are experiencing it. Instead of like most of the time, there’s like an all-white cast. I think that, that has a trickle-down effect where directors now, even if they are white, they realize that their cast can be diverse. That you can hire a diverse cast.
(UM): How do you hear about new films? Is it through submissions, through FilmFreeway? Is it through talking with distributors?
(CM): Absolutely. It’s a mix of both. I’m very happy that I’ve seen some really great films being submitted, really, really great films. So very happy about that. Then you go to film festivals and that sort of thing, and we have relationships with distributors as well. Just find out what’s new. I think it’s just a mix of both.
(UM): Sometimes a programmer told me that, for example, if a movie is recommended by a distributor, they take it more seriously because they feel that it has already passed one screening level. Is it also true for you?
(CM): I think if the film works, I’ll program it. There is something to consider, like, it’s from this director, it’s got this cast. You have to think about the draw, if will this bring in people because they know this director and they know that it’s a great cast. So, there’s that to consider as well. I don’t think I’m heavily influenced, I try to really stay objective, but it’s hard.
(UM): Very hard.
(CM): You have to stay objective and you’d be like, okay, they’re really behind this film, but you have to consider what they’re telling you, and you have to consider what’s best for the festival.
(UM): We already talked about the fact that in Canadian society people sometimes try to be very nice. But suppose that, for example, I’m a filmmaker and I am introducing a very controversial movie to you, a movie that brings controversy. For example, I’m making a movie against abortion. If it was a good movie, would you consider it for your festival, or are there certain red lines?
(CM): Well, I know Fantasia loves to push boundaries. That’s where you go to see boundary-pushing films. However, within the programming team, and this is my second year, so I’m the newbie, but I know 100% that they would never program and I would never program something that is blatantly offensive or targets a group, like a minority group or something that promotes an ideology that is not humanitarian. You know what I mean, like in terms of offense, like I know that The Sadness was programmed it was that zombie film and it was really gory and it just went for it. It was quite a shocking film. That ended up being like a buzz film. But I know that there’s a great discussion when a film comes up and it has something in it that might be a red flag, there’s a lot of discussions. So, we’re not going to do it because it’s simply controversial. There’s a lot of discussion behind whether a film should be programmed, especially if it’s targeting a group or it’s anti-Semitic or anti-woman or homophobic, that sort of thing.
(UM): Remember Robin Wood, who wrote a lot on genre he had very interesting takes on genre movies. He always discusses the fact that a movie at the surface might look for example, very bad or very against the norms, but it might have other dimensions that make it very interesting. I remember he was homosexual, but even in the movies that were homophobic, you sometimes find the elements that were critical of homophobia. I’m just curious if those kinds of nuances that a movie could bring or had some influence on your decision.
(CM): Well, I really believe that the voice of the creator is very important. Like if there’s a director from the LGBTQ+ community who’s making a film about someone who’s homophobic, that’s a lived experience. They’ve experienced homophobia, right? So that is very important, to see who’s making the film, what perspective it’s coming from. So even if it is controversial, they’re representing their experience. Whereas if say a white director is writing about something that’s really controversial and their character is a black woman and they pull on a lot of stereotypes, that’s problematic because unless that character is written by a black woman and they clearly state that it’s really intricate because you have to see where that experience is coming from. And this is why it’s so important now more than ever, to have people who have that lived experience have a voice. The directors, the writers, they have to come from that community. I think in order to have an authentic perspective.
Anyway, there’s a film called Fast Color. It’s one of my favorite films, and it’s about three generations of black women, and they have like, supernatural powers. The script was written by a white woman, however, she workshopped the script with the cast, the black women, and got that authenticity, and it was like a collaboration. So as long as that’s happening, that’s fine. But I really think you need the authentic voice.
(UM): We discussed a little bit about the Canadian film industry and the problems that they have. How you are trying to promote Canadian Filmmakers in your festival, do you provide any financial support, award prizes, etc.?
(CM): There are tons of awards. And because Fantasia is so established, this is the 27th year, so it’s tried and true. There’s no real issue with support for the films at all, because, it’s just such an established film festival that I am so honored. We were providing feedback on a film the other day, and it was a film that I never thought I would see. I’m so grateful that I have this job because I don’t think I would’ve ever seen this film.
(UM): Then my last question, this is your second year, and I’m just curious about your vision, about your section, and what are your goals for the future of it?
(CM): I just want to promote that Canadian film is great we have so much talent here. You’re a filmmaker yourself. I think my goal is just to support Canadian filmmakers because as you know very well, it’s really hard to get a film made here. A lot of people go out of pocket to make their films.
(UM): Exactly.
(CM): Some get the funding and some don’t. If that’s your passion and you want to make a film, you’re going to make the film. Right? I want to support that. I just think it’s a lot easier to make. I’m not speaking from experience, but I know people in the States and it just seems a little bit easier to make a film over there. Someone’s going to invest in your film be an executive producer and go, here’s some money. Here it’s like, well, can you tell me a little bit more about this? What’s this and what’s that? It’s just, I don’t know. So, I just want to support Canadian filmmakers. I want to support genre because I still get eye rolls when people hear that I’m a genre film programmer. Then they look at me funny. It’s like, oh, but you’re a black woman. I’m like, yes. I guess that’s my goal, just to promote genre, and get the respect it deserves.
(UM): Anything else to add?
(CM): Just support film festivals because we work so hard to get those films out to the festival goers. I’m telling you, programmers are the most passionate people about film. A lot of them are filmmakers, I don’t make films, but I am so passionate about film and I just want people to support film festivals because a lot of them are non-profits.
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