Canada and Quebec used their spotlight during day 2 of Bordeaux’s Cartoon Movie (3-5 March) to detail the financial mechanisms, tax incentives and international partnerships underpinning their audiovisual industries, with representatives from Telefilm Canada and SODEC – Société de développement des entreprises culturelles outlining how European producers can collaborate with Canadian partners.

Speaking on behalf of the former organisation, senior vice-president for Strategy, Programmes and Industry Development Francesca Accinelli explained that the federal agency, founded in 1967, receives roughly CAD 150 million (€94.5 million) annually from the Canadian government to support the national audiovisual sector. Its mandate, she said, is to invest in Canadian and indigenous cinema, and help it reach international audiences.

According to Accinelli, Telefilm Canada’s activities span the entire lifecycle of a project, from career development for filmmakers, through development, production and marketing, to international promotion. The agency also plays a role in export support and market presence, including operating the Canada Pavilion at several key international film markets.

Telefilm Canada additionally administers the treaty co-production framework that allows Canadian companies to partner with producers in more than 60 countries. On average, the organisation contributes around 30% of the Canadian share of a project’s budget. For majority co-productions, Telefilm can invest up to CAD 4 million (€2.52 million), while minority co-productions may receive up to CAD 500,000 (€315,000).

Animation was highlighted as a particularly strong sector for Canada. Accinelli noted that since 2021, Telefilm has invested around CAD 23 million (€14.48 million) in animated features across roughly 80 projects at various stages of development and production. She added that a new top-up programme launched at Annecy’s MIFA market aims to help animation projects transition towards international distribution and export.

Canada’s presence in international co-production frameworks was also emphasised. Accinelli pointed out that Canada remains the only non-European member of Eurimages, the Council of Europe’s co-production fund. Since it joined in 2017, 34 feature films have received Eurimages backing with Canadian participation, including six animated features.

Recent international successes were cited as examples of Canada’s global reach. Among them were the animated feature Night of the Zoopocalypse, which has reportedly grossed more than CAD 11 million (€6.9 million) worldwide, and The Girl with the Pearls from the National Film Board of Canada, nominated in the Best Animated Short Film category at the Academy Awards.

Accinelli added that Telefilm has developed a series of co-production accelerator initiatives under the RDV Canada banner, designed to foster collaboration with partners around the world. These programmes have included initiatives linked to MIFA as well as the Germany Animation Lab.

Following Telefilm’s overview, Élaine Dumont, director general of SODEC, presented Quebec’s regional support framework. She explained that SODEC is a state-owned organisation responsible for supporting cultural industries across multiple sectors, including audiovisual production, publishing, music, digital media and performing arts.

Within the audiovisual field, SODEC provides financial support through grants and investments for development, production and promotion, while also administering tax incentives and operating its own financial institution offering bridge financing, loans, gap financing and equity investments.

Dumont noted that Quebec’s audiovisual sector enjoys a strong international reputation, particularly in animation and visual effects. One recent animated feature supported by the region, she said, has been sold in more than 100 territories worldwide.

Quebec typically supports around 20 majority Quebec feature films annually. Dumont indicated that, in some cases, SODEC, combined with provincial tax credits, can become the lead investor in a project’s financing structure. She added that minority co-productions represent another important area of activity, with approximately eight such projects supported each year.

For international partners, minority co-productions undergo a business evaluation examining several factors, including the project’s financing status, its economic impact in Quebec, the promotion of Quebec talent abroad and the strength of the distribution partnership. Reciprocity between producers was described as a key principle in building long-term collaboration.

Dumont also detailed Quebec’s tax incentives. A refundable tax credit for film and television production services offers 25% of eligible expenses incurred and paid in Quebec, with additional bonuses of up to 16% for computer-generated effects, animation and chroma-key shooting conducted in the province.

Film financing in Quebec, she explained, is typically assembled through a combination of investments from SODEC and Telefilm Canada, provincial and federal tax credits, minimum guarantees and international pre-sales.

SODEC also supports distributors handling Quebec films internationally by providing financial assistance aimed at boosting marketing and visibility in foreign territories.

Both speakers stressed that official treaty co-productions allow participating projects to access national funding mechanisms and incentives in Canada or Quebec. For international producers, they said, partnering with Canadian companies can therefore unlock additional financing opportunities and strengthen the prospects of global distribution.