Canadians have a strange relationship with the films made in this country. Unlike in France and other European countries, many Canadians resent the use of tax money to fund filmmaking projects, and yet, without that funding, our films would never be made, never be seen. We just do not have the infrastructure to support a film industry to compete with Hollywood.
Having said that, Canadians have made some great films, which win international awards, including Academy Awards. I present a very biased list of my 10 favourite Canadian films. Not all of them could be termed “classics,” but the bulk of them have had some success, either here or abroad. More than anything else, these are films that have spoken to me in one way or another about what it means to be a Canadian. I’ve also tried to limit it to films that have been made in the past 20 years. While I appreciate films like Mon Oncle Antoine and Le declin de l’empire americain, I have only seen them years after, and in a context of analysis, rather than because I wanted to see them.
10. Termini Station (dir. Allan King, 1989)
This film was my first introduction to Canadian film. It was filmed in and around Kirkland Lake, in northern Ontario, where my biological father and his family live. He was so proud that his his town had been a movie set, and he took me to see it twice. Megan Follows plays Micheline, a young woman trapped in a small northern town. She has a problematic relationship with her mother, and longs to leave. It’s been awhile since I’ve seen it, but some scenes and impressions have stayed with me. It was also really neat to recognize locations in the film.
9. My Winnipeg (dir. Guy Maddin, 2007)
Guy Maddin is probably on the vanguard of Canadian feature-length experimental filmmaking. All of his films have a touch of the antique about them, either in setting, or in the use of materials which harken back to the silent era. Of all his films, though, (and I realize, by some Maddin fans, I’m considered an idiot) My Winnipeg is the most interesting to me. In it, he explores his personal history, his memories of the city where he grew up, and laments that change comes to all of us. This spoke to me on a personal level, for the places we come from never leave us, no matter what happens to them. For the Maddin neophyte, I think My Winnipeg is also his most accessible film.
8. One Week (dir. Michael McGowan, 2008)
Starring Joshua Jackson, One Week starts out with a bombshell: Ben Tyler has stage four cancer, and probably doesn’t have much longer to live. In order to come to grips with this news, he sets off on a cross-country motorcycle ride, and along the way, he sees the breadth and depth of Canada from Toronto to Trefino in British Columbia. What I love about this film is the breath-taking photography. If you’ve ever wondered what Canada looks like going westward, there is no better film for seeing the physical beauty of my country. It’s also darkly comic, too.
7. waydowntown (dir. Gary Burns, 2000)
Sadly-I’m-Bradley has a permanent shrine in the WUFS office in the form of a 2L pop bottle filled with marbles. waydowntown takes place in an office/apartment/retail complex of linked buildings where it is possible to live your life without ever having to go outside, and that’s exactly what the characters try to do. This is a “small” film, in scope and success, but my friends and I had a lot of fun watching it, and it left me thinking (long after the credits finished rolling) about the nature of cubicle farms and the monotony of corporate life.
6. Bon Cop, Bad Cop (dir. Eric Canuel, 2006)
After Porky’s, this buddy cop flick is the most financially successful film in Canadian history. It has everything good and bad about Canada and Canadian film in it: classic Canadian satire and comedy, Francophone stereotypes, Rest of Canada stereotypes, hockey fanaticism, our obsession with regionalism which is overcome always by a bigger threat. So, if it’s so great, why isn’t it higher on my list? Because, as fun as it is (and it is incredibly fun), all of the elements I’ve listed above make it a very superficial film. It is possible to walk away from seeing Patrick Huard and Colm Feore (who is one of my favourite actors, bar none, in this or any other country), and leave them in the dark of the theatre. It is, however, a wonderful romp!
5. The Sweet Hereafter (dir. Atom Egoyan, 1997)
Frankly, the fact that this film did NOT win the Academy Awards it was nominated for ticks me off, even if Titanic and L.A. Confidential were stiff competition. The lyrical beauty of this sadly allegorical film will take your breath away. The acting is pitch-perfect, the characters and the story stay with you long after you’ve seen it. Egoyan has made other, more accessible films, but never one as beautiful and heartbreaking.
4. C.R.A.Z.Y. (dir. Jean-Marc Vallee, 2005)
The music and times of the 60s and 70s serves as a backdrop for the eponymous sons (Christian, Raymond, Antoine, Zac and Yvan) of a tough French-Canadian father and his loving, harried wife. The film largely follows the second youngest, Zac, as he struggles with growing up Quebecois and homosexual. Zac’s need for his father’s approval and love leads him to question how and where he fits in in his family, and in the world. There is a beautiful sweetness about this film that I love.
3. Last Night (dir. Don McKellar, 1998)
The world is going to end tonight. You know it. Everyone knows it. It was announced on TV ages ago, and all evidence points to the veracity of the reports. What do you do on your last night on Earth? In mood and humour, it is much like waydowntown, and I find that the two make a very interesting double bill. Both films feature Don McKellar in tragi-comic roles, and both left me thinking long after. In the case of Last Night, I wondered if I would spend all the last day with my family? Would I try and follow Craig’s example? Would I crawl into bed in a fetal position and just read and cry? What would you do on your last day on Earth?
2. Le Violon Rouge/The Red Violin (dir. Francois Girard, 1998)

Simply put, this film restored my fascination with Canadian film. It is beautifully shot, epic in scale, lush and riveting. The Red Violin is a coveted object, not only for its storied history, but for the passion it inspires within the people who wish to possess it. The film follows the history of this violin through Italy, where it is created, to Austria, China, England, and finally, Montreal, where all the threads are tied together. For me, the setting of the end auction is particularly telling: Canada as a nation represents a place without much past where threads of a life can come together and help an immigrant forge a new identity, a new relationship with the world. Unlike in America (and I realize I could anger a few readers), Canada does not expect those threads to disappear in the light of the new identity. Such is Samuel L. Jackson’s Charles Moritz. Like everyone before him, he is entranced by The Red Violin, but his appreciation is manifested far differently. As a viewer, I felt The Violin was finally being placed in a position where it would be appreciated for itself, and not for what it can offer. We all need that.
1. Cube (dir. Vincenzo Natali, 1997)

It’s hard to clarify why I love this film in an easy way. It’s incredibly low-budget, it’s science fiction (not my favourite genre), and the acting is hit and miss. However, it’s an inventive, paranoid futuristic nightmare, and it features the inimitable David Hewlett (on whom I have a bit of a crush, to be honest). Again, this is the kind of film my friends and I could make, and yet…not. The characters seek to escape the confusing set of rooms they find themselves in, discovering clues to the nature of their puzzle, and each other, as they move through each room. There was one simple set, lit from the exterior, with a variety of coloured gels to give the idea that it is several rooms they are exploring. The practical aspect of making this film would be relatively easy enough to recreate, but the mood is impossible to recapture. You have to see it!