The following is a guest post from Oscar®-winning filmmaker Chris Landreth about his upcoming release, Subconscious Password.

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Subconscious Password, my latest short film, travels to the inner mind of a fellow named Charles Langford, as he struggles to remember the name of his friend at a party. In his subconscious, he encounters a game show, populated with special guest stars:  archetypes, icons, distant memories, who try to help him find the connection he needs: His friend’s name.

The film is a psychological romp into a person’s inner mind where (I hope) you will see something of your own mind working, thinking, feeling. Even during a mundane act like remembering the name of an acquaintance at a party, someone you only vaguely remember. To me, mundane accomplishments like these are miracles we all experience many times each day.

Here’s an excerpt from the film:

As you can probably tell, these characters are not real people; they’re CG-animated synthetic actors. You know this because although they’re realistic, they don’t quite move and look like real people.

Welcome to the Uncanny Valley

Many of you know what this is. The Uncanny Valley describes a common problem that audiences have with CG-animated characters. Here’s a graph that shows this:

Follow the curvy line from the lower left. If a character is simple (like a stick figure) we have little or no empathy with it. A more complex character, like Snow White or Pixar’s Mr. Incredible, gives us more human-like mannerisms for us to identify with.

But then the Uncanny Valley kicks in. That curvy line changes direction, plunging downwards. This is the pit into which many characters from The Polar Express, Final Fantasy and Mars Needs Moms fall. We stop empathizing with these characters. They are unintentionally disturbing, like moving corpses. This is a big problem with realistic CGI characters: that unshakable perception that they are animated zombies.

We often settle on one adjective to describe this perception:  “Creepy.”  Once that word becomes part of your vocabulary for a film’s characters, it’s Game Over for that film.

I think the Uncanny Valley is really about our instinct for trust and honesty in imagery. Snow White is clearly a hand-drawn character.  She is honest about her non-humanness — so we willingly overlook the artifice of her appearance, and trust her. The characters in The Polar Express are not honest. On a certain level we’re told to believe that they’re real, but we can feel that they’re not — their eyes don’t move quite right, their movements are slightly too fluid. We instinctively feel that we’re being hoodwinked by the filmmakers, and we stop trusting: “That’s creepy.”

Because of this, the allure of realistic human CG characters has greatly diminished over the last 10 years or so. You still see these CG characters in high-end games, and extras in live-action movies, and as the occasional villain in feature films (think Jeff Bridges’ doppelganger in Tron Legacy), but not as lead characters in animated movies. No one is likely to bring back Hero Boy from The Polar Express anytime soon. The value of land in the Uncanny Valley has plunged to zero. There are no buyers.

Well, except perhaps me.

Some of you know that my films have a certain obsession with visual realism with their human characters. I like doing this. I find value in this realism that goes beyond simply copying what humans look and act like. If used intelligently and with imagination, realism can capture something deeper, something weird and emotional and psychological about our collective experience on this planet. But it has to be honest. That’s hard.

When making this film, we knew we were going into the Uncanny Valley. We did it because your subconscious processes, and mine, are like this valley. We project our waking world into our subconscious minds. The ‘characters’ in this inner world are realistic approximations of actual people, without actually being real. This is the miracle of how we get by. My protagonist, Charles, has a mixture of both realistic approximations and crazy warped versions of the people and icons in his life. He is indeed a bit off-kilter. But he gets by, like most of us do. As you probably have guessed, both Charles and the Host are self-portraits. I want to be honest in showing you this world. My own Uncanny Valley. You have one too. It’s something to celebrate.

Subconscious Password goes into this forbidden Valley on purpose. And why not? The land there is cheap; nobody wants to be there today. But perhaps we’ll see that there’s some farmable land here after all.

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Photo Credits:

The image from Mars Needs Moms is courtesy of Screencave.com.

The image from Polar Express is courtesy of Wikia.com.

The NFB, as one of Canada’s most prolific documentary producers, knows that the research, and visual research, invested in a project in the development stage is key to a strong, compelling documentary. Just about every film includes content – photo stills, footage and music – wherein rights need to be cleared before the film is ever screened.

RiP! A Remix Manifesto (Brett Gaylor, 2008) is a feature length documentary that, with music-sampling genius Girl Talk, delves into the ethics, history and legalities of copyright in Canada and internationally.

As a producer and researcher, I learn more each year about what it takes for those images and sounds to flow seamlessly for an audience.

There’s commercial use, editorial use, educational use, fair dealing and content that is available in the public domain, all of which affect whether rights can be secured and how much they’ll cost.

There’s also the issue of how the Internet and evolving technology has changed the way audiences receive their content.  (See: various interactive NFB projects!)

What’s involved in visual research, clearance and copyright?

When clearing rights to an image, footage or song, there can be several layers. First there’s the photographer or cinematographer who took the picture or shot the footage – and did s/he or sell those rights to an image bank or broadcaster? Next, the people, artwork or commercial brands that appear in the image or footage have rights too. And even still, if the image includes an actor, fees may be required to ACTRA, UDA or SAG, or whichever guild represents the actor. Sometimes, footage may contain music that needs to be cleared.

Many films hire original composers because it can be much more cost effective than paying the rights for just a few seconds of a popular song.  And clearing a song has several layers: synching the music to the image, licensing the master recording, publisher rights, and is it a cover song or does it contain samples of another artist within?

Even content that appears to be free because it’s in the public domain requires certainty that it’s not a new version. And buyer beware: some people change public domain content by adding music or titles, and charge for it – when the original version may still be available free!

Content intended for international audiences must adhere not just to Canadian copyright law, but the laws of the international audience.

Producers can make the costly mistake of having an inexperienced researcher tracking down their footage, stills and music.  Consequences can include having to go back to the edit (going over time and budget) to remove what isn’t cleared, ending up in court, big money payouts and/or having a film shelved.

The Visual Research Society of Canada

The Visual Research Society of Canada // Association des recherchistes en audiovisuel du Canada was founded six years ago by Elizabeth Klinck and a group of people who do visual research.  Elizabeth is an award-winning filmmaker and researcher who teaches master classes on research and rights clearances and who has researched an astounding number of Canadian films. With VRSC membership across Canada approaching 100 researchers, and rebate agreements with some of the best footage, stills and music libraries in the world, as well as ongoing media rights training, VRSC has become an important resource and force in Canadian film and television.

For each image you see, for each sound you hear, as you watch your favorite films, know that a whole world of behind-the-scenes visual research and clearance work brought it to life, and to you, our audience.

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Alexandra Yanofsky is a film and television producer and researcher. She produced the NFB Films The Colour of Beauty, Jaded and Taxi Libre, for Work for All, an initiative about racism at work. Alexandra is a member of the Visual Research Society of Canada.

When I mentioned A Journal of Insomnia in a hat-tip to sleep-deprived moms in my Mother’s Day post, I knew I had to return for a more in-depth exploration.

Are you one of the many people who’ve experienced the the irritable moods, stinging eyes, sore body, the exhausted and even surreal state where dreams and wakefulness begin to bleed into each other, the slow-motion stumbling to keep up with the well-rested world around you – and you still can’t sleep?

Hugues Sweeney, producer of this interactive web documentary that created buzz at Tribeca Film Festival, pondered insomnia as he stayed up nights with his newborn daughter.

And so was inspired the NFB’s collection of thousands of personal experiences on sleeplessness: videos, drawings, and written messages shared to create the first interactive documentary that requires participants to make an appointment with one of four insomniacs in the middle of the night to experience the full project.

I made my appointment with some trepidation, as an occasional insomnia sufferer who doesn’t like to mess around with the chance at a good night’s sleep.

The site has hypnotic, ambient sound, and I was sure I could hear a clock ticking faintly in the background. Tweets with the hashtag #insomnia appeared and disappeared ephemerally, some in languages I didn’t recognize.  I chose one of the four insomniacs to make my appointment (Francis, the firefighter from Montreal.)

Shortly afterward, I received an email thanking me for “agreeing to surrender part of your night in order to experience collective insomnia,” with a link to access to the full experience at the appointed time.   At that time (11:30PM – way past my bedtime), my phone rang: I was invited in.

This time, I was able to fully access the stories of the participants – the featured insomniacs, Fatiha, Sarah, Tina and Francis – and the many others who shared their impressions of their sleepless nights, by writing, drawing or recording on-camera.

And I was invited to share mine.  So if you visit A Journal of Insomnia and see this message among many: “At night, I finally have time to check in with myself.  If I don’t get that time in the day, I stay up for it,” – that was yours truly.

Although we can make light of insomnia while the sun shines, sleep-deprivation causes serious physical, cognitive and emotional problems. A Journal of Insomnia includes a resource page with hotlines for people suffering with anxiety, burnout and suicidal thoughts.

There is something amazing about the dovetailing of art and technology used to create a collective documentary experience about this frustrating problem usually experienced in solitude.

It’s quite late now, as I write this. You should go check out A Journal of Insomnia now. Me?  I’m going to (try to) call it a night.

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Alexandra Yanofsky is a film and television producer and researcher. She produced the NFB Films The Colour of Beauty, Jaded and Taxi Libre, for Work for All, an initiative about racism at work. Alexandra is a member of the Visual Research Society of Canada.

In 2013, we continued to add to our online collection, which currently has over 1700 films for your viewing pleasure. Curious to know what the most viewed films online are lately around these parts? Here’s your countdown of the Top 5 most-viewed NFB films that were published online in 2013:

5. Tokyo Girls (Penelope Buitenhuis, 2000)

This feature documentary begins with the words: “It’s a game we all agree to play.  We are buying and selling dreams.” The film follows 4 young Canadian women who worked in Tokyo as hostesses in the “mizu-shobai,” exclusive Japanese nightclubs running a not-quite-legal enterprise. Here, powerful men pay for companionship, to feel special, interesting and attractive. The women are paid to talk, laugh and ensure the drinks keep flowing.  Some may call it easy money, but this film’s closer examination of the trade shows it’s anything but.

4. Glenn Gould – On The Record (Wolf Koenig and Roman Kroitor, 1959)

Koenig and Kroitor teamed up (as they did to follow Paul Anka in classic short doc Lonely Boy, recently explored on our blog), to follow famed Canadian pianist Glenn Gould to New York City for a behind-the-scenes look at him recording at Columbia Records in this short documentary.  If you enjoy this film, I recommend you also take a look at Glenn Gould – Off the Record (1959), in which Koenig and Kroiter joined Gould at his cottage!

3. Mobility (Roger Hart, 1986)

Tracing the movement of people from poor rural villages to industrialized cities in developing nations, this short documentary examines challenges that still hold true. Transportation affects the most basic needs of inhabitants, many of whom have arrived in utter poverty seeking better lives and opportunities. This doc shares amazing, disturbing and thought-provoking visuals from cities around the world, and how people move within them, and offers what still may be a surprisingly simple solution.

2. Pigbird (Richard Condie, 1981)

This hilarious, short animation was produced for Customs and Excise Canada, by Oscar®-nominated animator Richard Condie. A hapless man tries to smuggle a creature through customs, and we are treated in the most amusing way possible to the disastrous consequences that ensue.  (I wondered if the appearance of Pigbird at #2 on this list had anything to do with this year’s infamous case of Justin Bieber’s customs-confiscated capuchin monkey?  Justin: watch this film. You can thank me later.)

1. The People of the Kattawapiskak River (Alanis Obomsawin, 2012)

Our most-viewed film published online this year is longtime NFB filmmaker Alanis Obomsawin’s vital documentary on the ongoing housing crisis faced by the First Nations people of Attawapiskat.  This past year, the Idle No More movement made headlines as Chief Theresa Spence went on a hunger strike and called for emergency help to address the crisis.

This film gives a deeper understanding to the people affected by this crisis – which is far from solved – and how we are all implicated. I’m glad to see this film has been the most-viewed of our films published in 2013, and I’m hoping so much that together, we are doing more than just watching, but working toward real solutions. (Note: This film is available for download and/or 48-hour rental.)

Sifting through the online collection at NFB.ca I discovered 3 films and 1 interactive project which, although completely different from one another, connect beautifully with the theme of mothers and Mother’s Day.

Sylvia Hamilton says, at one point in her film Black Mother Black Daughter, “When I look at my daughter Shani, I hope her world will be a better place than it was for us.  But because she is Black and female, she will certainly face discrimination. So Shani needs the same identity and self-worth that my mother gave me.”

This POV doc movingly shares both the infuriating legacy of injustice and mistreatment of the Black community over centuries in Nova Scotia, as well as the strength of the people who have fought to make headway, positive change and reparation.

Stories We Tell (2012), which award-winning filmmaker Sarah Polley wrote about here on our blog, is the unraveling of the shocking secrets and truths her mother Diane left when she passed away when Polley was a child, as recalled by her loved ones. Stories We Tell won the 2013 Canadian Screen Award for Best Feature Documentary and will be available for download in Canada from NFB.ca and iTunes as of May 21.

This next project is presented in honour of all the moms of young babies who don’t sleep through the night! (Make my espresso a double.) A Tribeca Film Festival pick, A Journal of Insomnia is an artful online collection of individual experiences on sleeplessness, where viewers are invited to connect via online appointment with an insomniac of their choice.  There’s something powerful about coming together with a problem most-often experienced in frustrated solitude.

Finally, do you ever feel like you need a change in perspective? Take a look at this film about the mother of us all: Mother Earth by Terre Nash. She brilliantly culled footage from 50 years of NFB films- both live action and animated – to create a study in contrasts and capture the pulse of life on our planet.  Quiet moments in nature are juxtaposed with factories bellowing smoke; marching, gun-toting soldiers with babies being born. If you’ve been sweating the small stuff, give yourself a 10 minute break with this film: guaranteed to leave you with a sense of wonder and awe.

Happy Mother’s Day!

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Alexandra Yanofsky is a film and television producer and researcher. She produced the NFB Films The Colour of Beauty, Jaded and Taxi Libre, for Work for All, an initiative about racism at work. Alexandra is a member of the Visual Research Society of Canada.

During the winter of 2011–2012, the National Film Board of Canada built an igloo—as an interactive installation for the public in downtown Toronto. Over 2,500 people had the opportunity to help construct it out of precut Styrofoam, while watching Douglas Wilkinson’s classic NFB documentary How to Build an Igloo.

This allowed for fun, hands-on learning, and let people imagine what it might be like to work with snow. A time-lapse video of the igloo being built played on a loop throughout the day. Once construction was complete, participants were rewarded with the opportunity to lie inside the igloo and watch clips from the NFB films The Northern Lights and It’s Snow projected onto the ceiling. Also, to mark the launch of the Unikkausivut: Sharing Our Stories DVD box set, selected clips from the compilation were projected onto individual “snow” bricks on the exterior of the igloo.

In April 2013, the Canadian Museum of Nature in Ottawa and the NFB partnered up for the Extraordinary Arctic festival and brought the Far North to the capital. The exhibition celebrated the 100th anniversary of the Canadian Arctic Expedition.

For this event, Dan Thornhill, Coordinator of Technical Support for the NFB’s Education team (and co-author of this blog post), designed a second and much more durable igloo made of flexible foam (polyurethane) coated with latex. Approximately 9-ft wide by 5.5-ft tall, it was like a giant toy.

Each block was individually measured and then cut by hand, using a hot wire. Figuring out the inward lean required to arc the walls to the desired height was straightforward, as was figuring out the angles to cut the blocks to fit together on the bottom row. But once the bottom row was finished and the slope was cut, calculating became very complicated.

It was tempting to skip the slope and build up row on top of row, but this model needed to stay true to the film, like a real igloo. Two qualified AutoCAD designers sat down with Dan, convinced they could help; but in the end it was too complicated to pre-plan all the angles.

Ironically, How to Build an Igloo played continuously during construction, and you could hear the narrator (Wilkinson) saying: “Engineers and architects have found no better way of building an igloo.” The team discovered it was indeed easiest to customize each block in place, Inuit-style. The slope did prove to be key near the top, as each block gained support from the previous one and the one below.

Building an igloo with foam was a slow process, so it was a little painful for Dan to hear “a single Inuit can build an overnight igloo in 40 minutes.” He often dreamed of being in 40-below weather on the west shore of Hudson’s Bay, instead of in a foam-filled room.

Stay tuned for news of the Igloo visiting a location near you!

This is a guest post written by Laurence Desrosiers-Guité, NFB Education Specialist, and Dan Thornhill, Coordinator of Technical Support, NFB Education

The Globe and Mail recently compiled their list of the most influential, must-watch documentaries ever made since 1895. It was exciting to have 2 NFB classics included!

One of the films that made the list, Lonely Boy, was featured on our blog last month. Wolf Koenig and Roman Kroitor‘s 1962 documentary let us peek inside the star-making machinery behind the rise of teenage heartthrob of the time, Paul Anka.

Today, let’s head back in time again for The Back-Breaking Leaf (1959), also included in The Globe and Mail‘s must-watch list, a look at the tobacco harvest in Southern Ontario by Terence Macartney-Filgate.

The portability of the camera – in the 1950s, new technology – allowed a fly-on-the-wall (or in the fields) perspective in the cinematography, and wonderfully candid, intimate interviews with the workers and farmers. The viewer is brought along on the journey for every compelling and fascinating detail.

The film captures the tail end of a time when migrant workers once came to Southern Ontario for an opportunity to make big cash working the tobacco fields for just a season. The sandy soil of the region made tobacco Ontario’s biggest cash crop, but a risky one, as the plant could flourish or perish depending on the unpredictable weather. Time was of the essence in getting the job done, in unbearably hot and wet conditions. Collapse in the field was common. Many men would drop out over the first days, but some would come back every season. The reason for the title of the film – The Back-Breaking Leaf – becomes apparent in the viewing.

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Alexandra Yanofsky is a film and television producer and researcher. She produced the NFB Films The Colour of Beauty, Jaded and Taxi Libre, for Work for All, an initiative about racism at work. Alexandra is a member of the Visual Research Society of Canada.

How does mental health affect you, your loved ones and your community?

This week (May 6 – 12) is the Canadian Mental Health Association’s 62nd Mental Health Week. This week is our opportunity to discuss, learn about and reflect upon mental health. One in five Canadians experience mental illness. If you’re not the one in five, chances are that someone you love is. The instability, danger and stigma of mental illness can leave us and our loved ones at risk of having some of our most basic needs unmet: health, housing and even love.

Here at Home: Homelessness and Mental Health

Here at Home, an interactive NFB production in collaboration with the Mental Health Commission of Canada, documents a 4-year experiment to end homelessness for people with mental illness, upending models that have been tried and found unsuccessful.  In this study, participants struggling with long-term cycles of mental illness, addiction and homelessness are housed before they are medicated, healthy and sober – instead of after.

Here at Home shares the disturbing statistics on mental illness among those with nowhere to call home.  But this interactive web doc also shines a light on the people affected and the reality of their lived experiences, making a deeper connection to the hearts and minds that are so much more than just numbers. The participants struggling to find stability and safety, and the service providers and researchers working with them, share their stories in short films by Sarah Fortin in Montreal, Manfred Becker in Toronto, Darryl Nepinak in Winnipeg, Lynne Stopkewich in Vancouver and Louiselle Noël in Moncton.

Part of taking care of each other, when it comes to mental health, is having the tremendous courage it takes to break the stigma surrounding mental illness.  That courage is shown by some of Canada’s most vulnerable citizens in this innovative, thought-provoking and moving web doc.

Watch a clip below, and experience the full project on the Here at Home website.

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Alexandra Yanofsky is a film and television producer and researcher. She produced the NFB Films The Colour of Beauty, Jaded and Taxi Libre, for Work for All, an initiative about racism at work. Alexandra is a member of the Visual Research Society of Canada.

“Why do you like jumping?” the interviewer asks Tom Barry, a young stunt driver who briefly appears in The Devil at Your Heels.

“Psychiatrists have all sorts of theories and reasons, and whatnot,” he says from behind his aviator shades and fluffy blonde beard.

“They say everything from people having masculinity complexes to suicidal tendencies. I really don’t think it’s any of those. You know, I was told a long time ago by my mother, she said: if life is boring, risk it.”

As the weather warms and people pull their sweet summer rides out of garage hibernation, check out 3 films about reckless gentlemen who get creatively destructive with wheeled vehicles. From stunt driving to motorcycle racing to rocket-powered Lincoln Continentals, here’s a little something to knock the boring straight out of life – even if only by proxy.

The Devil at Your Heels

The crown-jewel of this brash trio, this film tells the baffling true story of Ken Carter, a man with an ardent yet unusual dream. Carter already makes a juicy living jumping cars and defying death but he wants more. He wants to pull the greatest daredevil stunt of all times. He wants to jump a car over the distance of a mile, over the St-Lawrence seaway.

If you think that sounds like a terrible idea, factor in the fact Carter wants to attempt this in a custom-made rocket-powered car. The film, shot over 5 years, follows our stuntman in his surreal quest. The whole thing, as you can imagine, is one brilliant illustration of Murphy’s Law after another: everything that can go wrong, does go wrong – and splendidly.

First there’s the massive ramp that can’t be finished in time because of dismal weather. Evel Knievel, sent by ABC to assess the operation’s readiness files a negative report and ABC pulls its funding. “Looks like a dangerous jump to me, boy,” Knievel warns. “If you land on that water you better have someone to get you in a hurry.”

Then there’s the fuel tank that won’t stop exploding during dry runs. Then the entire car needs to be redesigned. The whole time, money is threatening to run out. Throughout, Carter maintains good spirits, frolicking in the pool of his Ft. Lauderdale home and saying stuff like “Rome wasn’t built in a day.” His obsession is mystifying, totally pointless and yet uncannily noble. Ken Carter is not one for giving up.

You’ll have to watch The Devil at Your Heels to see how the whole venture pans out, but odds are high you won’t regret doing so. The film, funny and full of action, explosions, and suspense, positively glows with Carter’s determination and slick, late 1970s fashion statements. (I loved his “turtleneck and chains” look as well as his brown and white polka dot shirt.)

For those who might be into this sort of thrill but don’t have an hour and 40 minutes to spare, check out The Mad Canadian, a 10-minute primer on Ken Carter’s roadside antics, before the rocket cars and all that jazz. You see him jump 12 cars, which is pretty wild, and walking out of the wreck, smashed ankle and all, promising a repeat performance the very next day. Mad Canuck indeed.

Ride for Your Life

For those who think car jumps are for wusses (all that metal padding!) here’s a film about yet another breakneck venture: motorcycle racing. Our hero is Mike Duff, a strapping young Grand Prix motorcycle road racer from Toronto. We meet Duff, who won the 1965 Finnish Grand Prix, after he’s just smashed his hip to smithereens in Japan.

There’s fairly gory footage of his hip replacement, and hints of underwater physio, but in no time, our racer is back in his zippered leather one-piece and zooming away, ninja-like, on his death engine. (You can tell the film is nearly a half century old by marveling at the total absence of sponsor badges and logos on the racers’ suits. Eery.)

The film itself, just short of 10 minutes in length, is full of daring camera angles and poetic blurs. Duff, sporting a brilliantined hairdo that’s half Tintin, half Elvis, tells the camera he wants a world championship title, while aknowledging his wife won’t be sad when he finally quits. “She wants a home,” he says, from the shade of their RV. Something about him – the coyness? the looks? – reminds one of Ryan Gosling in Drive.

Amazingly, Duff emerged from his biking career alive. In the decades since Ride for Your Life was filmed, the racer has moved on. In 1984, Mike became Michelle, and began transitioning into a woman. These days, Ms. Duff lives in an isolated cottage in central Ontario where she does photography and writes children’s fiction. True story.

Canada Vignettes: Stunt Family

The family that pulls stunts together stays together? Meet the Fourniers, a family from Drummondville, Québec, that crashes cars for a living. Under the guidance of its cigar-smoking patriarch, Marcel, the clan has participated in over 100 films and seen 2,000 smashed windshields up close and personal. Witness the Fournier tribe’s fitness in this action-packed 3-minute ultra short.

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The Devil at Your Heels official poster.

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The Mad Canadian official poster.

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Ride for Your Life official poster.

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This morning in Toronto, Tom Perlmutter, the head of the NFB, announced that we will be driving an initiative to launch a new international multi-platform destination for viewing and engaging with the world’s best documentaries. The service will be on a subscription basis, and will include new forms of interactive documentary and will feature content that is curated, bilingual and eventually multilingual. It will launch in 2014 with an initial rollout in North America and Europe.

Audiences for documentary festivals like Hot Docs and IDFA are growing. People are increasingly searching to deepen their understanding of the world around them, and documentaries help them do that. There is currently only a very limited existing service that provides documentary audiences with a focused, coherent way of accessing the great work that is being produced worldwide. This new NFB service will do exactly that. As Tom Perlmutter notes -

As one of the most important world centres for documentary, we have a responsibility to audiences here and around the world, and to the documentary community, to respond to those needs.

As the initiator and promoter of this project, the NFB will take advantage of its existing investments (in digital platforms, systems, infrastructure, content development) and expertise. The NFB will act as a catalyst, and work in co-operation with prestigious national and international partners to implement and develop the service.

World Doc Project (Trailer) by ONFB , National Film Board of Canada

For more information, read the full press release.