We made this film because it allowed us to illuminate, from a never-before-seen vantage point, a human drama playing out on an almost global stage.
A spirit of pure invention informs the latest edition of Hothouse which got underway on November 15. That’s when the National Film Board opened the doors of its famous animation studios to six young animation artists from across Canada.
The role of women in World War 2 on the home front and overseas is seen in five National Film Board documentaries produced during the war.
On the surface, the story of Charity seems specific to the suburban development in Markham, Ontario. However, the web documentary resonates with larger issues about identity, belonging, and self-representation in suburban environments throughout Canada.
Two hilarious, short, animated films from the 1950s produced at the National Film Board are discussed in detail.
Parties, DJs, MCs, urban dance styles, rap battles, radio and television programs: Montreal has moved to the rhythm of hip-hop for over forty years. But how did this movement really begin in Quebec? Do we know its true roots?
The NFB began producing educational material after the end of World War II. But what did this material actually consist of? Answer: the filmstrip.
In October 1964, the National Film Board sent director Don Owen and a small crew to film a college campus tour featuring four of Canada’s poets: Irving Layton, Earle Birney,...
History goes in cycles, and we need to learn from our past and build bridges that open dialogue. I am an Arab, even if I’m a Jew. Those two are not incompatible. I want people to see Baghdad Twist as a universal story, about a woman, a family, a community
Can artificial intelligence develop mental illness? Shirin Anlen, along with the NFB and Atlas V, explored this question for nearly two years, until the collaboration came to an end before...
Filmmaker Gilles Groulx was born in 1931 and would have turned 90 on August 30. The anniversary of his birthday is an opportunity to reflect on the significance of this director and his work.
By the time I decided to make this documentary, I had known Luben and Elena for 20 years, and I’d witnessed their growth as artists and human beings.