LIVE MUSINGS of GREG KLYMKIW during the 32nd Annual Genie Awards - Celebrating Excellence in Canadian Cinema

Here is a reprint of some of my musings during the 32nd Annual Genie Awards as they sprouted from my mind, shot through my fingers and spewed into cyberspace.

By Greg Klymkiw

The pre-show show is now going on for the "less important" awards. They gave the Golden Reel Award to Starbuck. This is still the weirdest award ever - given to the highest grossing Canadian movie of the year. Do the Oscars acknowledge the highest grossing film of the year with an award? No, because supposedly such awards ultimately (or supposedly) have to do with artistic achievement.

A Dangerous Method won Best Art Direction and Production Design. Here in the press room, Richard Crouse is up on a mini-stage interviewing him (and other winners) for our benefit while the pre-show is broadcast without sound. Richard graciously takes a lot of time with the winners and allows ample opportunity for questions from the assembled press corps. Still, there are murmurings from a few that they'd rather be watching the pre-broadcast show onstage.

Crouse is now interviewing the winners of the various short film prizes. I think I will eat my hot buffet while this is going on.

Great, the Jutra prize for first feature films is also deemed unworthy of the live broadcast. Way to support emerging talent, CBC!!!! Winner Anne Emond, director of Nuit #1 is gracious in the press room and Crouse does a lovely job interviewing this clearly intelligent, talented young filmmaker. Too bad the CBC didn't think it was worth broadcasting her win to the rest of Canada.

La Nuit, Elles Dansent / At Night, They Dance is the winner of Best Feature Documentary Award. It's about a family of Belly Dancers. Something tells me Julia Ivanova's movie Family Portrait in Black and White about a woman who cares for unwanted mixed-race orphans in Ukraine got hosed.

Fantastic, they're doing the tribute to great Canadians in the movie business who died during the pre-show. Way to go, CBC. Way to support our cultural heritage and the passing of those who contributed to it, by NOT sharing it with the rest of the country.

I'll grant that Starbuck is not much good, but again it sucks that the Best Original Screenplay Award is presented in the pre-show. Way to go CBC! Way to support screenwriting!

HERE IS MY DELICIOUS MEAL:

The live broadcast has begun. Some guy I've never heard of is singing a lame song.

Viggo - not surprisingly - wins Best Supporting Actor. His speech is going on a bit. Big deal. It's Viggo. The orchestra is playing - signalling to Viggo to get off the stage. Viggo is making a funny Canadiens joke. CBC wants Viggo offstage. Now Viggo is unfurling a Habs flag. They still are trying to urge him to leave. What to go CBC! Real classy! I guess they have something better to air after the Genies. God knows, the CBC would not want to go overtime.

Oh Jesus, they have figure skaters skating during the Best Song nominees. Way to go CBC! Kitsch Galore!

Backstage, Viggo admits to wearing a pair of Ken Dryden's old gitch and that in spite of a few holes in them, they're very clean.

Ingrid Veninger has just asked if she should have some lasagna now. I choose not to stop her.

That cute little girl from Monsieur Lazhar just won. In my heart I knew this was the no-brainer decision, but part of me thought that the Academy would toss a nod to The Whistleblower here. I was wrong. Happily wrong.

Oh Jesus, more figure skating!

This show is moving so fast it's kind of oppressively dull because of it. Sort of like how Michael Bay cuts his movies.

Strombo: Wondering how people are doing in their Genie Pools? Genie Pools? Is this some kind of hot tub?

Had myself a nice cigarette outside while Falardeau picked up his Best Director Genie.

Sorry folks, I'm going to switch to Facebook and Twitter for awhile. See you there.

GENIE AWARDS 32 - By Greg Klymkiw - The Nominees, What Should Have Been Nominated, What Should Have Won If The Genies Had Bothered To Nominate It, What Should Win, What Will Win, What DID Win

The 32nd Annual Genie Awards
and The First Annual Klymkiw Genie Awards
By Greg Klymkiw

A new day is dawning on the Genie Awards (Canada's version of the Oscars) with a whole new Board of Directors and a new head honcho, the inimitable Canadian Cinema Dynamo: Helga Stephenson. I'm also happy to report that the 32nd Awards ceremony is finally back where it belongs and will be broadcast on Canada's Peoples' Network, the Canadian Broadcasting Corporation (CBC). When the CBC decided a few years ago to stop participating in the Genie Awards I was utterly gob-smacked! Ratings be damned! The CBC is a public broadcaster and has a duty to celebrate homegrown cinema. End of story!

In keeping with this momentous event, please find below all the Genie Nominee categories I care to cover. Each category will list the official nominees, but will be accompanied with my own picks for films that SHOULD have been nominated and films that SHOULD have won had the Genie Awards bothered to Nominate them. These categories (highlighted below in bold italics) comprise my picks for The First Annual Klymkiw Genie Awards. You'll also notice in a couple of categories my own personal picks for what's best DO correspond to the Genie nominations.

I will also opine on what of the nominated films SHOULD win (as determined pour moi) and my predictions on what WILL win.

The full list of the First Annual KLYMKIW Genie Awards will Be Summarized at the bottom of this piece, so if you don't feel like going through all the other stuff and ONLY want to see what I think represents the best of Canadian Cinema in 2011, just scroll down.

Some of the Canadian films that I chose for my own accolades didn't even bother submitting their films to the Genie Awards for a variety of reasons - either the fees to enter the awards were too high or they just didn't think the Genie Awards were worth entering. I've personally always had a problem with the idea of producers having to submit their films for consideration and PAY for the privilege. Every film released within the Academy's guidelines should be considered and should NOT have fees attached to them. It lacks class. End of story.

During the awards I will report on the actual winners of the awards live from the Genie Awards Press Room and update this column when this information becomes available. I might also present a few quips along the way at the bottom of this piece and occasionally tweet a few thoughts on Twitter (so you're welcome to check in here and/or follow me on Twitter @GregKlymkiwCFC).

As you'll see below, many of my own nominees and winners differ considerably from the Genie nominees, but as James Cagney says in Raoul Walsh's Strawberry Blonde, "Thet's just the kind of hairpin I am."

I left a few categories right off that I have no opinion on (Best Song and all the shorts), but everything else is detailed below. In reality, I can't imagine too many people outside of the Canadian film industry will be watching and/or care, but perhaps the ratings will prove me wrong. In any event, Let's have a blast.

Just before we begin,
feel free to watch the
32nd GENIE AWARDS TRAILER



Best Motion Picture

A Dangerous Method – Martin Katz, Marco Mehlitz, Jeremy Thomas
Café De Flore – Pierre Even, Marie-Claude Poulin, Jean-Marc Vallée
Monsieur Lazhar – Luc Déry, Kim Mccraw
Starbuck – André Rouleau
The Whistleblower – Christina Piovesan, Celine Rattray

What Should Have Been Nominated But Wasn't:

Daydream Nation - Trish Dolman, Christine Haebler
Father's Day – Lloyd Kaufman, Astron-6
Keyhole - Jody Shapiro
Le Vendeur - Marc Daigle, Bernadette Payeur
Take This Waltz - Susan Cavan

What Should Have Won
If The Genies Had Bothered To Nominate It:

Le Vendeur - Marc Daigle, Bernadette Payeur

What Should Win Based Upon The Nominees as They Stand:

Monsieur Lazhar – Luc Déry, Kim Mccraw

What Will Win:

Monsieur Lazhar – Luc Déry, Kim Mccraw

And the winner is:

Monsieur Lazhar – Luc Déry, Kim Mccraw

Achievement In Art Direction/Production Design

Jean Bécotte – Funkytown
Aidan Leroux, Rob Hepburn – Edwin Boyd: Citizen Gangster
James Mcateer – A Dangerous Method
Patrice Vermette – Café De Flore
Emelia Weavind – The Bang Bang Club

What Should Have Been Nominated But Wasn't:

In Darkness - Erwin Prib
Keyhole - Ricardo Alms, Matt Holm
Le Vendeur - Mario Hervieux
The Mountie - Jim Goodall

What Should Have Won
If The Genies Had Bothered To Nominate It:

Keyhole - Ricardo Alms, Matt Holm

What Should Win Based Upon The Nominees as They Stand:

Emelia Weavind – The Bang Bang Club

What Will Win:

James Mcateer – A Dangerous Method

And the winner is:

James Mcateer – A Dangerous Method

Achievement In Cinematography

Miroslaw Baszak, C.S.C. – The Bang Bang Club
Pierre Cottereau – Café De Flore
Jon Joffin – Daydream Nation
Jean-François Lord – Snow & Ashes
Ronald Plante – Monsieur Lazhar

What Should Have Been Nominated But Wasn't:

In Darkness - Jolanta Dylewska
Keyhole - Benjamin Kasulke
Le Vendeur - Michel La Veaux
The Mountie - Rene Smith
Take This Waltz - Luc Montpellier

What Should Have Won
If The Genies Had Bothered To Nominate It:

Le Vendeur - Michel La Veaux

What Should Win Based Upon The Nominees as They Stand:
Miroslaw Baszak, C.S.C. – The Bang Bang Club

What Will Win:
Pierre Cottereau – Café De Flore

And the winner is:

Jean-François Lord – Snow & Ashes

Achievement In Costume Design
Denise Cronenberg – A Dangerous Method
Farnaz Khaki-Sadigh – Afghan Luke
Ginette Magny, Emmanuelle Youchnovski – Café De Flore
Heather Neale – Keyhole
Marie-Chantale Vaillancourt – Funkytown

What Should Have Been Nominated But Wasn't:

In Darkness - Jagna Janicka, Nadine Kremeier, Katarzyna Lewinska
Manborg - Astron-6

What Should Have Won
If The Genies Had Bothered To Nominate It:

Manborg - Astron-6


What Should Win Based Upon The Nominees as They Stand:

Heather Neale – Keyhole

What Will Win:

Denise Cronenberg – A Dangerous Method

And the winner is:

Marie-Chantale Vaillancourt – Funkytown

Achievement In Direction

David Cronenberg – A Dangerous Method
Steven Silver – The Bang Bang Club
Jean-Marc Vallée – Café De Flore
Philippe Falardeau – Monsieur Lazhar
Larysa Kondracki – The Whistleblower

What Should Have Been Nominated But Wasn't:

Daydream Nation - Michael Goldbach
Father's Day - Astron-6
Keyhole - Guy Maddin
Le Vendeur - Sebastien Pilote
Take This Waltz - Sarah Polley

What Should Have Won
If The Genies Had Bothered To Nominate It:

Le Vendeur - Sebastien Pilote

What Should Win Based Upon The Nominees as They Stand:

Philippe Falardeau – Monsieur Lazhar

What Will Win:

Philippe Falardeau – Monsieur Lazhar

And the winner is:

Philippe Falardeau – Monsieur Lazhar

Achievement In Editing

Jean-François Bergeron – The Year Dolly Parton Was My Mom
Michael Czarnecki – In Darkness
Patrick Demers – Jaloux
Stéphane Lafleur – Monsieur Lazhar
Ronald Sanders, C.C.E. A.C.E. – A Dangerous Method

What Should Have Been Nominated But Wasn't:

Father's Day - Adam Brooks
Keyhole - John Gurdebeke
Le Vendeur - Michel Arcand
The Mountie - Kerry Davie
Take This Waltz - Chris Donaldson

What Should Have Won
If The Genies Had Bothered To Nominate It:

Father's Day - Adam Brooks

What Should Win Based Upon The Nominees as They Stand:

Michael Czarnecki – In Darkness

What Will Win:

Ronald Sanders, C.C.E. A.C.E. – A Dangerous Method

And the winner is:

Stéphane Lafleur – Monsieur Lazhar

Achievement In Make-Up

Christiane Fattori, Frédéric Marin – Café De Flore
Amber Makar – Amazon Falls
Virginie Paré – Bumrush
Tammy Lou Pate – Snow & Ashes
Leslie Ann Sebert, David R. Beecroft – Take This Waltz

What Should Have Been Nominated But Wasn't:

Father's Day - Steven Kostanski
Manborg - Steven Kostanski

What Should Have Won
If The Genies Had Bothered To Nominate It:

Manborg - Steven Kostanski

What Should Win Based Upon The Nominees as They Stand:

Christiane Fattori, Frédéric Marin – Café De Flore

What Will Win:

Christiane Fattori, Frédéric Marin – Café De Flore

And the winner is:

Christiane Fattori, Frédéric Marin – Café De Flore

Achievement In Music – Original Score

Ramachandra Borcar – Jaloux
Mychael Danna – The Whistleblower
Martin Léon – Monsieur Lazhar
Philip Miller – The Bang Bang Club
Howard Shore – A Dangerous Method

What Should Have Been Nominated But Wasn't:

Father's Day - Brian Wiacek
Keyhole - Jason Staczek
Manborg - Brian Wiacek, Jeremy Gillespie
The Mountie - Ivan Barbotin

What Should Have Won
If The Genies Had Bothered To Nominate It:

Manborg - Jeremy Gillespie, Brian Wiacek

What Should Win Based Upon The Nominees as They Stand:

Howard Shore – A Dangerous Method

What Will Win:

Howard Shore – A Dangerous Method

And the winner is:

Howard Shore – A Dangerous Method

Performance By An Actor In A Leading Role

Fellag – Monsieur Lazhar
Garret Dillahunt – Oliver Sherman
Michael Fassbender – A Dangerous Method
Patrick Huard – Starbuck
Scott Speedman – Edwin Boyd: Citizen Gangster

What Should Have Been Nominated But Wasn't:
In Darkness - Robert Wieckiewicz
Keyhole - Jason Patric
Father's Day - Adam Brooks
Le Vendeur - Gilbert Sicotte
Take This Waltz - Seth Rogen

What Should Have Won
If The Genies Had Bothered To Nominate It:

Le Vendeur - Gilbert Sicotte

What Should Win Based Upon The Nominees as They Stand:

Fellag – Monsieur Lazhar

What Will Win:

Fellag – Monsieur Lazhar

And the winner is:

Fellag – Monsieur Lazhar

Performance By An Actor In A Supporting Role

Antoine Bertrand – Starbuck
Kevin Durand – Edwin Boyd: Citizen Gangster
Marin Gerrier – Café De Flore
Taylor Kitsch – The Bang Bang Club
Viggo Mortensen – A Dangerous Method

What Should Have Been Nominated But Wasn't:

Father's Day - Mackenzie Murdock
Keyhole - Louis Negin
Marécages - Gabriel Maillé
Marécages - Luc Picard
The Mountie - Earl Pastko

What Should Have Won
If The Genies Had Bothered To Nominate It:

Keyhole - Louis Negin

What Should Win Based Upon The Nominees as They Stand:

Viggo Mortensen – A Dangerous Method

What Will Win:

Viggo Mortensen – A Dangerous Method

And the winner is:

Viggo Mortensen – A Dangerous Method

Performance By An Actress In A Leading Role

Catherine De Léan – Nuit #1
Pascale Montpetit – The Girl In The White Coat
Vanessa Paradis – Café De Flore
Rachel Weisz – The Whistleblower
Michelle Williams – Take This Waltz

What Should Have Been Nominated But Wasn't:

Daydream Nation - Katt Dennings
Father's Day - Amy Groening
Manborg - Meredith Sweeney
Marécages - Pascale Bussières

What Should Have Won
If The Genies Had Bothered To Nominate It:

Marécages - Pascale Bussières

What Should Win Based Upon The Nominees as They Stand:

Take This Waltz - Michelle Williams

What Will Win:

The Whistleblower - Rachel Weisz

And the winner is:

Vanessa Paradis – Café De Flore

Performance By An Actress In A Supporting Role

Roxana Condurache – The Whistleblower
Hélène Florent – Café De Flore
Julie Lebreton – Starbuck
Sophie Nélisse – Monsieur Lazhar
Charlotte Sullivan – Edwin Boyd: Citizen Gangster

What Should Have Been Nominated But Wasn't:

Daydream Nation - Katie Boland
In Darkness - Agnieszka Grochowska
Keyhole - Isabella Rossellini
Le Vendeur - Nathalie Cavezzali

What Should Have Won
If The Genies Had Bothered To Nominate It:

Le Vendeur - Nathaie Cavezzali

What Should Win Based Upon The Nominees as They Stand:

Sophie Nélisse – Monsieur Lazhar

What Will Win:

Roxana Condurache – The Whistleblower

And the winner is:

Sophie Nélisse – Monsieur Lazhar

Achievement In Overall Sound

Stéphane Bergeron, Yann Cleary, Lise Wedlock
– Marécages

Pierre Bertrand, Shaun Nicholas Gallagher, Bernard Gariépy Strobl
– Monsieur Lazhar

Jean Minondo, Jocelyn Caron, Gavin Fernandes, Louis Gignac
– Café De Flore

Lou Solakofski, Stephan Carrier, Kirk Lynds
– The Bang Bang Club

Orest Sushko, Christian Cooke
– A Dangerous Method

What Should Have Been Nominated But Wasn't:

Manborg - Jeremy Gillespie
Keyhole - John Gurdebeke, Lou Solakofski, Stan Mak
Le Vendeur - Stéphane Bergeron, Olivier Calvert, Gilles Corbeil

What Should Have Won
If The Genies Had Bothered To Nominate It:

Keyhole - John Gurdebeke, Lou Solakofski, Stan Mak

What Should Win Based Upon The Nominees as They Stand:

Lou Solakofski, Stephan Carrier, Kirk Lynds – The Bang Bang Club

What Will Win:

Orest Sushko, Christian Cooke – A Dangerous Method

And the winner is:

Orest Sushko, Christian Cooke – A Dangerous Method

Achievement In Sound Editing

Fred Brennan, James Bastable, Gabe Knox, John Sievert
– You Are Here

Claude Beaugrand, Olivier Calvert, Natalie Fleurant, Francine Poirier
- Marécages

Wayne Griffin, Rob Bertola, Tony Currie, Andy Malcolm, Michael O’farrell
– A Dangerous Method

Martin Pinsonnault, Blaise Blanchier, Simon Meilleur, Mireille Morin, Luc Raymond
– Café De Flore

Jeremy Maclaverty, Daniel Pellerin, Geoff Raffan, Jan Rudy, John Sievert, James Mark Stewart
– In Darkness

What Should Have Been Nominated But Wasn't:

Keyhole - David McCallum, David Rose, Krystin Hunter
Le Vendeur - Olivier Calvert

What Should Have Won
If The Genies Had Bothered To Nominate It:

Keyhole - David McCallum, David Rose, Krystin Hunter

What Should Win Based Upon The Nominees as They Stand:

In Darkness
- Jeremy Maclaverty, Daniel Pellerin, Geoff Raffan, Jan Rudy, John Sievert, James Mark Stewart

What Will Win:

A Dangerous Method
- Wayne Griffin, Rob Bertola, Tony Currie, Andy Malcolm, Michael O’farrell

And the winner is:

A Dangerous Method
- Wayne Griffin, Rob Bertola, Tony Currie, Andy Malcolm, Michael O’farrell

Original Screenplay

Anne Émond – Nuit #1
Eilis Kirwan, Larysa Kondracki – The Whistleblower
Ken Scott, Martin Petit – Starbuck
Jean-Marc Vallée – Café De Flore
Ryan Ward, Matthew Heiti – Son Of The Sunshine

What Should Have Been Nominated But Wasn't:

Daydream Nation - Michael Goldbach
Father's Day - Astron-6
Keyhole - George Toles, Guy Maddin
Le Vendeur - Sébastien Pilote
Marécages - Guy Édoin

What Should Have Won
If The Genies Had Bothered To Nominate It:

Keyhole - George Toles, Guy Maddin

What Should Win Based Upon The Nominees as They Stand:

None of them

What Will Win:

Jean-Marc Vallée – Café De Flore

And the winner is:

Ken Scott, Martin Petit – Starbuck

Adapted Screenplay

Philippe Falardeau – Monsieur Lazhar
Ryan Redford – Oliver Sherman
David Shamoon – In Darkness
Steven Silver – The Bang Bang Club

What Should Win Based Upon The Nominees as They Stand:

David Shamoon – In Darkness

What Will Win:

Philippe Falardeau – Monsieur Lazhar

And the winner is:

Philippe Falardeau – Monsieur Lazhar

Achievement In Visual Effects

A Dangerous Method -
Dennis Berardi, Mathew Bornett, Mike Borrett, Wilson Cameron, Ovi Cinazin,
Jason Edwardh, Oliver Hearsey, Jim Price, Milan Schere, Wolciech Zielinski

Snow and Ashes
Éve Brunet, Jacques Lévesque, Philippe Roberge
Marc Côté, Stéphanie Broussaud, Gary Chuntz, Vincent Dudouet,
Cynthia Mourou, Eric Normandin, Martin Pensa, Luc Sanfaçon, Sylvain Théroux,

Café De Flore -
Nathalie Tremblay

Bumrush -
Geoffroy Lauzon

Edwin Boyd: Citizen Gangster -
Tom Turnbull, Ian Britton, Robert Crowther, Tony Cybulski

What Should Have Been Nominated But Wasn't:
Manborg - Steven Kostanski

What Should Have Won
If The Genies Had Bothered To Nominate It:
Manborg - Steven Kostanski

What Should Win Based Upon The Nominees as They Stand:
Tom Turnbull, Ian Britton, Robert Crowther, Tony Cybulski – Edwin Boyd: Citizen
Gangster

What Will Win:
Tom Turnbull, Ian Britton, Robert Crowther, Tony Cybulski – Edwin Boyd: Citizen
Gangster

And the winner is:

Café De Flore -
Nathalie Tremblay

Best Feature Length Documentary

Beauty Day
– Jay Cheel, Kristina Mclaughlin, Kevin Mcmahon, Roman Pizzacalla

Family Portrait In Black And White
– Julia Ivanova, Boris Ivanov

The Guantanamo Trap
– Thomas Wallner, Amit Breuer, Patrick Crowe

La Nuit, Elles Dansent / At Night, They Dance
– Isabelle Lavigne, Stéphane Thibault, Lucie Lambert

Wiebo’s War
– David York, Nick Hector, C.C.E., Bryn Hughes, Bonnie Thompson

What Should Win Based Upon The Nominees as They Stand:

Family Portrait In Black And White
– Julia Ivanova, Boris Ivanov

What Will Win:

Family Portrait In Black And White
– Julia Ivanova, Boris Ivanov

And the winner is:

La Nuit, Elles Dansent / At Night, They Dance
– Isabelle Lavigne, Stéphane Thibault, Lucie Lambert

THE FIRST ANNUAL "KLYMKIW" GENIE AWARDS

BEST PICTURE NOMINEES
Daydream Nation - Trish Dolman, Christine Haebler
Father's Day – Lloyd Kaufman, Astron-6
Keyhole - Jody Shapiro
Le Vendeur - Marc Daigle, Bernadette Payeur
Take This Waltz - Susan Cavan

BEST PICTURE WINNER:
Le Vendeur - Marc Daigle, Bernadette Payeur

BEST ART DIRECTION/PRODUCTION DESIGN NOMINEES
The Bang Bang Club - Emelia Weavind
In Darkness - Erwin Prib
Keyhole - Ricardo Alms, Matt Holm
Le Vendeur - Mario Hervieux
The Mountie - Jim Goodall

BEST ART DIRECTION/PD WINNER:
Keyhole - Ricardo Alms, Matt Holm

BEST CINEMATOGRAPHY NOMINEES
In Darkness - Jolanta Dylewska
Keyhole - Benjamin Kasulke
Le Vendeur - Michel La Veaux
The Mountie - Rene Smith
Take This Waltz - Luc Montpellier

BEST CINEMATOGRAPHY WINNER:
Le Vendeur - Michel La Veaux

BEST COSTUME DESIGN NOMINEES
A Dangerous Method - Denise Cronenberg
Café De Flore - Ginette Magny, Emmanuelle Youchnovski
Keyhole - Heather Neale
In Darkness - Jagna Janicka, Nadine Kremeier, Katarzyna Lewinska
Manborg - Astron-6

BEST COSTUME DESIGN WINNER:
Keyhole - Heather Neale

BEST DIRECTOR NOMINEES
Daydream Nation - Michael Goldbach
Father's Day - Astron-6
Keyhole - Guy Maddin
Le Vendeur - Sebastien Pilote
Take This Waltz - Sarah Polley

BEST DIRECTOR WINNER:
Le Vendeur - Sebastien Pilote

BEST EDITING NOMINEES
Father's Day - Adam Brooks
Keyhole - John Gurdebeke
Le Vendeur - Michel Arcand
The Mountie - Kerry Davie
Take This Waltz - Chris Donaldson

BEST EDITING WINNER:
Father's Day - Adam Brooks

BEST MAKEUP NOMINEES & WINNERS:
Father's Day - Steven Kostanski
Manborg - Steven Kostanski
*NOTE* NOTHING COMES REMOTELY CLOSE
TO THE WORK IN THESE PICTURES.
NOTHING! NADA! THIS IS IT!

BEST MUSIC NOMINEES
A Dangerous Method - Howard Shore
Father's Day - Jeremy Gillespie, Brian Wiacek
Keyhole - Jason Staczek
Manborg - Jeremy Gillespie, Brian Wiacek
The Mountie - Ivan Barbotin

BEST MUSIC WINNERS:
Father's Day - Jeremy Gillespie, Brian Wiacek
Manborg - Jeremy Gillespie, Brian Wiacek

BEST ACTOR NOMINEES
In Darkness - Robert Wieckiewicz
Keyhole - Jason Patric
Father's Day - Adam Brooks
Le Vendeur - Gilbert Sicotte
Take This Waltz - Seth Rogen

BEST ACTOR WINNER:
Le Vendeur - Gilbert Sicotte

BEST SUPPORTING ACTOR NOMINEES
Father's Day - Mackenzie Murdock
Keyhole - Louis Negin
Marécages - Gabriel Maillé
Marécages - Luc Picard
The Mountie - Earl Pastko

BEST SUPPORTING ACTOR WINNER:
Keyhole - Louis Negin

BEST ACTRESS NOMINEES
Daydream Nation - Katt Dennings
Father's Day - Amy Groening
Manborg - Meredith Sweeney
Marécages - Pascale Bussières
Take This Waltz - Michelle Williams

BEST ACTRESS WINNER:
Marécages - Pascale Bussières

BEST SUPPORTING ACTRESS NOMINEES
Daydream Nation - Katie Boland
In Darkness - Agnieszka Grochowska
Keyhole - Isabella Rossellini
Le Vendeur - Nathalie Cavezzali
Monsieur Lazhar - Sophie Nélisse

BEST SUPPORTING ACTRESS WINNER:
Le Vendeur - Nathalie Cavezzali

BEST SOUND NOMINEES
The Bang Bang Club - Lou Solakofski, Stephan Carrier, Kirk Lynds
Manborg - Jeremy Gillespie
Keyhole - John Gurdebeke, Lou Solakofski, Stan Mak
Le Vendeur - Stéphane Bergeron, Olivier Calvert, Gilles Corbeil
Marécages - Stéphane Bergeron, Yann Cleary, Lise Wedlock

BEST SOUND WINNER:
Keyhole - John Gurdebeke, Lou Solakofski, Stan Mak

BEST SOUND EDITING NOMINEES:
In Darkness
Jeremy Maclaverty, Daniel Pellerin, Geoff Raffan,
Jan Rudy, John Sievert, James Mark Stewart
Keyhole
David McCallum, David Rose, Krystin Hunter
Le Vendeur
Olivier Calvert
Manborg
Astron-6
Marécages
Claude Beaugrand, Olivier Calvert, Natalie Fleurant, Francine Poirier

BEST SOUND EDITING WINNER:
Keyhole - David McCallum, David Rose, Krystin Hunter

BEST ORIGINAL SCREENPLAY NOMINEES
Daydream Nation - Michael Goldbach
Father's Day - Astron-6
Keyhole - George Toles, Guy Maddin
Le Vendeur - Sébastien Pilote
Marécages - Guy Édoin

BEST ORIGINAL SCREENPLAY WINNER:
Keyhole - George Toles, Guy Maddin

BEST ADAPTED SCREENPLAY NOMINEE AND WINNER:
David Shamoon – In Darkness
*NOTE* NOTHING COMES REMOTELY CLOSE TO THIS ONE,
IT'S GREATNESS AS AN ADAPTED SCREENPLAY CANNOT
BE TARNISHED BY ASSOCIATING IT WITH OTHERS.

BEST VISUAL EFFECTS NOMINEE AND WINNER:
Manborg - Steven Kostanski
*NOTE* FORGET ALL THE REST!!!
THIS IS THE CAT'S ASS!!!
THIS ROCKS BIGTIME!!!

BEST FEATURE DOCUMENTARY NOMINEE AND WINNER:
Family Portrait In Black And White
– Julia Ivanova, Boris Ivanov
*NOTE* NO PUSSY-FOOTING AROUND HERE!
THE BEST CANADIAN DOCUMENTARY I SAW ALL YEAR!

On the eve of the Genie Awards, Canada's newspaper of record in that dying medium has asked several experts to weigh in on their thoughts regarding the current state of Canadian Cinema. Here are my thoughts in response.

A collection of experts weighed in on "What the Canadian Film Industry Needs Most" via Gayle MacDonald in the March 7, 2012 Edition of the Globe and Mail. On the eve of the 32nd Annual Genie Awards, only one of them directly addressed what I suspect is the real problem. Here then are my responses to some of the comments and my own thoughts on the matter.

What the Canadian Film Industry Needs Most Is Less Punditry. That Said, Here's More Pundrity. It's the Canadian Way!

By Greg Klymkiw

CAMERON BAILEY

Cameron is one of Canada's most astute film critics and since he took over as co-director of the Toronto International Film Festival (TIFF), we're alternately all the better for it (as he seeks out great cinema for us to watch) and all the worse for it (since we don't get to read his punchy, musically-styled prose on cinema on a regular basis). Cameron suggests that English Canadian Cinema needs to snuffle back a bit o' that magical Quebec oxygen. He opines:

"Quebec is turning out films of ambition and depth that look outward rather than just in. I think there's talent equal to Quebec in the rest of Canada, but maybe somebody needs to throw open a window and let some of that air in."

I suspect Cameron would, if given a few more column inches, have admitted the whopping number of Quebec films that do NOT look outward. While many of these indigenously delightful Joual-tinged knee-slappers go through the roof in their home province, they certainly do zero business outside of French Canada (and not just in English Canada, but worldwide and EVEN in French-speaking territories outside of Canada).

Frankly, English Canadian Cinema has, especially since the late 80s and early 90s, often looked outward, and in fact, has performed extremely well in foreign markets. The list includes David Cronenberg, Atom Egoyan, Guy Maddin, Patricia Rozema, Vincenzo Natali, Brad Peyton and a whole whack of others. On the homefront, though, things are more dire. I shall opine on this later.

RUBBA NADDA

Rubba Nadda is the director of Sabah, Cairo Time and the upcoming thriller Inescapable. Here are her thoughts:

"Sometimes I just think it needs more balls, more courage. The Canadian industry is so afraid of taking risks. When I took the script for "Inescapable" to the United States, everyone wanted to do it. I got the first support from the States, not from Canada. It’s the Canadian way to hesitate."

I have no quarrels with this. Canada (particularly on the English side) is a country that is far too mired in the sort of bureaucracy that places emphasis on "fairness", "committee" decision-making, political correctness bordering on fascism and pathetically obvious self-serving nest-feathering which results in a seemingly conservative approach to all matters cultural. It's the Canadian way to smile whilst stabbing in the back instead of looking directly into one's eye as they gut you. This dweeb-ish cowardice is abominable. The worst thing is when purse-string holders - even within private business - are more apt to hide behind the proverbial "we". "The committee" is the oft-used term as opposed to "I". We need more people within the system to take personal responsibility for their often wrong-headed decisions - rooted in the kind of "well-meaning" approaches that are hardly a conducive approach to the "balls" and "courage" Ms. Nadda refers to above.

KEVIN DEWALT

Kevin Dewalt is one of Canada's most successful producers from Regina. He hits a nail on the head here that's been bugging me since I started in this industry.

"Canadian films need larger budgets to attract bigger international stars to compete in the international market place. There are tax schemes in Britain for private investors to invest in British films. The King’s Speech is a prime example. Without private-equity funding out of the U.K., this movie would never have been made. By creating similar private-investor programs in Canada, we would be able to increase our budgets and compete more effectively in the global marketplace."

Though I'm not sure larger budgets are ALWAYS going to be the answer, this country desperately needs an aggressive and progressive tax shelter. End of story. Everyone focuses upon the negative aspects of the Canadian tax shelter days, but for all the bad movies generated during that period, the number of artistically and/or commercially significant works produced then equals if not betters what's been generated without it. Filmmakers need the freedom to generate truly private investment. My oft-repeated no-brainer formula of aggressive tax shelters, larger tax credits and substantial tax incentives for marketing, exhibition and distribution may seem simplistic, but there's the old screenwriting adage, KISS ("Keep it simple, stupid") which is best applied to most things in life.

ROBERT LANTOS

Robert Lantos is the closest thing Canada has to a bonafide mogul. He began his illustrious career hawking the New York Erotic Film Festival and steadily built more than enough empires in this business based on his vision and astute dipping into every public trough imaginable. Here is the sum total of his thoughts on this:

"Prime-time access to and meaningful investment from broadcasters, as is the case in France, Germany, Italy, the U.K. and most other countries where films are made."

Thank you, Robert, for your detailed response.

NIV FICHMAN

Niv Fichman is not only a mensch and a half, he's produced one great Canadian film after another. Beginning his career overseeing some of the most world-class arts and culture productions ever made and then delivering gems like Last Night, The Saddest Music in the World and Hobo With a Shotgun, he can certainly be forgiven for his part in the recent career of Paul Gross (most notably Passchendaele and GOD HELP US ALL - Gunless).

"What Canadian film most needs right now is a new voice. The voice of a young generation that grew up with the Internet and YouTube and digital cameras and [video editing software] Final Cut Pro. A generation that has been making films since they were children and self-distributing their work on YouTube."

In theory, I agree. In practise, I think it's unhealthy to encourage the "anyone can make a film" tradition that's sprouted from the digital revolution. I do agree that genuinely talented young voices need to be supported. Interestingly, I think there already exists a new hope in English Canadian Cinema. They call themselves "Astron-6", a filmmaking collective from Winnipeg that's been generating a series of mind-blowing short films and two features for absolutely no money. Their influences have been 80s direct-to-video genre pictures as well as the post-modern flights of fancy already pioneered by their 'Peg confreres John Paizs and Guy Maddin. In 2011 these psycho kids - who are REAL filmmakers with a distinctive voice - delivered one of the most insane sci-fi love letters to the 80s I've ever seen. Imaginative, naughty and knee-splappingly hilarious, MANBORG, replete with tres-cool visuals, was made for just over $1000. Their other triumph is FATHER'S DAY, a truly brilliant splatter-fest that was made for a mere $10,000 (courtesy of Troma's Lloyd Kaufman) and has played theatrically all over the United States. This particular item focuses upon a serial killer from hell who specializes in raping and butchering fathers and is hunted down by a rag-tag group of brave avengers (led by a one-eyed Jason Statham-lookalike). This a truly warped, sick, funny, disgusting and deliciously bum-blasting masterpiece. Niv! These guys need someone just like YOU! Ditch this Paul Gross fellow and embrace the utter madness that is Astron-6.

INGRID VENINGER

Ingrid Veninger might well be cinema’s only living equivalent to a whirling dervish. Like a dervish, she honours her Creator (cinema), her prophets (Cassavetes, Leigh and others), then whips her creative concoction into a frenzy – literally living and breathing cinema – producing film from within herself, her devotion and life itself. Ingrid has produced a whack of features including the mega-Genie-nominated Nurse Fighter Boy and has directed three terrific features including i am a good person/i am a bad person. Here's what she had to offer:

"Exhibition quotas. Our cinemas should be mandated to screen a percentage of Canadian content, just like our television broadcasters and radio. People say, “Theatrical quotas will never happen. It's impossible,” but I say, “People make the impossible happen every day.” Claude Jutra (Mon oncle Antoine) once said, “Not making the films you want to make is awful, but making them and not having them seen is worse.”

At the risk of sounding like a broken record (as I've said this many times before and will keep saying it), English Canada needs an exhibition quota.

In English Canada, there is one primary target: Cineplex Entertainment. The "Canadian" exhibition chain owns and/or controls more screens than anyone in the country. They'll always argue that their only concern is their stockholders and that they'll play any Canadian movie as long as it makes money. That's all well and good when it comes to no-brainer programming choices like the start-studded Cronenberg spanking-fest A Dangerous Method or Michael Dowse's brilliant hockey splatter fest GOON, but what about the rest of the product?

A secondary target for scrutinous ire-infused debate on the state of Canada's domestic motion picture product is the gaggle of domestic film distributors that adhere to the status quo, but in all fairness to them, they're only going to spend money on the marketing necessary to keep the product on screens if they actually GET screens. Cineplex Entertainment is stingy with those. They have far too many Hollywood movies to play (often to empty or near-empty houses given the ridiculous number of screens said product hogs).

There's no two ways about it. English Canadian cinema lags far behind other indigenous industries outside of North America in terms of audience support for its own work. Canadian audiences are not quick to embrace their own cinema, but in order to embrace it at all, the work needs venues. This, of course, is not (and has never been) a problem in Quebec as the province has had very stringent guidelines regarding Quebec-based distributors and a more-than-level playing field for the exhibition of French-language product - thus allowing for the development of audiences ravenous for homegrown movies.

I'd also argue it's not necessarily always the fault of the product, either. Many decent, perfectly entertaining and/or artistically challenging movies get little chance to be seen.

If screens cannot be secured and held onto, there is no real way to adequately develop an interest in domestic product. Until Cineplex Entertainment does the right thing and gets off its lazy corporate duff and waggles its piggy tail in the direction of Canadian cinema and - even at a loss - does its corporate duty with respect to AGGRESSIVELY making DECENT screens available to said product, thus fulfilling their responsibility in supporting cultural initiatives in this country, then things are going to continue their snail-paced incremental changes.

Here are some thoughts I shared at a previous juncture on this site:

I saw Don Shebib's classic Canadian feature Goin' Down the Road when I was a kid at a huge first-run theatre in Winnipeg. I loved it then and loved it more every time I saw it. When I heard Shebib had crafted a sequel, Down the Road Again, I was imbued with a bit of healthy skepticism. That said, I was still excited to see it.

I was out of town for the first two weeks of the film's theatrical run at Cineplex's flagship Toronto venue, the Varsity Cinema. When I returned during the film's third week of release, I hightailed it down to the Varsity (not bothering to check the showtimes as is my wont) and was shocked (genuinely) that it wasn't playing. I quickly accessed my iPhone movie listings and was even more distressed that the movie, at least for that evening, was playing absolutely nowhere in Toronto.

There was, however, one lone screening the following evening at the Royal cinema, everyone's favourite indie venue in Little Italy. What shocked me even more was that Barbara Willis Sweete's film adaptation of Billy Bishop Goes To War was the other film playing at the Royal the same evening - first run and ENDING!!! Okay, my fault for being out of town, I guess. Excuse me all to hell for expecting movies with a reasonable pedigree by Canadian standards were (a) not available on any Cineplex screen in the country's largest city and that (b) they were both ending.

No matter, I sashayed on down the next night to The Royal. I really enjoyed Billy Bishop. I first experienced it as a kid in Winnipeg when John Gray and Eric Peterson presented the play at the Manitoba Theatre Centre's Warehouse venue. I loved it then and was delighted to see a film that preserved its theatrical roots. (I won't rant about one of my many pet-peeves involving the idiotic, myopic assumption on the part of critics and film types who should know better that anything and everything based upon a theatrical piece MUST be opened up for the cinema. Just don't get me started and I promise to stop now.)

My first thought was, "Hmmm, there are wads upon wads of people my age and older who love this play ALL ACROSS THE COUNTRY. This would have been a perfect film to platform wide in the Front Row Centre-styled exhibition format that Cineplex has been exploiting in big cities and beyond." I played out a release pattern for the film in my mind whilst waiting for the Shebib to begin: Coast-to-coast, hugely hyped one-shot screenings of the film at the premium Front Row Centre prices. You'd have to blow a decent whack o' dough on advertising, BUT, with the same kind of thought and elbow grease that USED to go into marketing ANY movies (never mind Canadian films), there would be all sorts of alternate advertising venues with far more reasonable ad rates than traditional outlets anyway. As well, there would be an inordinate number of cross-promotions and tie-ins with theatre companies and arts groups across the country. Hell, target theatre schools also - not just including private companies, or even secondary schools, but given that virtually every post-secondary institution has a theatre program, promote the picture there. In any event, my fantasy release of Billy Bishop then included regular screenings one week later in many of the same venues it played at in the Front Row Centre release. Those post-Front-Row screenings may or may not have had numbers to sustain the secondary runs that long, BUT, the important thing is that Canadians would have been able to see the movie on a BIG SCREEN in a COMMUNAL ENVIRONMENT. This, in turn, would have created a far more advantageous bed of hype and anticipation for any number of home entertainment venues.

Alas, the way the movie was released feels like home penetration was the only real goal.

Whose fault was it?

Well, I can't be sure if the film's distributor considered my aforementioned form of theatrical penetration, nor do I know if the movie was even offered Cineplex. What I can say is this. SOMEONE should have thought about it and SOMEONE should have committed to playing it in this fashion. In fact, give the success of these types of special event showings in the Cineplex chain, you'd think someone THERE might have thought about approaching the film's distributor about mounting the film in this fashion.

Here's the thing. The business has changed for the worst, but it's not impossible to reapply good old fashioned showmanship on both sides of the distribution and exhibition fence. I started my life in this business as both a writer ABOUT movies and then as a film buyer on behalf of independent exhibitors in the late 70s and early 80s. I lived through the "old ways", lamented the shift in delivery and accessibility of product and now I get absolutely livid when I see how complacent and lazy both sides have become.

Down the Road Again was an entirely different story. I loved the picture, but also conceded its theatrical appeal would be limited. Limited, yes - but there IS an audience out there that would have loved to see the movie on a big screen. Part of this IS a distribution issue. However, I also think Canada's major exhibitor is shirking its place in creating a proper venue for Canadian cinema. Responsibility to shareholders be damned. Besides, even leaving Canadian Cinema out of the equation, those shareholders are going to have very little to count on if things don't change in the exhibition industry.

And yes, it IS the fault of exhibition - especially within major chains like Cineplex. They offer no real choice. Pure and simple. They rest on the laurels of whatever crap they're handed. I live for much of the year in a remote rural area. Cineplex has a seven-screen multiplex. All the same movies are locked in there for ages. I can assure you that in the late 70s and early 80s, the small market audiences had FAR more CHOICE in what was available than they do now. And idiotically, it's not that the product is NOT there. There's tons of product. Much of it good and much of it never getting screen time. Yes, having to program and promote such product takes time and effort. Yeah? So? Do it. They call it elbow grease.

As for Canadian product, I will ultimately and vigorously ALWAYS point an accusatory finger at Cineplex. Every major country outside of North America had or continues to have strict indigenous content quotas. Many of these countries have leaps and bounds on Canada by decades in this respect. Many of these same countries are making indigenous product that appeals to their national audiences and, in many cases, to international audiences. Much of this product isn't of the blockbuster variety, either. It often provides entertainment to niche audiences - theatrically. These audiences exist because efforts had been made in the past to ensure cultural sovereignty. These movies mostly do NOT compete with Hollywood, anyway. In fact, they enhance the viability and attraction to theatrical exhibition period.

I do not propose legislating exhibition quotas anyway.

I frankly think it would be good for business if Cineplex undertook a major corporate responsibility in exhibiting Canadian films - EVEN IF THEY LOSE MONEY! Oh horrors! Isn't that horrible?

Down the Road Again needed far more marketing and promotion than it got. This, to be sure, a distribution issue. That said, movies like this will NEVER find a theatrical audience if they are not out there. I personally think a movie like Shebib's sequel DEMANDED being placed in more cinemas across the country and held longer - even at a loss. Take one screen in every bloody multiplex and screen Canadian product exclusively. Take another screen in every bloody multiplex and program product of an indie nature exclusively - booking it, if necessary in a repertory style.

Cineplex is a Canadian company.

Forgive me for thinking Canada is different than our neighbours to the south. We are. We have higher literacy rates, more progressive values AND most of all, we ARE innovators. Cineplex should FORCE themselves to exhibit Canadian films at a loss. (I'm sure there are potential tax incentives that can be whipped up for this anyway.)

Why, you say, at a loss? Because there could well be a pot at the end of the rainbow. If the product - good, bad, middle of the road - is made available on a consistent basis, audiences might eventually develop a thirst for a certain type of product that speaks to THEM.

It's worked everywhere else in the world - out there, beyond the confines of North America.

It was, however, legislated. I say again, though, legislation is no longer the answer. Besides, such quotas would fall under provincial jurisdiction, so getting all the provinces on board would be ridiculous. Cineplex as the most powerful exhibitor in the country should legislate it THEMSELVES as corporate cultural policy within their business mandate. They could actually become world leaders in this extraordinary move to actively build an audience. More importantly, they could take a leadership role even beyond Canadian product and offer theatrical accessibility to a far wider range of product.

This, frankly, is good for Canada, good for foreign product, good for Hollywood, good for AMERICAN independents, good for cinema as the greatest artistic medium of all time and MOST IMPORTANTLY, good for the end-users, the customers, the myriad of movie lovers who have been lured away from the communal experience for many different reasons, but most of all, because of a lack of diversity in programming.

In the meantime, though, the true heroes of Canadian theatrical exhibition are Alliance Cinemas, AMC Theatres, Independent Canadian Exhibitors (The Royal, Revue, Winnipeg Film Group Cinematheque, Canadian Film Institute, Pacific Cinematheque, etc.). They all regularly screen Canadian films - both first-run and second. TIFF Bell Lightbox in just over a year has displayed incredible courage and commitment to screening Canadian product theatrically.

They, however, are just a small part of the equation.

It's up to a major corporation like Cineplex to do their duty.

The First Annual KLYMKIW Genie Awards

THE FIRST ANNUAL "KLYMKIW" GENIE AWARDS

BEST PICTURE NOMINEES
Daydream Nation - Trish Dolman, Christine Haebler
Father's Day – Lloyd Kaufman, Astron-6
Keyhole - Jody Shapiro
Le Vendeur - Marc Daigle, Bernadette Payeur
Take This Waltz - Susan Cavan

BEST PICTURE WINNER:
Le Vendeur - Marc Daigle, Bernadette Payeur

BEST ART DIRECTION/PRODUCTION DESIGN NOMINEES
The Bang Bang Club - Emelia Weavind
In Darkness - Erwin Prib
Keyhole - Ricardo Alms, Matt Holm
Le Vendeur - Mario Hervieux
The Mountie - Jim Goodall

BEST ART DIRECTION/PD WINNER:
Keyhole - Ricardo Alms, Matt Holm

BEST CINEMATOGRAPHY NOMINEES
In Darkness - Jolanta Dylewska
Keyhole - Benjamin Kasulke
Le Vendeur - Michel La Veaux
The Mountie - Rene Smith
Take This Waltz - Luc Montpellier

BEST CINEMATOGRAPHY WINNER:
Le Vendeur - Michel La Veaux

BEST COSTUME DESIGN NOMINEES
A Dangerous Method - Denise Cronenberg
Café De Flore - Ginette Magny, Emmanuelle Youchnovski
Keyhole - Heather Neale
In Darkness - Jagna Janicka, Nadine Kremeier, Katarzyna Lewinska
Manborg - Astron-6

BEST COSTUME DESIGN WINNER:
Keyhole - Heather Neale

BEST DIRECTOR NOMINEES
Daydream Nation - Michael Goldbach
Father's Day - Astron-6
Keyhole - Guy Maddin
Le Vendeur - Sebastien Pilote
Take This Waltz - Sarah Polley

BEST DIRECTOR WINNER:
Le Vendeur - Sebastien Pilote

BEST EDITING NOMINEES
Father's Day - Adam Brooks
Keyhole - John Gurdebeke
Le Vendeur - Michel Arcand
The Mountie - Kerry Davie
Take This Waltz - Chris Donaldson

BEST EDITING WINNER:
Father's Day - Adam Brooks

BEST MAKEUP NOMINEES & WINNERS:
Father's Day - Steven Kostanski
Manborg - Steven Kostanski
*NOTE* NOTHING COMES REMOTELY CLOSE
TO THE WORK IN THESE PICTURES.
NOTHING! NADA! THIS IS IT!

BEST MUSIC NOMINEES
A Dangerous Method - Howard Shore
Father's Day - Jeremy Gillespie, Brian Wiacek
Keyhole - Jason Staczek
Manborg - Jeremy Gillespie, Brian Wiacek
The Mountie - Ivan Barbotin

BEST MUSIC WINNERS:
Father's Day - Jeremy Gillespie, Brian Wiacek
Manborg - Jeremy Gillespie, Brian Wiacek

BEST ACTOR NOMINEES
In Darkness - Robert Wieckiewicz
Keyhole - Jason Patric
Father's Day - Adam Brooks
Le Vendeur - Gilbert Sicotte
Take This Waltz - Seth Rogen

BEST ACTOR WINNER:
Le Vendeur - Gilbert Sicotte

BEST SUPPORTING ACTOR NOMINEES
Father's Day - Mackenzie Murdock
Keyhole - Louis Negin
Marécages - Gabriel Maillé
Marécages - Luc Picard
The Mountie - Earl Pastko

BEST SUPPORTING ACTOR WINNER:
Keyhole - Louis Negin

BEST ACTRESS NOMINEES
Daydream Nation - Katt Dennings
Father's Day - Amy Groening
Manborg - Meredith Sweeney
Marécages - Pascale Bussières
Take This Waltz - Michelle Williams

BEST ACTRESS WINNER:
Marécages - Pascale Bussières

BEST SUPPORTING ACTRESS NOMINEES
Daydream Nation - Katie Boland
In Darkness - Agnieszka Grochowska
Keyhole - Isabella Rossellini
Le Vendeur - Nathalie Cavezzali
Monsieur Lazhar - Sophie Nélisse

BEST SUPPORTING ACTRESS WINNER:
Le Vendeur - Nathalie Cavezzali

BEST SOUND NOMINEES
The Bang Bang Club - Lou Solakofski, Stephan Carrier, Kirk Lynds
Manborg - Jeremy Gillespie
Keyhole - John Gurdebeke, Lou Solakofski, Stan Mak
Le Vendeur - Stéphane Bergeron, Olivier Calvert, Gilles Corbeil
Marécages - Stéphane Bergeron, Yann Cleary, Lise Wedlock

BEST SOUND WINNER:
Keyhole - John Gurdebeke, Lou Solakofski, Stan Mak

BEST SOUND EDITING NOMINEES:
In Darkness
Jeremy Maclaverty, Daniel Pellerin, Geoff Raffan,
Jan Rudy, John Sievert, James Mark Stewart
Keyhole
David McCallum, David Rose, Krystin Hunter
Le Vendeur
Olivier Calvert
Manborg
Astron-6
Marécages
Claude Beaugrand, Olivier Calvert, Natalie Fleurant, Francine Poirier

BEST SOUND EDITING WINNER:
Keyhole - David McCallum, David Rose, Krystin Hunter

BEST ORIGINAL SCREENPLAY NOMINEES
Daydream Nation - Michael Goldbach
Father's Day - Astron-6
Keyhole - George Toles, Guy Maddin
Le Vendeur - Sébastien Pilote
Marécages - Guy Édoin

BEST ORIGINAL SCREENPLAY WINNER:
Keyhole - George Toles, Guy Maddin

BEST ADAPTED SCREENPLAY NOMINEE AND WINNER:
David Shamoon – In Darkness
*NOTE* NOTHING COMES REMOTELY CLOSE TO THIS ONE,
IT'S GREATNESS AS AN ADAPTED SCREENPLAY CANNOT
BE TARNISHED BY ASSOCIATING IT WITH OTHERS.

BEST VISUAL EFFECTS NOMINEE AND WINNER:
Manborg - Steven Kostanski
*NOTE* FORGET ALL THE REST!!!
THIS IS THE CAT'S ASS!!!
THIS ROCKS BIGTIME!!!

BEST FEATURE DOCUMENTARY NOMINEE AND WINNER:
Family Portrait In Black And White
– Julia Ivanova, Boris Ivanov
*NOTE* NO PUSSY-FOOTING AROUND HERE!
THE BEST CANADIAN DOCUMENTARY I SAW ALL YEAR!