There was one Canadian film that was very successful in the late 2000s, Blindness. It was very successful internationally to the point that the investment was completely reimbursed. It did approximately $700,000 in the box office in Canada, so when we were talking about successes, strictly based on box office, this film was under the radar.
The other one is The Captive from Atom Egoyan—and there are multiple other examples—that did extremely well also on the international scene. We found that our success needed to be told differently by taking into account and measuring the information about international sales.
Also, as I was saying, 60% of the films we're financing are emerging talent. The way they build their career—Denis Villeneuve is an example—is by being selected in festivals, winning prizes in festivals, and moving onto the index. The index is about telling the story of the successes of our filmmakers in festivals such as Cannes, Karlovy Vary, Locarno, and Berlin. We want to continue improving on that index to get a good matrix.