I think the ecosystems we see in the screen sector vary across the country, because, of course, there are local supports that may not exist in other places—tax credits and those sorts of things. I think specifically, certainly for historically marginalized communities, when they're gaining access to a sector, they will begin independently and then grow. We need that investment now for racialized storytellers in this sector, because they historically have lacked that investment.
What we're seeing now is a great demand for content, but we don't necessarily have the infrastructure there to meet that demand. Therefore, we do need to have very targeted investment, national investment in local production companies and local talent, to help foster that growth. I think that is certainly exceedingly important.
In terms of a great example, if you just look at what was recently announced on the slate of the Berlinale—the film festival in Berlin—we see two different first nations productions there. One is a dystopian sort of sci-fi film by Danis Goulet, who is an artist based in Saskatchewan. Then we also see Beans, a story by Tracey Deer, which is set in a historical event, the Oka crisis, the conflict at Kanesatake and Kahnawake in the nineties.
They're two very different films. One is an indigenous future-looking project, and one is examining the past through a very personal lens. The Danis Goulet project is called Night Raiders. That is the promise of indigenous content.