The Canadian film and television industry stands at a critical crossroads. In the wake of recently imposed U.S. tariffs on entertainment-related services and production assets, Canada’s longstanding position as a preferred destination for American film and TV shoots is under real threat. These protectionist policies are forcing Hollywood studios to reassess their cross-border partnerships—and in the process, are exposing a longstanding vulnerability in the Canadian screen sector: our overreliance on service production.
For years, Canada has carved out a lucrative niche by offering world-class crews, attractive tax credits, and production infrastructure that has brought thousands of U.S. projects north of the border. Major cities like Toronto, Vancouver, and Montreal have doubled for New York, Chicago, and San Francisco more times than one can count. While this service-based model has generated significant economic activity and employment, it has also meant that Canadian producers have too often been relegated to the sidelines of the global conversation—our talent hired, our locations used, but our stories untold.
Now, the game is changing.
Tariffs as a Wake-Up Call
The new tariffs are not just a financial obstacle—they are a signal. They reveal the fragility of a system that depends heavily on the decisions of foreign studios and investors. As U.S. protectionism grows, Canada must ask itself: are we content being a junior partner in someone else’s production empire, or are we ready to step into the spotlight as creators and exporters of original, globally competitive content?
From Service to Sovereignty
The future lies not in retreat, but in reinvention. Canada must double down on investing in Canadian producers who can take larger budget productions from concept to delivery—not just for local audiences, but for the global marketplace. Our country is rich with untapped IP, daring storytellers, and a new generation of visionary filmmakers ready to take the lead—if given the support.
We’ve seen it work. In recent years, Canadian films like EFC, Brother, and Antigone have earned accolades on the international stage. But these remain exceptions. What we need is infrastructure—not just tax incentives, but equity funding, distribution pipelines, marketing muscle, and policy shifts that enable Canadian producers to take on risk, attract international financing, and retain ownership of their content.
Building the Next Wave of Canadian Producers
To become a true global player, Canada needs to build up its producers the way it once built up its crews. This means:
- Financing larger-scale Canadian-owned productions that can compete with international content.
- Modernizing funding bodies like Telefilm and the Canada Media Fund to prioritize scale, export potential, and innovation.
- Creating co-production models where Canadian producers lead, rather than support.
- Supporting development, not just production—because strong IP starts with strong writing.
We must champion producers who not only have vision, but also the business acumen to package, finance, and deliver content at scale. These producers will not just bring jobs to Canada—they will export Canadian values, culture, and talent to the world.
Conclusion: Our Time is Now
Canada has everything it needs to be more than a service hub. We have talent, infrastructure, and global credibility. What’s missing is the national strategy and political will to scale up and support producers ready to lead. The U.S. tariffs are not just a challenge—they’re an invitation. An invitation to rethink our place in the global industry and to claim our role not just as a location, but as a creative and commercial force.
Let’s answer that call.