Canada’s Directors: A Look at the Country’s Best and Brightest Rising Talent in 2024
For readers who’ve been following LBB’s Canadian news coverage for a while, this title might be a bit familiar. Specifically, we ran this feature back in 2022, and in the nearly two years that have followed, it’s been quite a remarkable thing to see the names in that piece go on to find local, domestic and even international success.
But, here’s the neat thing about advertising. Much like the rest of the world, it’s an ever-evolving field. Sure, artistic expression is artistic expression – but as people graduate from the status of ‘rising talent’ to ‘established talent’, this opens the door for a whole new set of promising directors. Case and point, this list below.
So, to draw your attention to some names that you might not yet be entirely familiar with, but likely will be within the fairly near future, LBB’s Jordan Won Neufeldt sat down with some of the industry’s most exciting new talent, with the hopes of learning a bit more about how they got into the job, and the work they’re most proud of.
Westside
Teaunna Gray
Why I’m a director
I’m super passionate about storytelling and have always appreciated the impact of film and its ability to immerse viewers in the lives of the subjects on screen. I was quite young when I interviewed my first subject. It was on my Motorola flip phone where I captured Bumblebee – he was an older gentleman in his 60s and resided in a local park in Halifax, Nova Scotia. I’ve always been curious about the stories of people and interested in learning how one evolves into the person they are. So, we got to chatting and he shared his troubles, his goals in life, and a message to viewers cautioning them from ending up where he was on the day that we met. And so began my love of visual documenting. I appreciated someone being so open and honest about their life. It somehow gave permission for myself to do the same.
As a Black-Indigenous woman, stories have been essential cultural pillars that teach lessons, raise awareness, and showcase the colourful spectrum of humanity – from its beauty to its challenges. For me, creativity and representation go hand-in-hand. It’s important that voices historically marginalised or overlooked have their stories told authentically. In my work, I strive to create media that reflects the breadth of human experiences and amplifies voices that haven't always had a seat at the table.
Most significant projects I’ve worked on
Being asked to create a film that showcased a piece of Black history for Toronto History Museums was a true honour, and one I'm incredibly grateful for. It allowed me to delve into history from a Black perspective and challenge the narratives we've been taught. I think about all the stories we've absorbed and those we haven’t heard yet, all based on who holds the pen – or who directs the camera. I think I put this pressure on myself as a creative to amplify as many voices as possible to counterbalance this issue, but it's what keeps me fueled as a director. Even something as seemingly small as casting can have a profound impact on how people see themselves in the media they consume.
Another project that stands out to me is a piece I worked on addressing triple-negative breast cancer, particularly focusing on its impact on people of colour. It was a chance to do what I love, which is highlight the experiences of real individuals – specifically women of colour. It also sheds light on a topic that quite often remains overlooked, despite its devastating effects. I love that the women in the film felt empowered to share their story, and that those stories served as a reminder to viewers about the importance of testing. It's a true gift when my work can create a true impact on any level.
AIRFOIL
Brandon Cox
Why I'm a director
Directing is about finding and deciding what’s important and what’s not. Nowadays, we can shoot essentially whatever we want from any and every angle. Sometimes it’s about what you don’t do that becomes your most important decision. To be the ‘decider’ of a particular story, regardless of how long or short it is, can be an empowering position.
I’m a director because I like telling stories using a camera, and being the one who decides where it goes and what we see with it. It could easily have been a musical instrument where I’m making you hear a certain note, or typed words on a page that makes you see a particular thing in your mind, but I picked moving images because I feel it’s my medium to communicate. It’s one of the most challenging artforms to play in, but I know that if it’s done correctly, it can be extremely powerful.
Most significant projects I’ve worked on
The Canadian Medical Hall of Fame work was a project that came to me where I was allowed to have full creative control. I wrote and directed this project, which went from virtually nothing to what you see and hear in only a matter of days. It’s a testament to allowing creators to do what they do best, because when we finally are given the opportunity to show what we can do… great things can happen.
‘Through Their Eyes’ was another project I directed and also collaborated on as a writer. It’s significant to me because, at the time, POV stuff wasn’t really as prevalent in ads as it is now. I like it because it takes on a fresh perspective in the world of PSA ads which deal with this type of thing. We didn’t want to show someone just suffering in a hospital bed, which is what the creative originally was. Rather, we wanted to focus on the impact an illness can have on the people around you. It’s also the envisioning of life’s moments you may not get to share with your family that can have a larger effect on you when suffering through something. Often, people cite that as being more painful than the illness itself.
Merchant
Sara Alfaro-Dehghani
Why I’m a director
It was a lifetime of developments that brought me here.
Storytelling was always important. My parents were very good at telling stories, and because they immigrated to Canada in the ‘80s, we didn't have a lot of family around in Canada. So, there was a huge emphasis on learning about your parents' past lives through colourful storytelling. I used to force my mom to film little ‘segments’ of fake news shows I wrote, and then after discovering the world of musical theatre, I wrote and ‘directed’ my best friend to star in a parody of ‘Little Orphan Annie’. I really liked being the ‘visionary’. Maybe it was an anxious child control thing.
A bit later on, when I was a 15-year-old hypochondriac, I grew concerned that my memory was ‘going’, and became invested in documenting everything. This resulted in many hours of photography practice and lots of journaling. A combo of very unique and cringe moments came from this period, all of which I treasure now.
Then, I moved to Toronto in 2018, and was freshly working in production. Much of my work involved researching all kinds of foreign subjects – where to fetch an animatronic kodiak bear suit and how it works, how to orchestrate a children's hockey game in Scarborough in less than 24 hours, or the intricacies of mapping a caribou migration route in the Yukon with the help of some locally-stationed biologists. It was this opportunity to become an expert for a few days about something very specific. The projects were never the same, and they always involved chasing, wrangling and annoying people… and I was always uniquely gifted at annoying people.
Around this time, I learned that this was a big part of being a director. There is a constant new-ness. Every rodeo feels like my first rodeo. I get to be super dumb and then super smart for increments of time. This is why I do what I do. (But also – ask me again in five years).
Most significant projects I've worked on
All of them feel significant!
Recently however, I have worked on some new pieces that really shook my life up. I went back to narrative passions and shot a short film last year called ‘HAIR!’ which was a delightfully insane retelling of my mom, her sisters, and their chaotic Iranian hair-removal rituals. It was the first time I directed in two languages, and the first time I worked with a very personal story, but I blended a significant amount of my commercial directing approaches into this narrative work, and it was amazing.
I also had a really awesome little project at the end of last year, with Sid Lee, for belairdirect – a two-minute ‘90s R&B music video love duet for Valentines Day – that ended up airing on the (Canadian) Super Bowl broadcast. It was one of the most enjoyable, collaborative spots I’d worked on, and everyone pulled their resources together to make it work. Total success.
Also, I would be remiss to not mention our collaboration shoot with Taika Waititi and Accompany Content during his tour for ‘Next Goal Wins’. Now that man is a class act.
Group 793 Inc.
Ben & Ilia
Why I'm a director
Ben> I've always loved writing – creating worlds and stories was something that just came naturally to me. After high-school, I started dabbling in photography, which quickly led to shooting and creating videos. I was always amazed and enthralled by writers/directors like Robert Eggers and Quentin Tarantino, and how they were able to tell their stories. As time went on, I started to realise I could turn the stories in my head into something I could share visually with the world. It's exciting to me that I'm really just starting this journey.
Ilia> As a kid, I loved my grandparents' stories. I would often sit there for hours, just listening. Since then, I've grown passionate about different cultures and people. My love for listening to stories has never left. When I picked up my first camera in 2016, I realised I could continue chasing those stories and share them with others. Dropping out of school to pursue photography was a bold step, but it led me down a path where I discovered the power of visual storytelling. Becoming a director just felt like a natural progression in my journey as a story-teller.
Most significant projects I've worked on
Ben> To me, it's definitely the short film for MS Society of Canada we shot last winter. Having the creative freedom to write this script about such a powerful topic/issue felt like a once-in-a-lifetime opportunity and a huge responsibility. My partner suffers from chronic illness, so it was something that really hit home for me. It was so important we depicted what it's like to live with a chronic illness correctly; to be able to bounce ideas off my partner to make sure we got it right was an amazing experience. It was an emotional roller-coaster from beginning to end, and I couldn't be more proud of how it turned out.
Ilia> It's the MS Canada short film for me too. I was incredibly fortunate with this project – there were no restrictions on our creative direction. It was a bit challenging, but also incredibly freeing. Ben and I brainstormed for a couple weeks before I had a lightbulb/eureka moment and honed in on our story. Having the ability to guide the project from its inception to its completion truly brought our vision to fruition. Working on a project with such significant implications, especially one that hits close to home, was something that most creatives can only hope for. Like Ben said, we truly couldn't be happier with how it turned out.
Filip Terlecki
Why I’m a director
I’ve always been fascinated with cameras and imagery. Originally, my plan was to be a photographer, but after taking a compulsory film class and having to shoot and screen my film for an audience, I was hooked and the film bug just took over.
I love the collaborative nature of film; the synergy of minds and talents to convey stories and evoke emotions in an audience. There’s nothing else like it.
Most significant projects I've worked on
I've directed memorable projects in some truly breathtaking places, including Machu Picchu in Peru, Nevada, and Hong Kong, for brands such as BMW, Canon, Toyota, IKEA, Samsung, and Jameson Irish Whiskey. Additionally, two of my short films have screened at the Cannes Film Festival. However, a recent project that I directed through Group 793 was particularly memorable. It was a short horror film for TurboTax, based on a concept by Citizen Relations, titled ‘Undone’ – a nine-minute horror film about tax anxiety, inspired by films like 'Smile' and 'The Conjuring’. (However, it might be the world’s first horror movie about taxes).
It was a truly unique opportunity for a great client, and what made it especially memorable was the chance to fully utilise my cinematic sensibilities – to collaborate with my cast and crew, to create a psychological horror with spine-tingling scares, and a truly unforgettable climax. You don’t get opportunities like that every day.
FRANK Content
Cassie De Colling
Why I'm a director
I was raised by television. Growing up with a hearing problem and poor eyesight meant I would sit two feet from the TV, and the frequencies must have rubbed off. After high school, I applied to film school, and I was rejected three times. Ultimately, that’s what made me want it more. I saw directing as a way to harness art, travel the world, and share perspectives that can eventually make an impact. I actually started my career as a cinematographer and started garnering awards. But, as I wanted to shoot more of my own visions, I soon realised that I had to direct to make that happen.
Most significant projects I've worked on
I’m going to go with the ones closest to my heart.
‘Foreign Correspondent’ – University of Melbourne. After shooting some corporate videos for the university, I directly pitched the concept and budget, and they said yes in 2014. We travelled to Afghanistan and filmed with my friend who was covering the Taliban conflict at the time. It was totally wild. We filmed in deserted ruins, orphanages, and through the streets. And to add more depth to the project, I incorporated mixed media from a war photographer. It played as the university campaign at the Melbourne International Film Festival.
‘Beside Not Behind’ – International Women's Day. This was an ode to a time when I was approached to co-direct a spec spot with a dude for an agency in Melbourne. The agency producer called me on the side and was like ‘Yo, I am not sure about this spot, but I really want to work with you, let’s make something’. In three weeks, we pulled together Melbourne's finest womxn crew, locked tricky locations, cast, and on International Women's Day, we launched. The ad went viral, placing us in the Ad News top five International Women's Day spots for 2017.
Dylan Pun
Why I'm a director
I like to pinpoint the start of my filmmaking career back to 2006. It was the summer before I started middle school and a friend of mine came over and introduced me to YouTube. Down in my parents' basement, I had a webcam, Windows Movie Maker, and a willingness to just create. We just made stuff, and I think it was there that I developed my passion for film. I have vivid memories of my friends and I making our own commercials for brands like Gatorade and the NHL.
It wasn't until 2018, after I had completed a finance degree, that I decided to pursue filmmaking as a career. I think deep down, I always knew I wanted to be a director, but it took some time to build up the courage to go for it. My favourite part about directing is the collaborative nature of the job. I love working with other talented people and blending their visions with mine. There is something so satisfying about doing all the work to prepare for a project and watching everyone's ideas come to life.
Most significant projects I've worked on
My most significant project would be a spot I created for Second Harvest, a non-profit organisation that aims to reduce food waste, for the Young Lions 2024 competition. We created this spot, from ideation to completion, in 48 hours. With it, we won Bronze and my first ever advertising award. I love this project because I got to showcase my style of absurdity, and also, I love playing with my food.
But of course one of the most significant projects is one that I'm currently working on. I am weeks away from going to camera for my short film titled ‘Shrimp Fried Rice’. The film is a mockumentary that follows a talented shrimp chef with an ego that outweighs his tiny body as he carries out his vendetta against a certain culinary-inclined rat. For me, this project is significant because it certainly is the most ambitious project I've taken on and it’s helping to challenge me as a filmmaker. Most importantly though, I'm making this film with my friends, and that makes it very special to me.
AJAX Creative
Jared Galley
Why I'm a director
Growing up, my world revolved around movies. I watched them, talked about them, and even wanted to be in them… so I just started to make my own. When I got my hands on my first camera, that’s all I wanted to do in my spare time. I loved the whole process of making a story, showing it to people, and then watching them smile, laugh, or cry. To be able to move someone through the stories I create is the type of impact I dedicate my craft to; it’s my most fulfilling purpose.
Most significant projects I've worked on
One of my proudest projects was ‘Back To Juno’, a documentary with Air Canada about a World War II veteran, Henry ‘Harry’ Greenwood, returning to the beaches of Normandy. The project was originally planned as a brief two to three minute recap, but with such an inspiring story and Harry’s perspective on war, I felt this story deserved so much more. So, we ended up flying out to France with Harry and filmed a 15-minute documentary where we created war scene reenactments (with the help of VFX), interviews with civilians, and received access to incredible locations. It truly was a dream project.
After the completion of the film, we had the privilege of doing a screening event with Air Canada at the local Legion branch in Vancouver, and presented the film to Harry, his daughter, and the local veterans. It was my most memorable experience, and I’m truly honoured to have told this story.
Martin Marko
Why I’m a director
I live for that moment when the motion of the camera syncs with the actor’s emotion while music is playing, and everyone is experiencing this cathartic moment of audiovisual experience. Whether it’s a commercial, music video, movie, or TV show, when it all comes together after months of dealing with every detail and it impacts you, makes you laugh, think, brings back a memory – that moment is why I am a director. As Stanley Kubrick once said, “Anyone who has ever been privileged to direct a film also knows that, although it can be like trying to write 'War and Peace' in a bumper car in an amusement park, when you finally get it right, there are not many joys in life that can equal the feeling.”
Most significant projects I've worked on
My most career-defining project was writing and directing the campaign of three spots for Ford Mustang Mach-E. It was my first time shooting cars, and my first time having this much control over something that goes out to the world, to the broad public. I felt a lot of responsibility for the message the campaign would send, and I learned so much on that project.
From my recent work, a mini-documentary for Ronald McDonald's House Charities about a cancer patient and her family was a challenging and gratifying job. It was my first time tackling a sensitive topic and honouring someone’s story. It was also very rewarding and powerful seeing people and big companies jump on this pro bono project with such care and love.
Big Pig Production Co.
Mark Rozeluk
Why I’m a director
I went to film school, but fell into advertising shortly thereafter and eventually worked my way up to being a creative director on the agency side. The two roles are similar in that you lead a team to bring a larger creative vision to life.
However, my love of directing stemmed from my penchant for film editing. Editing (in my opinion) is where the real magic happens, so when I started directing more commercials, I'd go into each shoot already assembling the footage in my head. Given I edit almost all of my directorial projects, it becomes a pretty fluid process. The rest is just surrounding yourself with people who are great at what they do and whom you love to work with.
Most significant projects I've worked on
I think one of my favourite projects to work on was a ‘back-to-school’ spot for Staples. The client was adamant that the story takes place in a Staples store as part of the brief, and it was the first time they’d done a BTS commercial since the ‘It’s the Most Wonderful Time of the Year’ ad we all grew up with. Being involved in developing the campaign, writing the script, and showing how Staples is ‘the’ back-to-school store for any stage of a student’s life hit a nice emotional tone. I wanted in-camera practical effects that had a Gondry vibe to them, so we built end-caps that rotated products as we transitioned through the aisles of the store and life stages. I don’t think I’ve ever been more excited watching something come together and being executed so flawlessly by the entire crew.
Dear Friend
Mark Chisholm
Why I'm a director
For me, being a director is all about harnessing the emotional impact that art can have on us as humans. We have the ability to feel a certain way from a piece of music that draws us to a nostalgic moment in our lives, or through a performance, or photography. Film is a harmonious collection of these artforms in one medium, and being a conductor of all these elements in one place is something I'm in love with.
The advertising world is an industry I've always found fascinating. One of my favourite parts of this process is digging into the brains of the creative teams who wrote the scripts and working with them and the production crews to interpret how the story should come to life. You form a mini family over a small period of time, and it's an opportunity to cultivate genuine connections within a tight-knit community, facing challenges together and fostering relationships that extend beyond the set. It's a job I look forward to waking up to on a Monday morning.
You also learn alot about yourself as a director. The wins, the losses, the work it takes to even get yourself in the room is strenuous. But the rewarding feeling of calling cut on a scene that you know landed is about as sweet as it gets, and a feeling I long to chase.
Most significant projects I've worked on
I’ve always had a fascination with character studies and human connection, so my work has a handmade feel to it. Most recently, I got to explore the world of addiction and mental illness. The work was for the Ministry of Mental Health and Addiction. My approach was to capture full scenes with the actors and then carve out the most striking moments in the edit. I used a different formula of camera language than my usual handheld work, using non portraiture framing, and for the most part on sticks/dolly.
Secondly, I loved the job I did for Centra Windows. The agency had given me the freedom to create the script myself and I constructed scenes that gave actors the freedom to move how they wanted within the sets, with a heavy emphasis on capturing real life. It was all about creating environments that motivated the camera versus the other way around. I wanted the cast to forget about the camera and live within their worlds, with scene objectives. They always know their entry and exit points, but how they reacted to the sets was up to the actors.
Jeremy Pettit
Why I'm a director
Directing, for me, embodies self-expression. It’s all about the process of nurturing ideas, allowing them to mature during pre production. As a director, I love grasping the overarching concept with my partners and crafting it into reality, guiding its journey from start to finish. The thrill lies in being able to test your theories and bring them to life in front of the camera, and even further in the editing process. On top of all that, you have the opportunity to collaborate with some really talented people along the way.
Most significant projects I've worked on
I think the most significant ones to me have been when I’m working with real people that have interesting stories and I get to help share them. And also, the projects where I can get involved in the creative early on, or even write myself. I’ve found that when those two worlds collide, I’m doing my most rewarding work. When I'm passionate about the creative, I can really take ownership and will put everything I've got into the project. It’s funny – oftentimes these aren’t the highest budget jobs. In fact, they’re usually the ones that require favours and long hours. But they are often the ones I’m most proud of.
One example would be ‘Window, not a Wall’ for Eastbay’s ‘ConqHER’ campaign. Helen Maroulis is an Olympic Gold medalist wrestler who suffered a brain injury that left her unable to wrestle or even leave the house. The film is the story of how she overcame her symptoms and found love for wrestling again by wrestling in the dark.
Another exciting and significant project for me is currently in post. It’s a new campaign for Ram Trucks that features real people and their passions. It was a wild one! We shot four spots in four days with a sculpture artist, a chef, and an 11-year-old motocross champ and his dad. It was a lot of fun to tap into their individual stories and craft some scenes around what they’re great at, all while showcasing how the trucks help them achieve their goals.
Untitled Films
Amar Chebib
Why I'm a director
First and foremost, I’m captivated by the ability of moving images, sound design, and music all coming together to invoke wonder and touch the deepest parts of ourselves. Movies have played a tremendous role in my life and transformed the way I see the world. I can’t imagine not being a director.
I also love storytelling, particularly stories from underrepresented communities. As an Arab, I grew up seeing my culture and people being portrayed with racist tropes and false narratives in western media. That ignited this fire to authentically tell our own stories, and also made me more sensitive to how I approach working with other marginalised communities.
Last but not least, I love collaboration. As a director, I have the privilege of forming a vision and working with other creatives throughout its entire lifecycle in order to bring it to fruition. I find that creative process immensely joyous and rewarding.
Most significant projects I've worked on
My personal work, of course, feels the most significant to me. I spent eight years working on a feature documentary about three Syrian musicians turned refugees (‘Wajd - Songs of Separation’, 2018).
More recently, I made a couple of short documentaries – one about a residential school survivor turned pro skateboarder (‘Joe Buffalo’, 2021), and another about a young Nlaka'pamux man who ran 100 miles to raise mental health awareness (‘The Runner’, 2022).
I’ve also been fortunate to direct a lot of fun and meaningful projects for brands like Square, Beats By Dre, Airbnb, Birkenstock, and Bank of America. There’s a series of films I recently directed for ‘Roblox’ exploring creativity that I’m excited about. We highlighted different developers across the US and I got to flex into very different visual and emotional worlds for each of them. They will be releasing soon!
Collective Bunch
Alexander Farah
Why I'm a director
I've found my path as a director gradually through my ongoing experiences as an editor. I've often thought of the editor as next-of-kin to the director, and found the tactile act of cutting, assembling, and packaging the film to be such an integral and understated part of the filmmaking process. Witnessing the production through this lens, and with the directors on stand-by, has instilled a level of confidence in me to helm some of my own storytelling. I love to edit projects that I wouldn't necessarily write and direct, because they prompt me to step outside of my comfort zone.
However, there is a uniqueness to directing that I have found to be invaluable. Aside from the storytelling at hand, directing pushes me to discover new parts of myself as an artist, collaborator, and generally as a person – ones that my regular day-to-day-self does not experience. The art of communication, the art of being quick on one's feet, the art of understanding when to push back and when to compromise – there's an endless list of lessons that each of my directorial endeavours has taught me, and all of these have helped shape my relationship to the world.
Most significant projects I've worked on
In terms of finished projects, there's 'Meet You At The Light', a bittersweet and heartfelt portrait of a young woman and her diabetic father.
However, my most ambitious, and perhaps most cathartic project to date, would be my recent short film, currently in post-production. It involved a nearly week-long shoot, spanning three different decades, shooting on film, casting/working with children, non-actors, folks from the middle eastern and queer communities... Truthfully, I don't know what I was thinking, haha. But again, throughout the process of writing, directing and editing the film, I've learned so, so much about myself – where I come from, and where I dream of going.
BOLDLY
Jordan Clarke
Why I’m a director
Since I was young, I realised that I could communicate and express myself far better visually, rather than verbally. Expression is the opposite of depression, so I ran with it. I took a slightly different route than most directors because I never wanted to make movies or tell stories – rather to create art and somehow combine that with music.
That led me down the path of music videos, motion graphics and VFX. I also loved playing with the latest tools, software and techniques, and finding unique ways to utilise them. However, as I've progressed, I've realised that telling stories is one of the best tools to make people feel something. For this reason, I'm always seeking unusual story formats with an emphasis on modern society and how technology is shaping it and us as individuals. My goal is to make people feel something, without taking ourselves too seriously, and at the same time, poke fun at how ridiculous our technologically-obsessed society can be (hopefully in a beautifully poetic way).
Most significant projects I've worked on
Two projects that were significant to me are ‘F*ckai? (Famous)’ and ‘Des Hume “Onetwostep”’. In these projects, I gained the confidence to dig deeper into myself and my ideas, learned to love the process, and to worry less about what people were going to think. As the solo creator with no help or team, working on these projects became therapy for me – I didn’t want them to end. Sometimes, creating something purely for yourself is the best way to get others to also like it. It’s weird how people can smell that in a project.
Jordan Findlay
Why I’m a director
I’ve been into storytelling for as long as I can remember. When I was younger, it was centred around more traditional narratives. As I got older, I started becoming more interested in the relationship that people have with the universe around us. Film was a natural tool to try and explore these more abstract ideas while still connecting with them emotionally. I was lucky to have a great film course in my high school that gave me a bit of a technical foundation to start making my own projects. Things kind of grew from there.
Most significant projects I've worked on
I think that my most meaningful project was a short piece that I did called ‘Limbic’. It used footage that I captured with some of my closest friends over a two year window. There were some shots in the film of my dad that I took using an old Bolex camera while we were down in Patagonia, which are really personally significant.
I recently shot a short film during the total solar eclipse in Newfoundland and Labrador, with my good friend Bryn McCashin. It was a special experience. I’m really proud of what we managed to create together under pretty difficult conditions. The project is currently in post production.
Kiddo Films
David Ehrenreich
Why I'm a director
I’m a director because I’m curious; I feel like it comes down to that.
For me, it started with a love of cinema coupled with an obsession for editing – both the craft and the emotional result – which still feels like magic to me. Slowly, I piled all of my other interests on top of one another: music, literature, photography, altered states, a fascination with people; how they look, how they carry themselves, what they say, and how they say it.
In my early twenties, I read about Herzog’s Minnesota Declaration: “There are deeper strata of truth in cinema and there are such things as poetic and ecstatic truth. It is mysterious and elusive and can only be reached through fabrication and imagination and stylization.”
Directing is perfect for being a nerd and being a dreamer.
Most significant projects I've worked on
A recent spot I’m proud of is a Mother’s Day campaign we did for the BC Children’s Hospital. Obviously, mothers are the most badass, so any opportunity to celebrate them is exciting. I cast a mix of trained actors alongside real doctors, nurses, and families to ensure a level of authenticity on screen that really paid off. The mothers told me they were honoured to give back to the hospital, and I of course felt a deep responsibility to do right by them and their children. It also cultivated a powerful reverence and empathy that spread through our cast and crew, making the set a beautiful place to work.
A couple months later, in a humbling take on life imitating art, my daughter was briefly hospitalised in one of the exact rooms that we shot the commercial in. The facility and faculty were amazing, and on the last night of our stay, when I knew she was going to be fine, I climbed up on a chair to take the exact same photo on my phone of my family in bed, as I had with the stand-ins on our scout.
Christine Bortolin
Why I'm a director
I feel it’s the way my brain works. I enjoy considering and fitting all of the pieces of a project together – bringing together everyone’s skills to make something amazing. I really enjoy collaboration! Coming from a comedy background, a lot of the content I started out with was live and for an audience. I didn’t know how much I love making filmed content until I started creating short comedic videos with friends where everyone involved was paid in Costco lasagna and stoked to be there. Starting from such a fun place, I try to create a welcoming environment on set to foster that kind of relaxed humour and creativity in all of my projects.
Most significant projects I've worked on
One that sticks out for me is a project I did for CBC Gem called ‘The Slowest Show’, where my writing partner, Bita Joudaki, and I wrote and directed a single shot, 24-minute episode in an ice rink with a continuously rotating camera at centre ice. We had almost no dialogue, with scripted storylines and lots of improv, and Bita was on the other side of the country so I had one headphone in throughout the shoot under my other ones so we could stay in constant conversation. The confines of the project were such a fun challenge and we were able to create some great reveals throughout the episode, using the camera movement to time comedic storylines on the ice and in the stands. (I also discovered that I’m innately skilled at scurrying across sheets of ice in running shoes to give notes – a skill that I look forward to utilising in all of my future ice-based projects).
Sequoia Content
Jon Chiang
Why I’m a director
I never thought I’d be a director. I fell into film during my undergraduate degree studying political sciences at UBC. Now, I’m grateful to experience the magic of film and call it a career. There is a high that comes when all the elements come together – powerful performances, beautiful images and the collective energy on set. This isn’t a job without constant challenges and problems to be solved. As a director, I view my job as a shepherd, guiding the vision, providing clarity, and ensuring an environment where people can thrive. However, the more I deepen my craft, the more I’ve fallen in love with the process.
Most significant projects I've worked on
My favourite projects are the ones that truly connect with me. Filming with British Columbia’s most prolific Indigenous artists for BC Achievement Foundation, spending four days capturing the breathtaking beauty of Canada for Tourism NWT, and most recently, creating heartwarming moments of reconnection for Purdys Chocolatier with Rethink – projects like these are what make this job so special.
But, if I had to choose one, my most significant project to date has been a personal one: ‘Thank You, Grandma’, created for Asian Heritage Month. Directing and writing this film gave me the freedom to explore a deeply personal story with universal resonance. It’s through personal projects like these that I explore my curiosities and hone my voice as a director.
Dylan Maranda
Why I’m a director
To impress my parents… Does that count? I had a childhood in theatre acting, a passion for long form photography through highschool and university, and a naive pursuit of the advertising business after finishing my BFA. All that led to me winding up as a commercial director, now starting to dabble in the executive producing side of narrative. The why of it all still eludes me… But if I had to nail it down, it’s a plain and simple love of storytelling. Giving back to a viewer what stories gave to me as a kid.
Most significant projects I've worked on
We did a project called ‘Stand Up To Yourself’ with Monica Lewinsky and her associated charities recently, attempting to combat self-bullying as a mental health obstacle in young people. It’s a cause that’s near and dear to my heart, and seems to be connecting with people at a grassroots level while also being recognised at Shots, the 1.4 Awards, and the AICP awards, to name a few. I’ve been lucky to work on a lot of great projects with amazing creatives over the last few years – but to see a really small budget PSA like this connect with people in the way that it has is really something special.
Spy Films
Justin Abernethy
Why I’m a director
As an artist you can never really settle or become complacent. While years of experimentation and development have led me to the place I am at today, there was not a single moment in time that I regret following my dreams and love for art, versus sticking to a comfortable, 9-5 job. I think that's why I do what I do. Along this journey I have always expressed to those around how important it is to create what you want and do what you love. Being a motivating force to my coworkers, friends, and family, I believe that if you can focus on turning your passion into your job, you will never work a day in your life; and I think that, that is expressed in my work. With surrealism, abstraction and individuality being the key themes expressed throughout, they each are a portrayal of my day to day life as I express my thoughts, experiences and ideas through both visual narrative and various other artistic mediums.
Most significant projects I've worked on
My most significant project specifically was a music video with Ali Gatie and Kehlani for their dark and edgy dance record, ‘The Look’. Shot in Los Angeles, this was my first time working with Kehlani, which was an amazing experience as she was super collaborative and fun to work with. As well, this was my fourth time working with Ali Gatie and his team, and we really elevated his look for the record as we brought a far different visual aesthetic versus anything we had done in the past.
For myself, I feel as if this is my strongest music video to date, as all of the visual elements throughout this video are a distinct representation of my style. From a fast-paced final cut to unique casting, to dark and moody lighting, all departments of the production came together to create a final product that is visually intriguing from start to finish.
Rodeo Production
Bobby Leon
Why I’m a director
I started with photography when I was 13. It was my way – not unlike many in this field – to connect with others. I liked being on the outside and capturing portraits of my friends. I was taking photos every single day, learning techniques, nerding out a lot, and falling in love with capturing moments just became part of my quotidian. It’s an obsession; I think we’re all a bit mad or madly in love about doing this, and I feel really blessed that the camera has allowed me to brush shoulders with people who are so different and not so different from me. It’s like the active bridge between us, and we get to both keep a little bit of each other in those exchanges.
I organically gravitated toward video as my next step in my later teens, as I’m not afraid of learning softwares or technicalities. Then, I fell head over heels in love with dance. I’ve been around that world for the last ten years. And I’ve learned to dance with the camera – to capture a lot of rawness. It makes me feel so alive, and if that sparks something in the viewer, then I’ve channeled what needed to be. And that’s a gift. I chase that feeling all the time.
Now, I’m interested in weird narratives involving movement, and live performances involving video. I do it because I get to discover so much and make sense of a lot of humanness. Life is a dance and you must jump in.
Most significant projects I've worked on
'6.58 Manifesto' is a project that was a part of my life for four years before becoming a film. I’ve been the visual partner of the company AP&A since its inception, and have seen the birth and evolution of the choreographic work from up close. When we had the opportunity to turn the piece into a film, it was a very exciting challenge to create a work that felt like it could stand alone and provide a different experience of the show, without feeling like a watered-down version. I think we really succeeded at that. You can experience the film and the show and feel like you’re living two different things that speak a common language. We crafted moments with each performer (dancers, DJ, opera singer) in a plane hangar in a way that shows you something a bit different and beyond the show's stage design. Our dear friend, Marc Bartissol, who is no longer with us, made the music. It’s a very important piece to me and for the posterity of Marc’s music. The film was presented at the Venice Biennale in 2023, accompanying AP&A’s new work, 'Bogotá'. It was a very proud and magical moment.
'La Symphonie des Éclairs' was also a very special project for me because it felt like dreams were attainable. It was one of those moments when everyone we spoke to about the project wanted to hop on and give their 1000%. We worked tirelessly for three months to make it happen, and the creative exchange between Zaho, our teams, and myself was really special. It was the first time I worked in a virtual studio, which is something I had been dying to try. It was a fantastic experience, and I would do it again triple hands-downs. It was nominated at Les Victoires de la Musique this year. What a fun moment that was!
Finally, 'Mr. Munro' was the first odd-narrative-fashion film I directed. I’ve always been into filming fashion with movement, especially after completing a masterclass led by Nick Knight in 2017. My friends Andrew Ly and David Picard's art direction was truly stunning, and they allowed me to explore strange ideas and bring to life an odd universe merging all my experiences around dance/performance/fashion/sound design – something I’d had inside of me that'd been dying to come out. It got quite a few nominations and awards, notably at the Berlin Fashion Film Festival and the Independent Shorts Awards. I’m really proud of this project – 2023 was a really good year, creatively speaking, for me; I was on a fast roll and am still running.
Martin Wolfgang Klapperbein
Why I’m a director
My dad grew up in Berlin in the early '40s, and I was born in the late '90s in a small town in Ontario. I was able to connect with his experiences through watching films together every night. That turned me into a bit of a history nerd, always digging into old footage to get a glimpse of his world.
As I grew older, I was seduced by the idea of portraying the world around me through visual media. I started out by shooting skate videos, and to this day I am driven by the notion that my work can offer a glimpse into my world.
Most significant projects I've worked on
The three most significant projects I have done are a short film called 'Wake', a music video for Tobias Dray’s 'Fuk It', and my most recent ad for Greta.
Prior to 'Wake', I primarily worked on comedic music videos, but this short film drew me into the world of contemplative narratives. It was an incredibly tumultuous emotional journey that made me confront the harsh realities of the mental health crisis affecting millions. The story resonated deeply, inspiring our cast and crew to generously volunteer their time to bring it to life. It was truly a labour of love.
Another significant project for me was a music video I created for Parisian artist Tobias Dray. Shot in New York City, it centers on a financial analyst having a meltdown, unraveling the carefully crafted life and image he has come to despise. This project was particularly meaningful because it vividly captured the dynamic energy I strive to portray in my work. The acting, styling, cinematography, and editing all came together seamlessly to convey the intense kineticism I was aiming for.
Last but not least was an ad I directed for Greta, 'Find Greta'. This project was notable because it allowed me to incorporate VFX in a practical and innovative way. Using OBS, a live streaming programme, I matched greenscreen shots with background plates by connecting a cinema camera to the software. This real-time approach made the process efficient in matching lighting and perspective, and it was a great opportunity to use technology creatively and unconventionally.
