An undisputed master of puppet animation, Co Hoedeman would captivate TV audiences with The Sand Castle (1977), a film that went on to win an Oscar for Best Animated Short. He had emigrated from Holland in 1965, aged, 25, in the hopes of finding work at the NFB.

A film about the life and work of the acclaimed Dutch animator.

Movie & Co

Animation pioneer Evelyn Lambart recalls arriving at the NFB in the 1940s, her celebrated collaborations with Norman McLaren and her approach to her solo work.

Monique Fortier was one of the few women to make her way in the male world of the NFB in the 1950s. But make her way she did. Beginning as a secretary, she graduated to editing and in 1963 she became the first francophone woman to direct her own film, À l'heure de la décolonisation. Her NFB colleague Anne Claire Poirier would make her first film the same year. Fortier subsequently returned to editing, quietly labouring at the Steenbeck, shaping films that helped define Direct Cinema.

Jacques Drouin's artistic trajectory is closely tied to the Alexeïeff-Parker pinscreen. No other filmmaker has employed the device with such dedication since Alexeïeff himself, who created the design in 1931. Consisting of a perforated board with 240,000 adjustable pins, the pinscreen can be manipulated to create evocative moving images.

Alanis Obomsawin talks about how she got her start at the NFB and the overarching importance of sound/story in her work.

Evelyn Spice Cherry talks about directing documentaries at the NFB during the Second World War. Cherry was one of the first women directors at NFB.

Gudrun Bjerring Parker talks about directing documentaries at the NFB in the 1940s. Parker was one of the first women directors at NFB.

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