Movie buffs, take note: a new edition of VIFF launches September 28. We sat down with the festival’s über-talented executive director, Jacqueline Dupuis—a farm girl from Saskatchewan, devoted yogi, finance- and tech-industry powerhouse and, of course, big-time film lover—who’s paving the way for Vancouver’s creative industry and growing the festival into a multi-dimensional experience.
Where did your passion for film come from?
It’s something I’ve always had. I’m not a student of film by any means, but I’m definitely a lover of film.
What made you take the jump from finance to film?
I joined the board at the Calgary Film Festival while still in the tech industry and I loved it. I was at a point in my career where I wanted something different, and I found I could apply my skills to the arts in a very relevant way. I married my marketing and business development skills with my love for film, and it worked very well. It was kind of a perfect storm of all the things that were my jam. It was a very happy accident!
What’s your favourite film?
One that’s always stuck with me is one from Sofia Coppola and that’s Lost in Translation. She managed to communicate those feelings of isolation beautifully. She’s a personal favourite of mine.
What’s been a favourite moment in your career?
I’m not sure about my career, but I do have a fave moment in the festival every year. It’s when I see the first filmmaker’s Q&A at the end of a screening. It reminds me that every film is a small miracle and truly how much goes into it. It warms my heart to hear that story and feel so excited for the filmmaker to have the opportunity to bring their creativity to life on screen.
Is this a male-dominated industry? How do you tackle that?
In the private sector I have worked in male-dominated positions. I’ve often been the only woman around, so I’m used to that. I hadn’t given it a second thought until the gender parity conversation in the film industry in recent years. It’s usually behind the camera—you’ll see a lot of females on the business side of the industry, but not necessarily in the top creative positions, directors, writers, etc. It’s been heartening for me personally, as well as the organization to support more female creators. It’s a great time for change and development, not just in gender parity, but diversity in general right now.
How has the festival changed in recent years, and what updates are being added to this year’s event?
Last year we implemented a new model that allows us to be flexible in terms of being able to develop new programs to fit into specific streams. For example, this year we have a stream called “Impact,” which speaks to social and environmental impact. It has a series of films, culminating in an award to the film that has an impact on making change in the world. There’s also a sustainable production forum. It’s the first of its kind—an entire day dedicated to the greening of the creative industry. There’s another called “Gateway,” which focuses on our geographical position in Vancouver as the gateway to the Pacific Rim.
There’s also VIFF live, which combines music and visual arts and focuses on how they intersect. It’s a live performance series for audiences created with musicians and visual artists in tandem. They’re one-off exclusive events, and this series is something we’ll definitely continue to develop over the next three to five years. It’s a multi-experiential program. Experiences you need to leave the house for! There are screening, talks, exhibitions, workshops, awards … lots to keep you busy!
During this odd time in the world, it feels as though there’s been a shift in how Canada is perceived. Do you think this is reflected creatively at the festival, and in the Canadian content chosen?
We’re definitely more and more vibrant, and more and more on the map as a country. In film-making there’s a really interesting emergence of new voices—everywhere from YouTube to TV to film. In the film section of the festival, we launched “Future Present,” which highlights the work of emerging independent filmmakers from across the country. There are some bold and talented voices. There’s definitely a new, strong, creative energy. I wouldn’t say a change as that suggests something was broken—more of an innovation. We’ve all become louder.
Why make these changes now? Is it due to Vancouver becoming more culturally creative and open to growing a reputation as a cultural hub?
Absolutely. It was one of the things that attracted me to running this and evolving it in the future. There’s a vibrant hub of innovation and creativity here, and the more immersed I got in the culture, the more I felt the creative ecosystem. There’s a strong growing tech hub here, and a large screen-based industry. Hollywood production gives the opportunity for local creatives to hone their skills in local projects. And then we can take those skills, master them, and project it onto a global stage.
What’s in store for VIFF in the future?
Our job is to continue to build out this new model to speak to new audiences and to support the growth and development of creative industries. It’s what I love. It’s dynamic work. We do what we need to do to support creativity, the city, and its culture. I hope we can continue to play this leadership and catalyst role.
What are you opening the festival with?
We’re opening the festival with Meditation Park, a story about a Chinese Canadian immigrant family, by Mina Shum. It speaks to the unique diversity of our city, and focuses on family, honour, tradition. It’s a really special Vancouver-based story and locals will be able to relate to it and feel a sense of pride. It’s one of those films that will warm the audience’s hearts.
VIFF runs from September 28 to October 13. With 350 films from more than 70 countries, 500 screenings, six days of programming, six creator talks, a performance series and one-off special events across the, this year’s festival is going to be the biggest and best yet! —Aleeza Khan
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