The Executive Producer reflects on acclaimed projects like Chris Lavis and Maciek Szczerbowski’s new film, her support for diverse creators, and her efforts to sustain the NFB’s legacy of innovation through a collaborative production model that continues to achieve major festival and awards success.
For more than 85 years, the National Film Board of Canada (NFB) has been making film history, racking up 78 Oscar nominations and 11 wins for its productions and co-productions, as well as receiving an honorary Academy Award.One of the people at the heart of this tradition of innovation is Christine Noël, Executive Producer of the NFB’s French and English Animation Units, who brings 25 years of experience in animation production and marketing to the job.
Together with Julie Roy and Marc Bertrand, she produced , by filmmakers Chris Lavis and Maciek Szczerbowski.It has been selected at more than 30 festivals and won Best Canadian Short Film at the 2025 Toronto International Film Festival.In this conversation, Noël discusses her career, her vision and the NFB’s perspective on animation.
AWN: Christine Noël: I came to the Film Board in 2001, at the invitation of producer Marcel Jean, and worked in the French animation studio on a variety of special projects, including the complete Norman McLaren box set — a major undertaking.In 2008, I became an animation marketing specialist, heading promotional campaigns for both the French and English studios.That helped me develop international expertise—in particular through leading “For your consideration” Academy Award campaigns.
From 2015 to 2020, I was the national head of marketing, overseeing the promotion of about 80 titles a year.I came back to French animation in 2021, as executive producer, and was named executive producer of both NFB animation units in 2024.With my background in distribution and marketing, I bring an approach that values both creation and a deep understanding of audiences.
AWN: The Girl Who Cried Pearls CN: I first worked with Chris and Maciek during the Oscar promotional campaign for , in 2007, which taught me the mechanics of these campaigns.My predecessor, Julie Roy, had started on , and after she left the NFB, I entrusted the project to producer Marc Bertrand, who has a huge amount of experience.I was very aware of how Chris and Maciek complement each other, having worked together so long as independent filmmakers.
They needed to be supported in a way that would allow them to reach the full heights of their creativity.The film combines stop-motion with digital innovation and a very artisanal cinematographic approach.It also has an extraordinary creative team.
Patrick Watson composed the music, Brigitte Henry is the art director, and Olivier Calvert is the sound designer.(He was a sound designer on Oscar winner Sylvain Bellemare’s team.) After Marc retired, my role was to shepherd the film through post-production and oversee the technical teams, ensuring they could finesse the best technological solutions adapted to Chris and Maciek’s creative process.AWN: CN: The chief mandate of the animation units is to produce works of auteur animation.
To that end, we prioritize distinctive voices.What sets us apart is the richness and diversity of styles and stories that we produce — from more traditional films to boldly experimental ones, using a wide range of techniques.We remain true to the legacy and spirit of our founders, Norman McLaren and René Jodoin, while adapting to new realities.
As executive producer, I support a creative approach that values filmmakers from all backgrounds, with varied artistic approaches.Our production philosophy is built on sharing ideas, cooperation and healthy competition among artists.And our production units are vibrant communities where emerging and veteran creators learn from each other.
Just like my predecessors, I am committed to supporting new voices — currently 40 percent of the projects coming out of our animation units are by emerging creators.While we continue to welcome co-productions for short films, I am also looking to broaden the reach of our works with audiences, exploring formats like features and TV half-hours, along with series co-productions.AWN: CN: We were thrilled to have two of our productions represented at Cannes.
by Martine Frossard, produced by Marc Bertrand, was in official competition, and by Alex Boya, produced by Jelena Popovic, screened at the Directors’ Fortnight.2025 started strong, with by Michif/Red River Métis creator Amanda Strong in official competition at Sundance.The film was co-produced with Spotted Fawn Productions and had a great Canadian and international festival run.
Another standout is , by Halifax-based filmmaker Andrea Dorfman, which had a number of prestigious selections in both animation and documentary festivals and was included in the “Best of Annecy 2025: Spotlight on Women Directors” program.AWN: CN: We are, first and foremost, a Canadian producer and distributor, and creators are central to our process.What makes us unique is the complete chain of expertise we offer artists — from idea to screen — within an environment that encourages them to push the boundaries of their creativity.
We are also a fully integrated production house that stands out by producing, distributing and preserving stories, ensuring they remain permanently accessible.And that means we have a team of experts that can support creators every step of the way.It’s worth mentioning our Oscar history, too.
Of the 78 Academy Award nominations NFB films have received, 38 have been in the short animation category — a field in which we really stand apart.
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