Munire Armstrong

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Munire Armstrong

Profile Details

  • Country:   Canada
  • Province/State:   Ontario
  • City:   Toronto
  • How do you Identify?:   She
  • Field of Work:   Fiction/Scripted and Documentary
  • Union:   Non-Union
  • Interested In:   Developing my own Film/TV/Digital Material, For-Hire Work, and Shadowing
  • Recent Credits:   Producer - Bikini Moon (feature film), Kreuzberg (feature film), Ashbridge (web series)
  • Contact Information:   Munire@ynfilms.com
  • Link:   http://www.ynfilms.com/

Bio

Muniré Armstrong has an MA in Cinema/Television and a BSc in Computer Engineering. After working in the telecommunications sector as an engineer and manager for a decade, she decided to work in the film industry.

She has produced award-winning feature films, short films and documentaries as well as commercial videos.

She has completed a web series called Ashbridge (Season 1 for CBC), feature films Kreuzberg (premiered at The Montreal World Film Festival), shot in Berlin, Germany and directed by Carl Bessai, Tainted (2020) by Brent Cote and Witches In The Woods (2020) by Jordan Barker. Bikini Moon which has been shot in New York City written and directed by Oscar nominated Milcho Manchevski in 2017. The film has been premiered at Sao Paola International Festival and screened at many international film festivals (Shanghai, Cinequest, Nashville) and theatrically released in New York City.

Her feature productions include Bosnian/Canadian director Igor Drljaca’s second feature film The Waiting Room (2015) premiered at Locarno Film Festival and Toronto International Film Festival, Turkish director Selim Gunes’ first feature film White as Snow (2010, Turkey/Greece coproduction). White as Snow premiered at the Chicago Film Festival, 2010 and shown/awarded many national and international festivals.

Intro

I moved to Canada roughly 10 years ago and tried to establish myself here as a producer (I produced films before I moved here too). Since moving here,  I was able to produce a few features but mostly outside of the Canadian funding system.

I noticed my first year in Toronto that there is a group of producers that Telefilm favours and they allocate most of their funding for them. Other funders (in general) follow Telefilm’s lead with the exception of Art Councils since they are mutually exclusive for over $250k projects. I feel it is extremely hard for people to break in unless they can associate themselves with one of THE FAVOURITE companies/producers. In rare cases, Telefilm funds an outsider/new comer, in this case you can be sure that the amount is minimal or only for post production phase, I only witness this case for regional funding not for national. I am not sure how national funding is distributed, recently regional funding executives were criticized, I agree with every word said but I also would like to see the same discussion around National funding body of Telefilm, they (or I should perhaps say -she) distribute millions  of dollars. Who gets what and why is never clear. I am sure they have a system that make sense to themselves and to their management. Otherwise how could such a one MAN/WOMAN decision making mechanism be still in use.  But if this is a public company and funded by tax payers money we should be able to question and understand how it operates.

To me most useful funding in Canada is tax credits since they are automatic. My friends and I discuss if we should only have tax credits as a way of public funding and dissolve all other funding bodies, let’s say have a 50% of tax credits for every production, whoever makes a movie gets 50% of the budget from tax credits. In this case only gate keepers will be distributors/sales agents/streaming services. I prefer their gate keeping to bureaucrats. I think in a such environment, the industry will create its own eco-system and will be more useful to all filmmakers.

Sorry for the long introduction but I feel our current funding system does not work for most of the people and for the future of Canadian film and tv and I’d like to be part of the discussions to change this.

I am very happy that there is this group to discuss and find a way to address this problemS.  Thanks a lot.

Reel/Clips