Shant Joshi is a queer Indo-Canadian producer based in Toronto and Los Angeles. He currently owns and operates, Fae Pictures, a media production company with a mandate to “engage audiences with stories rooted in the perspectives of the Other”. His credits include the features, Porcupine Lake (TIFF, Busan, Rome, Outfest), Last Car (director John Greyson), and Framing Agnes (Tribeca, Inside Out, Outfest – Best Experimental); the hit web-series, Teenagers, Dekkoo original series, I’m Fine, and more than 15 short films that have traveled the global festival circuit. Joshi co- founded the Future of Film Showcase as a launchpad for emerging Canadian filmmakers, and he previously worked in literary representation and packaging at Buchwald and Lit Entertainment Group (fka Madhouse Entertainment). He is a recent alum of the Canadian Film Centre’s Producers’ Lab.

The global media landscape today is ripe for a production company to declaratively operate with a

modus operandi to DECOLONIZE HOLLYWOOD.

Enter Fae Pictures.
Founded in 2017 in Toronto & Los Angeles, Fae Pictures is a storytelling production company with a mandate to “Engage audiences with stories rooted in the perspectives of the Other.” We are committed to developing, producing, and delivering stories in a variety of mediums that impact the hearts and minds of audiences, while maximizing private investment through strategic packaging, government-based incentives, and innovative storytelling practices.

Loosely defined under the categories of LGBTQ+, people of color, women, and differently-abled people, the Other encompasses a community of storytellers and audiences that have been wholly underserved in the motion picture industry, and one that we seek to have a strong and integral relationship with.

The company’s strategy for employing its model has three key tenets that have been culled through experience in a disruptive and innovative media environment:

1. Engaging stories – Invest a majority of Fae Pictures’ capital into the curatorial and selective development, production, and exploitation of a lucrative catalogue of high-quality original stories;
2. Engaging audiences – Find the most effective and innovative means and medium of telling each story that not only reaches audiences, but keeps them actively invested as opposed to passively interested;
3. Engaging the Other – Work with under-represented talent and audiences domestically and internationally in marginalized spaces including the LGBTQ, people of color, women, and people who are differently-abled communities.