Multi-hyphenating in Canadian Indie Filmmaking: Insights from Toronto-based Film Producer Bardya Ziaian
In Canada’s indie film scene, the line between roles is continually blurring. Writers are directing, directors are editing, and actors are taking on some producing duties. Multi-hyphenate filmmaking, where one person plays several creative and logistical roles, is becoming increasingly common across the country’s low-budget film environment.
Canadian film financing models and resource constraints have meant that independent creators have to wear multiple hats. But the move toward multi-hyphenate models is also tied to a yearning for creative control. The result is a new generation of filmmakers who are fluent in combining artistic intent with technical versatility.
“Participating in every part of the process means you get to mould the story more personally,” says Toronto-based filmmaker Bardya Ziaian. “When you have a restricted budget, this approach is practical and it’s part of the creative identity of the film.”
The economic conditions of Canadian independent cinema play a major role. Many productions are launched with grants from organizations like Telefilm Canada or provincial arts councils, but the money rarely supports a full team. According to a recent report from the Canadian Media Producers Association, the average English-language fiction feature film budget in Canada increased from $2.9 million in 2022/23 to $4.2 million for 2023/24.
In response, filmmakers are building smaller, more nimble production models. In the industry, it’s not unusual to find people who write, direct, and produce their own films, often managing logistics and overseeing post-production as well.
Ziaian points to this efficiency as both a strength and a learning opportunity. “The more you take on, the more you learn how each piece of the puzzle fits. That helps you make better decisions across the board.”
While the shift toward multi-hyphenate roles is partly rooted in necessity, it has also encouraged a generation of filmmakers to develop broader skill sets. Digital resources and online learning have made it simpler to gain technical knowledge outside of formal education. Editing programs, inexpensive cameras, and remote collaboration tools allow creators to handle complex projects with limited resources.
This flexibility has opened doors for filmmakers working in smaller cities or underserved regions. In areas lacking studio infrastructure, independent creators are producing entire productions around themselves and a small team of collaborators. In cities like Winnipeg, St. John’s, and Victoria, locally made films are springing from these close-knit, resourceful teams.
“Indie filmmaking in Canada rewards adaptability. Those who are willing to learn new things and take on new roles do find a way to make things happen, even when the odds are stacked against them,” says Ziaian.
However, this approach is not without challenges. Burnout is a concern, particularly for filmmakers tasked with creative work, logistics and administration. With no production company or distribution pipeline behind them, many face long timelines, uncertain schedules and financial instability. The emotional and physical demands of handling multiple roles can stretch even the most committed creators.
However, despite the challenge, the multi-hyphenate model is undoubtedly a growing trend. For some, it’s a preferred way to work. Creative control, production oversight, and hands-on involvement across all stages of development can result in cohesive, focused storytelling. This way of working is also appealing to film festivals and distributors in search of distinctive voices and original points of view.
A few funding programs are starting to recognize this transition. Institutions such as the National Screen Institute and the Canada Council for the Arts now provide training that reflects the surge in demand for hybrid skill sets. Workshops on budgeting, pitching, editing, and grant writing are incorporated alongside traditional directing and screenwriting sessions.
These developments suggest a broader recognition that today’s Canadian filmmaker often does more than direct. They create schedules, scout sites, hold auditions, shoot trailers and manage social media. They do it out of passion, necessity, and an evolving understanding of what it takes to complete a project from start to finish.
“Being a multihyphenate doesn’t mean doing everything alone. You are being accountable for the whole vision, and that pushes you to think differently about how films get made in this country,” Ziaian concludes.
As the Canadian indie film sector continues to evolve, this all-in approach is the product of a filmmaking culture grounded in adaptability, initiative, and creative endurance.
