b'STREAMING SERVICEScreators each year. It helps them with development resourcesGhosh says. Whats important is that the next generation and mentorship during the pre-development stage of film- continues telling these stories in their own way. making and television projects. Ghosh is quick to note, however, that despite the new Overall, there is more market demand for Indigenousopportunities presented by streaming services, Indigenous content,sayprofessionalsinvolvedintheindustry,communities continue to face barriers when it comes to and Archita Ghosh is among them. Ghosh is the presi- accessing streamed content. So while streaming is a powerful dent of Montral-based Rezolution Pictures, and shetool to reach wider audiences, Indigenous communities in stresses that studios and streaming companies need toremote areas do not have the proper Internet access neces-be responsive to these market trends to develop newsary to stream anything. Indigenous-focused content. Rezolution, which celebrates its 25th anniversary this year,Archaic or even non-existent telecommunication infra-decided to expand its catalogue of visual content from docu- structure in Indigenous communities continues to be a mentaries and films to include comedy series like Mohawksystemic problem across the country, allowing only those Girls (2012-17) and the Crave Original six-part dramaticwith access to high-speed Internet to access streamed series Little Bird. The company, says Ghosh, is taking a multi- content. Production companies like Rezolution Pictures pronged approach to content in order to create globalmay want to tell and preserve Indigenous stories for all appeal for Indigenous stories: The more perspectives youcommunities, however taking the streaming route inevi-have, the richer the story becomes.tably excludes some remote communities. As such, a multi-pronged approach that encompasses traditional broad-Overall, the studio prioritizes stories and cultural legacycasting, community screenings and streaming is the most over technology, while embracing new platforms and tech.balanced approach, says Ghosh. Their core focus is on preserving cultural legacy for future generations. Stories dont changethe platforms do,RESHAPED LANDSCAPEThe rise of streaming services has undoubtedly reshaped the landscape for Indigenous filmmakers in Canada, opening new doors to global audiences and providing an alterna-tive to traditional media routes. Platforms like Netflix, CBC Gem and Crave are making a concerted effort to invest in Indigenous content, offering creators and their stories the opportunity to be seen by wider, more diverse audiences. Simultaneously, with the CBC-APTN Early-Stage Scripted Development Program and the increasing financial contri-butions through the CRTCs mandate for Canadian and Indigenous content, Indigenous storytellers now have more tools than ever to share their perspectives. And efforts like the landmark agreement between IATSE and Netflix, with its Article 28, offer a glimpse of what the future could hold. By addressing systemic barriers and focusing on reconcil-iation, diversity and inclusion, the industry is beginning to shift toward a more equitable and inclusive environment. It may not be perfectas Morrisette notes, barriers to funding opportunities remain, with only a small percentage of Indigenous-led projects securing the necessary support. However, the changes taking place overall will help ensure that Indigenous filmmakers have more opportunities to enter the industry and be protected against historical biases. As streaming continues to dominate how Canadians consume content, the growth of Indigenous voices in the industry signals an important shift toward authentic, cultur-ally rich storytelling that can reach audiences across the globe. Only time will tell how far these new platforms and initiatives can go in dismantling the structural barriers that Indigenous creators still face.38A CCIB PUBLICATIONFall 2024'