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16th Annual CCE Awards

2026 CCE Awards

WINNERS: Charlie Jemmett & Travis Gagne – VIDA THE VET: EP 208 – THE MAMAS’ SPA DAY/JUNO’S NO NAP DAY

Bec Cranwick, Sophia Loffreda, Rachel Guergis, Kallan Treadwell & Sarah Fricker – SPIDEY AND HIS AMAZING FRIENDS: EP 412 – A SQUIRREL GIRL AND TIPPY TOE PIRATE ADVENTURE/KNIGHT AT THE MUSEUM

Gavin Ebedes & Ryan Mohammed – RUBBLE AND CREW: THE CREW BUILDS A GIANT SKATE TRACK

Paul Hunter, CCE & Katie Tomchishen – CARL THE COLLECTOR: EP 121 – THE GREEN PIECE/THE FUZZYWORLD BOOK OF RECORDS

Shawn Rocca – LET’S GO BANANAS!: EP 125A – WHISK3RS

Sponsored by: Canadian Cinema Editors

WINNERS: Lesley Mackay Hunter, CCE & Jeff Seibenick, ACE – SAUSAGE PARTY: FOODTOPIA EP 201 – NINTH COURSE

Rob Smith & Orion McCaw – LEGO DREAMZZZ: ENTER THE CYBER GAME EP 306 – INTERFERENCE

Vanessa Seecharran & Jeff Seibenick, ACE – SAUSAGE PARTY: FOODTOPIA EP 203 – ELEVENTH COURSE

Sponsored by: Canadian Cinema Editors

WINNER: Michael Tersigni, CCE – THE AMAZING RACE CANADA: EP 1101 – CANADA IS SOMETHING SPECIAL

Elianna Borsa, Jessica Graore, Andrew Gurney, Pat Fairbairn & Mike Scott – TOP CHEF CANADA: EP 1206 – PULL UP A CHAIR

Kailey Birk – CANADA’S DRAG RACE: EP 605 – THE SHADE

Peter Topalovic & Holly Benson – PROJECT RUNWAY CANADA: EP 306 – STEP IT UP

Ryan Monteith, Michael Tersigni, CCE & Katie Awad – THE AMAZING RACE CANADA: EP 1110 – DOUBLE ROADBLOCK

Sponsored by: Boris FX

WINNER: Eui Yong Zong – THERE ARE NO WORDS

Eugene Weis, CCE – BAM BAM: THE SISTER NANCY STORY

Greg Ng, CCE & Hart Snider – SAINTS AND WARRIORS

Mahi Rahgozar – SEARCHING FOR SATYRUS

Xavier Levesque – SIMPLE PLAN: THE KIDS IN THE CROWD

Sponsored by: Canadian Cinema Editors

WINNERS: Brendan Mills & Martin Edralin – LA MAYORDOMÍA

Daniel Montiel – NERVES

Marie-Pier Grignon – QUIET STORM

Marie-Pier Grignon – RANG DU LIÈVRE

Sponsored by: Canadian Cinema Editors

WINNER: Amy Mielke – ABSOLUTELY CANADIAN – APEX: THE BLACK MASTERS

Katie Flach & Dan Hawkes, CCE – AN OPTIMIST’S GUIDE TO THE PLANET: EP 201 – PROTECT

Louis Chevalier-Dagenais – À LA POURSUITE DU RÊVE GLACÉ: EP 105 – LA BATAILLE DE L’ONTARIO

Rebecca Lessard – MICHELLE ROSS UNKNOWN ICON

Ryan Monteith, Chelsea Bennett & Ben O’Neil – 50,000 FIRST DATES- A TRUE STORY: EP 101 – BLANK SLATE

Sponsored by: Canadian Cinema Editors

WINNER: Meagan Oravec – QUEEN OF THE CASTLE: EP 107 – KEEP CALM AND SCARY ON

Andrew King – CELEBRITY IOU: EP 1002 – CAN JOEL MCHALE GET EMOTIONAL?

David Bitton – LA GRANDE ADOPTION: EP 104 – ADORA, LE SHORKIE

Guillaume Marin, Patrice Ouimet & Maxime Dumont – ON RAMASSERA DEMAIN: EP 310 – LA VÉRITÉ

Peter Topalovic & Ken Yan – DRAG BRUNCH SAVED MY LIFE: EP 101 – BLOOM BISTRO, BARRIE ON

Sponsored by: Canadian Cinema Editors

Jérémie Boutin, Les Rois Henry (Université du Québec à Montréal)

Justin Gagné, Catherine Fafard, José Charbonneau, Raphaël Bédard, James Est Mort (Cégep de Jonquière)

Maël Corneau, Rizz-O-Thon (Université du Québec à Montréal)

Oleksii Kucherchuk, Take it Easy Joey (Humber Polytechnic)

Rowan McKellar, Depth of Field (Concordia University)

Sponsored by: Take 5 Productions

Annie Jean, CCE

Didier Kennel

Heath Fashina – MITTENS & PANTS: EP 337 – PUPPY DETECTIVE & THE CASE OF THE SMELLY SMELL

David Bitton – BANA KONESANS: EP 104 – L’ORIGINE AFRICAINE DES MUSIQUES MODERNES

Fabiola Caraza – GANGNAM PROJECT: EP 210 – HERE COMES ASTRA

Lisa Binkley, CCE – ZOMBIES 4: DAWN OF THE VAMPIRES

Sponsored by: IATSE 891

WINNERS: Yvann Thibaudeau, CCE & Dorian Rigal-Ansous – MA MÈRE, DIEU ET SYLVIE VARTAN

Isabelle Malenfant, CCE – OUT STANDING

Kurt Walker -BLUE HERON

Matthieu Bouchard & Isabelle Malenfant, CCE –  LES FURIES

Sabrina Pitre, CCE – FINAL DESTINATION- BLOODLINES

Sponsored by: Meridian Artists

WINNER: Saeed Vahidi – CHRISTMAS ABOVE THE CLOUD

Arlein Wharf-Garcia – THE CHRISTMAS BABY

Daria Ellerman, CCE – MY SECRET SANTA

Gloria Tong – A HUSBAND TO DIE FOR- THE LISA AGUILAR STORY

Julia Blua & Peter Watson, CCE – TERROR COMES KNOCKING- THE MARCELA BORGES STORY

Sponsored by: Canadian Cinema Editors

WINNER: Michelle Szemberg, CCE – DISH PIT

Arielle Skolnik – BRIEF SOMEBODIES

Justin Li – THE LITTLES

Maria Bykina – YEAR OF THE DRAGON

Véronique Barbe, CCE & Charles Burroughs – THIS ISN’T HOW I PICTURED IT

Sponsored by: Canadian Cinema Editors

WINNER: Isabelle Malenfant, CCE – DOUBLE JEU: EP 112 – LA FINALE

Drew MacLeod – SHORESY: EP 406 – GO WHERE YOU’RE NEEDED

Jay Prychidny, CCE – WEDNESDAY: EP 208 – THIS MEANS WOE

Paul Winestock, CCE – MURDERBOT: EP 103 – RISK ASSESSMENT

Sophie Dumesny & Marc Fourreau – IMPROTÉINE EXPOSE 2025

Yvann Thibaudeau, CCE – CASSE-GUEULE: EP 101-102 DOUBLE FEATURE

Sponsored by: DGC Ontario

WINNER:Véronique Barbe, CCE – HEATED RIVALRY: EP 105 – I’LL BELIEVE IN ANYTHING

Christopher Minns – GINNY AND GEORGIA: EP 309 – IT’S TIME FOR MY SOLO

Lara Johnston, CCE – THE TWISTED TALE OF AMANDA KNOX: EP 102 – CI VEDIAMO PIÙ TARDI

Lauren Brandon – THE TWISTED TALE OF AMANDA KNOX: EP 106 – COLPEVOLE

Valérie Tremblay – ALERTES – PELLETIER: EP 106 – CHASSE À L’HOMME

Sponsored by: Vanguarde Artist Management

WINNER: Zoé Guèvremont – FLEUR DE PEAU: EP 105 – SEVRAGE

Andrea Novoa – PHANTOM LINE: EP 104 – UNRAVELING

Guillaume Marin – DENIS DANGER: EP 108 – THE END OF THE END

Mike Fly –  DYING SECONDS: EP 101 – HAVE I TOLD YOU ABOUT THIS HOCKEY CARD?

Myriam Coulombe – COEUR VINTAGE: EP 204 – ORGUEIL ET GROS CLICHÉ

Sponsored by: Canadian Cinema Editors

Andrew Bukovac – WEDNESDAY 

Geneviève Roberge – HEATED RIVALRY

Majda Drinnan – DMV

Paul Kwan – CELEBRITY IOU

Wesley Demkiw – THE TWISTED TALE OF AMANDA KNOX

Sponsored by: Insight Productions

Special Award Recipients

Scholarship recipient of the National Apprenticeship Program of the Academy of Canadian Cinema & Television in 1988, Annie Jean has never left the editing rooms since then, going from sound to image, from assistant to editor. As chief editor she has worked on more than 65 productions. Many have won awards both in Canada and abroad. She has been involved in sharing her knowledge through various editing courses and workshops in Montreal. Very much involved in the collective interests of editors over the last 25 years, she puts at the centre of her values solidarity among colleagues.

Didier Kennel, born and raised in Africa, became a freelance picture editor in 1985, and has worked in news, broadcast and specialized in Documentaries. For the past 26 years, Didier has been teaching Visual post production at Sheridan College’s BFTV, Media Arts, and the Journalism undergraduate programs, and in the post-graduate Advanced Television and Film Program. During his tenure he has trained over a thousand students in the art of picture editing. In 2008 Didier received the NISOD Award of Excellence. This international award was handed out in Austin Texas, for outstanding contribution to teaching, leadership and learning. Didier has also been an Avid Certified Instructor since 1994 and has successfully trained 100’s of professional editors on four continents.

Celebrating Assistant Editors

As we approach the CCE Awards gala, we are celebrating the assistant editors who are an invaluable part of the editorial team.

The following are the Assistant Editors who worked on this year's nominated projects:

Rashayn Alexander
Guylaine Allard
Mark Allison
Rémi Amorim
Javier Aparisi
Lucas Armstrong
François Artacho
Gregory Austen
Meraj Badiuzzaman
Alicia Barbeau
Emmanuelle Beaudoin-Roy
Mélina Bélanger
William Bellavance
Sébastien Benoit
Melissa Bernin
Jordana Bleiwas
Magnus Boyer
Amélie Boyter
Meagan Brown
Andrew Bukovac
Revan Caluya
Katrina Carrasco
Keegan Carter
Rachel Champion
Charlie Chase
Verona Choi
Fiyin Coker
Marie-Océane Collignon
Adrian Conway
Mel Corrigan
Antony Côté
Scott Coulthart
Eliott Couture
Cassidy Croft
Jordan Davies
Wes Demkiw
Mathieu Dodier
Youri Drouadaine
Joanie Drouin-Laplante
Ivan Dudarev
Clarisse Efstratiou
Abasi Ekpenyon
Dilan Farrell
Luis Figueroa-Ducharme
Marie-Andrée Fredette
William Gagnon
Alisa Gorokhova
Miro Gauvin
Jeff Geisel
Kevin Glover
Philippe Goulet
Natasha Grant
Dominic Guérard
Megan Halligan
Howard Hamilton
Hongku Han
Natalie Harrison-Lim
Victor Helwani
Stéphanie Hubert
Sanel Huskic
Denise Lee Hutchinson
Federico Jara
Chengzhi Jin
Chorong Kim
Mike T. King
Mary Komech
Paul Kwan
Félix Lacourse
Alexandrea Lamoureux
Marek Latzmann
Lou Lapierre
William Lapointe
Jake Lee
Pier-Yvon Lefebvre
Émilie Lemieux
Laurent Léveille
Brittany Lewis
Tom Lounsbury
Jonathan Lussier
Shane MacDonald
Carlie Macfie
Chris McLean
Lana McLean
Meeka McLean
Samie Mcnicoll
Vrishub Merai
Sonya Mwambu
Nik Nikalaidis
Jacon Nosan
Gianluca Olamastroni
Frédéric Ouellet
Mackenzie Phillips
Valérie Précourt
Rachel Perone
Julie Proulx
Akeylah Rivero
Geneviève Roberge
François Robin
Tara Robinson
Matt Rorabeck
Isabella Salinas-Velasco
Cat Senior
Victor Sepulveda
Thomas Serres
Krusan Sivanayagam
Nadine Scott
Lauren Scratch
Alexandra Spadafora
Nicholas St Jacques
Jasmine Stafford
Mike Sutherland
Eli Terlson
Thomas Therrien
Rose Trimboli
Paul-Édouard Vallée
Andrew Vanderhoof
Charles-Étienne Viau
Jeremy Winkels
Jean Wharf-Garcia
James Young

Our Host Richard Crouse

Richard Crouse Host CCE Awards

Richard Crouse is the regular film critic for the 24 hour news sources CTV’s News Channel and CP24 and is a frequent guest on many national Canadian radio and television shows.  His nationally syndicated Saturday afternoon radio show, THE RICHARD CROUSE SHOW, originates on News Talk 1010 in Toronto.  He is also the author of ten books on pop culture history including Who Wrote the Book of Love, the best-selling The 100 Best Movies You’ve Never Seen, its sequel The Son of the 100 Best Movies You’ve Never Seen, the best selling Raising Hell: Ken Russell and the Unmasking of The Devils and Elvis is King: Costello’s My Aim is True.  He also writes about pop culture and cars for The Toronto Star.

CCE Awards Raffle Tickets

Congratulations to our Raffle Winners

Our annual raffle features the fabulous prizes listed below.

The draw will take place during the Awards ceremony.

2 x 1 Year Adobe Creative Cloud Subscription
2 x Davinci Resolve Studios
2 x Blackmagic Cloud Store Mini 16TB
3 x 1-year subscription to Boris FX Suite

With thanks to our Sponsors

Platinum

Gold

DGC National sponsor logo
Vanguarde sponsor logo
Take5 Productions 2018 Events Sponsors Logo
Vanguard Artists 2018 Event Sponsor Logo

Silver

Bronze

RTR

Thank you to our committees & volunteers:

Awards Committee:

Majda Drinnan

Peter Hordylan, CCE

Lesley Mackay Hunter, CCE

Meagan McGraw

Jennifer Kidson

Jane MacRae

Adam van Boxmeer

Thank you to our CCE staff:

CCE Operations Manager:

Alison Dowler

CCE Communications Assistant:

Raquel Graston

Categories
Articles Press Release

2026 CCE Award Nominees

2026 CCE Award Nominees

The Canadian Cinema Editors is thrilled to announce the nominees for the 2026 CCE Awards. Join us on Friday, May 22nd, 2026 for an evening celebrating excellence in editing at the Delta Hotel in Toronto with our host Richard Crouse.

Ticket sales will open this Friday! Congratulations to all our nominees!

Bec Cranwick, Sophia Loffreda, Rachel Guergis, Kallan Treadwell & Sarah Fricker – SPIDEY AND HIS AMAZING FRIENDS: EP 412 – A SQUIRREL GIRL AND TIPPY TOE PIRATE ADVENTURE/KNIGHT AT THE MUSEUM

Charlie Jemmett & Travis Gagne – VIDA THE VET: EP 208 – THE MAMAS’ SPA DAY/JUNO’S NO NAP DAY

Gavin Ebedes & Ryan Mohammed – RUBBLE AND CREW: THE CREW BUILDS A GIANT SKATE TRACK

Paul Hunter, CCE & Katie Tomchishen – CARL THE COLLECTOR: EP 121 – THE GREEN PIECE/THE FUZZYWORLD BOOK OF RECORDS

Shawn Rocca – LET’S GO BANANAS!: EP 125A – WHISK3RS

Sponsored by: Canadian Cinema Editors

Lesley Mackay Hunter, CCE & Jeff Seibenick, ACE – SAUSAGE PARTY: FOODTOPIA EP 201 – NINTH COURSE

Rob Smith & Orion McCaw – LEGO DREAMZZZ: ENTER THE CYBER GAME EP 306 – INTERFERENCE

Vanessa Seecharran & Jeff Seibenick, ACE – SAUSAGE PARTY: FOODTOPIA EP 203 – ELEVENTH COURSE

Sponsored by: Canadian Cinema Editors

Elianna Borsa, Jessica Graore, Andrew Gurney, Pat Fairbairn & Mike Scott – TOP CHEF CANADA: EP 1206 – PULL UP A CHAIR

Kailey Birk – CANADA’S DRAG RACE: EP 605 – THE SHADE

Michael Tersigni, CCE – THE AMAZING RACE CANADA: EP 1101 – CANADA IS SOMETHING SPECIAL

Peter Topalovic & Holly Benson – PROJECT RUNWAY CANADA: EP 306 – STEP IT UP

Ryan Monteith, Michael Tersigni, CCE & Katie Awad – THE AMAZING RACE CANADA: EP 1110 – DOUBLE ROADBLOCK

Sponsored by: Boris FX

Eugene Weis, CCE – BAM BAM: THE SISTER NANCY STORY

Eui Yong Zong – THERE ARE NO WORDS

Greg Ng, CCE & Hart Snider – SAINTS AND WARRIORS

Mahi Rahgozar – SEARCHING FOR SATYRUS

Xavier Levesque – SIMPLE PLAN: THE KIDS IN THE CROWD

Sponsored by: Canadian Cinema Editors

Brendan Mills & Martin Edralin – LA MAYORDOMÍA

Daniel Montiel – NERVES

Marie-Pier Grignon – QUIET STORM

Marie-Pier Grignon – RANG DU LIÈVRE

Sponsored by: Canadian Cinema Editors

Amy Mielke – ABSOLUTELY CANADIAN – APEX- THE BLACK MASTERS

Katie Flach & Dan Hawkes, CCE – AN OPTIMIST’S GUIDE TO THE PLANET: EP 201 – PROTECT

Louis Chevalier-Dagenais – À LA POURSUITE DU RÊVE GLACÉ: EP 105 – LA BATAILLE DE L’ONTARIO

Rebecca Lessard – MICHELLE ROSS UNKNOWN ICON

Ryan Monteith, Chelsea Bennett & Ben O’Neil – 50,000 FIRST DATES- A TRUE STORY: EP 101 – BLANK SLATE

Sponsored by: Canadian Cinema Editors

Andrew King – CELEBRITY IOU: EP 1002 – CAN JOEL MCHALE GET EMOTIONAL?

David Bitton – LA GRANDE ADOPTION: EP 104 – ADORA, LE SHORKIE

Guillaume Marin, Patrice Ouimet & Maxime Dumont – ON RAMASSERA DEMAIN: EP 310 – LA VÉRITÉ

Meagan Oravec – QUEEN OF THE CASTLE: EP 107 – KEEP CALM AND SCARY ON

Peter Topalovic & Ken Yan – DRAG BRUNCH SAVED MY LIFE: EP 101 – BLOOM BISTRO, BARRIE ON

Sponsored by: Canadian Cinema Editors

Announcing in early May

Sponsored by: Take 5 Productions

Annie Jean, CCE

Didier Kennel

David Bitton – BANA KONESANS: EP 104 – L’ORIGINE AFRICAINE DES MUSIQUES MODERNES

Fabiola Caraza – GANGNAM PROJECT: EP 210 – HERE COMES ASTRA

Heath Fashina – MITTENS & PANTS: EP 337 – PUPPY DETECTIVE & THE CASE OF THE SMELLY SMELL

Lisa Binkley, CCE – ZOMBIES 4: DAWN OF THE VAMPIRE

Sponsored by: IATSE 891

Isabelle Malenfant, CCE – OUT STANDING

Kurt Walker -BLUE HERON

Matthieu Bouchard & Isabelle Malenfant, CCE –  LES FURIES

Sabrina Pitre, CCE – FINAL DESTINATION- BLOODLINES

Yvann Thibaudeau, CCE & Dorian Rigal-Ansous – MA MÈRE, DIEU ET SYLVIE VARTAN

Sponsored by: Meridian Artists

Arlein Wharf-Garcia – THE CHRISTMAS BABY

Daria Ellerman, CCE – MY SECRET SANTA

Gloria Tong – A HUSBAND TO DIE FOR- THE LISA AGUILAR STORY

Julia Blua & Peter Watson, CCE – TERROR COMES KNOCKING- THE MARCELA BORGES STORY

Saeed Vahidi – CHRISTMAS ABOVE THE CLOUD

Sponsored by: Canadian Cinema Editors

Arielle Skolnik – BRIEF SOMEBODIES

Justin Li – THE LITTLES

Maria Bykina – YEAR OF THE DRAGON

Michelle Szemberg, CCE – DISH PIT

Véronique Barbe, CCE & Charles Burroughs – THIS ISN’T HOW I PICTURED IT

Sponsored by: Canadian Cinema Editors

Drew MacLeod – SHORESY: EP 406 – GO WHERE YOU’RE NEEDED

Isabelle Malenfant, CCE – DOUBLE JEU: EP 112 – LA FINALE

Jay Prychidny, CCE – WEDNESDAY: EP 208 – THIS MEANS WOE

Paul Winestock, CCE – MURDERBOT: EP 103 – RISK ASSESSMENT

Sophie Dumesny & Marc Fourreau – IMPROTÉINE EXPOSE 2025

Yvann Thibaudeau, CCE – CASSE-GUEULE: EP 101-102 DOUBLE FEATURE

Sponsored by: DGC Ontario

Christopher Minns – GINNY AND GEORGIA: EP 309 – IT’S TIME FOR MY SOLO

Lara Johnston, CCE – THE TWISTED TALE OF AMANDA KNOX: EP 102 – CI VEDIAMO PIÙ TARDI

Lauren Brandon – THE TWISTED TALE OF AMANDA KNOX: EP 106 – COLPEVOLE

Valérie Tremblay – ALERTES – PELLETIER: EP 106 – CHASSE À L’HOMME

Véronique Barbe, CCE – HEATED RIVALRY: EP 105 – I’LL BELIEVE IN ANYTHING

Sponsored by: Vanguarde Artist Management

Andrea Novoa – PHANTOM LINE: EP 104 – UNRAVELING

Guillaume Marin – DENIS DANGER: EP 108 – THE END OF THE END

Mike Fly –  DYING SECONDS: EP 101 – HAVE I TOLD YOU ABOUT THIS HOCKEY CARD?

Myriam Coulombe – COEUR VINTAGE: EP 204 – ORGUEIL ET GROS CLICHÉ

Zoé Guèvremont – FLEUR DE PEAU: EP 105 – SEVRAGE

Sponsored by: Canadian Cinema Editors

Andrew Bukovac – WEDNESDAY 

Geneviève Roberge – HEATED RIVALRY

Majda Drinnan – DMV

Paul Kwan – CELEBRITY IOU

Wesley Denkiw – THE TWISTED TALE OF AMANDA KNOX

Sponsored by: Insight Productions

With Thanks To Our Sponsors

Categories
Past Events

EditCon 2026

EditCon 2026

EditCon 2026 in Review

The CCE just completed its 9th annual EditCon with three days of amazing panel talks, virtual breakout rooms, and networking for over five hundred attendees from Canada and around the world. We hosted in six cities this year in Toronto, Montreal, Edmonton, Vancouver, Halifax and Winnipeg.

It was our biggest year to date with 6 virtual panels, 9 In Person Panels and 5 virtual Breakout Rooms plus our Trivia Night!

It wouldn’t be EditCon without wrapping up the weekend with a good old-fashioned giveaway, thanks to prize donations from our generous sponsors.

Missed Attending Live?

Subscribe to our podcasts to be notified about future episodes featuring our EditCon 2026 talks.

Presented in English

Presented in French

Podcast Exclusive

january 1st

IN CONVERSATION WITH SANDRA ADAIR, ACE

Join us for an in-depth conversation with Sandra Adair, ACE, the celebrated editor behind some of the most enduring and emotionally resonant films of our time. Best known for her long-standing collaboration with director Richard Linklater on films like BOYHOOD, BEFORE MIDNIGHT, SCHOOL OF ROCK, and DAZED AND CONFUSED, Adair brings a rare blend of instinct, rhythm, and narrative sensitivity to every frame.

In this exclusive EditCon podcast episode, Sandra revisits the creative joys and challenges of shaping character-driven stories over decades, shares her perspective on the evolving role of the editor in independent cinema, and reflects on what it means to nurture authentic performances in the edit suite. Whether crafting a 12-year episodic odyssey or discovering visual poetry in everyday moments, Adair’s work illuminates the editor’s power to translate time and truth on screen.

Academy Award nominee, Sandra Adair, ACE, has enjoyed an ongoing artistic collaboration with director Richard Linklater, having edited 24 films for him over the past 33 years. Some of their collaborative work includes the cult classic DAZED AND CONFUSED, BEFORE SUNRISE, BEFORE SUNSET AND BEFORE MIDNIGHT, and last year’s HIT MAN. Their latest collaboration is this year’s BLUE MOON. In 2014, Linklater’s BOYHOOD earned 6 Academy Award nominations, including Best Editing for Sandra. Sandra is a member of the Academy of Motion Picture Arts and Sciences, American Cinema Editors, and The Motion Picture Editor’s Guild.

A multi-award-winning editor with over twenty years of experience, Sarah has helped shape countless narratives that have been seen around the world. She has cut a wide range of documentaries, television programs, shorts, and feature films which have been screened at festivals including Tribeca, TIFF, and Sundance, and broadcast on networks like CBC, BBC, PBS, APTN, and AMI. Sarah’s most recent work includes the feature length documentary  THE LEBANESE BURGER MAFIA which premiered at HOT DOCS in 2023 and the feature film HEY VIKTOR! which premiered at Tribeca in 2023. Sarah has seamlessly transitioned into the world of podcasting and also hosts and edits interview-based shows such as BRAAAINS and THE EDITOR’S CUT, adding another dimension to her multifaceted storytelling expertise.

BONUS podcast episode!

February 5th

Heated Rivalry

We are excited to release a BONUS podcast episode for EditCon. Join the editors from one of the most talked about tv shows HEATED RIVALRY. Véronique Barbe, CCE & Arthur Tarnowski, CCE talk with Sarah Taylor, CCE about what it was like to work on the show.

Panels (Virtual)

FRIDAY FEBRUARY 6th
VIRTUAL PANELS WILL BE RELEASEd

SEVERANCE: THE INNIES OF EDITING

“Your outie likes TV series.”

From one of the most innovative drama series in recent years, we are thrilled to welcome the Emmy-nominated editing team behind SEVERANCE — Geoffrey Richman, Joe Landauer, and Keith Fraase. Together, they will share insights into their mysterious and essential work shaping the show’s complex world and emotional depth.

Moderated by Sarah Taylor, CCE, this panel will explore the art of storytelling through editing, diving into how the team built the psychological tension and intricate character arcs — both for the innies and outies — within and beyond the walls of Lumon.

Keith Fraase, ACE, is a professional Film & TV Editor based in New York. His notable feature film credits include the Academy Award nominated films The Tree of Life and Past LIves, as well as TO THE WONDER, KNIGHT OF CUPS, SONG TO SONG, VOYAGE OF TIME, CHAPPAQUIDDICK, A MOUTHFUL OF AIR, and MATERIALISTS. His documentary work includes Netflix’s DIRTY MONEY, NAOMI OSAKA, and AMEND; HBO’s LOVE HAS WON and the Emmy winning series 100 FOOT WAVE; and Amazon’s LONG STRANGE TRIP. He also worked on the acclaimed Apple TV series SEVERANCE, for which he was nominated for an Emmy for Outstanding Picture Editing.

Joseph Landauer is a New York-based editor whose career spans indie gems to bigger studio projects. His feature credits include cult phenomenon TEETH, sci-fi comedy SAFETY NOT GUARANTEED, and THE MISEDUCATION OF CAMERON POST, which won the Grand Jury Prize at Sundance. His work with director Ry Russo-Young stands out as one of his most rewarding professional partnerships, working together on BEFORE I FALL, THE SUN IS ALSO A STAR , and the HBO documentary series NUCLEAR FAMILY, for which he served as executive producer and which earned an Independent Spirit Award nomination. More recently, he earned an Emmy nomination for his work on SEVERANCE.

Geoffrey Richman is the editor of MURDERBALL, SICKO, and THE COVE and TIME FREAK (all Academy Award nominated). THE COVE went on to win the Oscar, along with awards for producing, directing, writing, and editing. Geoff’s work includes a mix of narrative and documentary features and series. Credits include DON’T THINK TWICE, PALMER, KNIGHT OF CUPS, ESCAPE AT DANNEMORA, SEVERANCE, DESCENDANT, THE ORDER OF MYTHS, EATING ANIMALS, RACING EXTINCTION, BEFORE THE FLOOD, and the Sundance Grand Jury and Audience Award winner GOD GREW TIRED OF US. He has been awarded the Eddie Award three times, as well as Emmy nominations for his work on Severance and Tiger King. Geoff has mentored for the Sundance Documentary Edit & Story Lab and the Karen Schmeer Film Editing Fellowship, and taught classes at NYU, Motion Picture Editors Guild, and The Edit Center.

A multi-award-winning editor with over twenty years of experience, Sarah has helped shape countless narratives that have been seen around the world. She has cut a wide range of documentaries, television programs, shorts, and feature films which have been screened at festivals including Tribeca, TIFF, and Sundance, and broadcast on networks like CBC, BBC, PBS, APTN, and AMI. Sarah’s most recent work includes the feature length documentary THE LEBANESE BURGER MAFIA which premiered at HOT DOCS in 2023 and the feature film HEY VIKTOR! which premiered at Tribeca in 2023. Sarah has seamlessly transitioned into the world of podcasting and also hosts and edits interview-based shows such as BRAAAINS and THE EDITOR’S CUT, adding another dimension to her multifaceted storytelling expertise.

ROOTED IN STORY: IDENTITY, LEGACY AND DECOLONIZATION

Three visionary documentary storytellers explore how the editor’s hand shapes narratives rooted in memory, identity, and the contested spaces of land and legacy.

Featuring Elad Tzadok (TREASURE OF THE RICE TERRACES), Ryan Mullins (YINTAH), and renowned editor Mary Stephen, CCE (PALIMPSEST: THE STORY OF A NAME), the panel will dive into the unique editorial challenges of crafting vérité-based, community-centred narratives. From remote rice terraces in the Philippines, to the frontline of land defense in northern B.C., to a quiet meditation on ancestral naming across continents, these films each required distinct approaches in balancing structure, ethics, and emotional truth.

Join us for an inspiring and practical look at the art of shaping multi-layered documentary narratives. Where place becomes a character, sound becomes testimony, and the cut becomes an act of cultural care.

Ryan is a CCE and Emmy award winning documentary editor/director from Montreal, Quebec. His directorial feature CHAMELEON won the Emerging Filmmaker award at Hot Docs. Since then, he has worked as an editor on I AM THE BLUES, INFLUENCE, MIDWIVES, SOFTIE, the latter of which won the Sundance documentary editing award. In 2024 he completed editing on YINTAH, which won the Rogers Audience Award at Hot Docs and BLINK, which won the 2025 Emmy for outstanding editing in documentary.

Born in Hong Kong, Mary graduated from Communications Arts at Concordia University. She was Eric Rohmer’s editor and music co-composer for 3 decades and worked extensively with fiction and documentary filmmakers from several continents as editor, script advisor or associate producer. She is a frequent mentor at training workshops, guest-teaches at film institutions and nominated for many editing awards. She directed VISION FROM THE EDGE: BREYTEN BREYTENBACH PAINTING THE LINES and the TIFF-premièred PALIMPSEST: THE STORY OF A NAME. She is a member of the Academy of Motion Picture Arts and Sciences, and a French Ministry of Culture’s Chevalier des arts et des lettres.

Elad is a Vancouver-based director, editor and co-founder of Scopitone Films. He’s a graduate of UBC’s Film Production Program, the TIFF Filmmaker Lab and Whistler Documentary Lab. Recent editing credits include TREASURE OF THE RICE TERRACES, LOST IN THE SHUFFLE, CORRECTIVE MEASURES, PORTRAITS FROM A FIRE, ALL JOKING ASIDE, BROIL, and SHE WHO MUST BURN. He also edited both seasons of THE DRIVE (CCE nominated best Webseries editing). Elad’s directorial work includes UNARCHIVED, the narrative short RUN and two Heritage Minutes: EDWIN BAKER, and MARY RITER HAMILTON.

Nick Hector, CCE, BFE, ACE is a Canadian Screen, HotDocs, Canadian Cinema Editors, Directors Guild of Canada, and Gemini Award-winning film editor of more than 150 films and programs. His work has been included in the Criterion Collection and screened at most major international festivals, including the Berlinale, Sundance, and TIFF. Nick is an Associate Professor of film production at the University of Windsor. His scholarly research explores the relationship between the craft process and artistic outcomes in documentary film editing. Nick holds a Master of Arts in Media Education and a Doctorate in Fine Art.

Assistant Editors: The Heart of Post Production (presented in english)

For our second year we have our assistant editor panels for EditCon! Join us for not one, but two discussions with highly renowned and award-winning French and English-speaking assistant editors. In French we’ll welcome assistants from MISS BOOTS, FLORENT VOLLANT : INNU and HEATED RIVALRY . In English we will welcome assistants from DAVEY & JONESIE’S LOCKER, DISCO’S REVENGE and LOVE ISLAND USA. They’ll discuss the assistant journey, from working with editors on projects to the differences between remote and office workflows, and navigating day-to-day operations in between the edit suites.

Alexander DeSouza is an Indian-Canadian 1st Assistant Picture Editor, Editor and Director. An assistant editor with 8 years of experience in both documentary and narratives, Alexander has worked on shows such as The Z-SUITE, SURREAL ESTATE S2 , SUZE and LILITH FAIR. In 2025, Alexander received the CCE Assistant Editor’s Recognition Award for his work on the CSA nominated documentary, DISCO’S REVENGE. He recently made his television editing debut on the spin-off series THE NEXT STEP: CHEER FOR CBBC.

Emily Gilhooley spent five years at Boat Rocker working as an editor in their digital department. After leaving, she joined the DGC working as a scripted editor on shows such as THE NEXT STEP, MEDIA STAMPED, and ANNA’S OCCASIONS, to name a few. Wanting more experience in reality, Emily joined the BIG BROTHER CANADA team as an edit assist for its final 2 seasons, as well as LOVE ISLAND USA for the last 3 seasons, and just finished up on season 2 of LOVE ISLAND GAMES.

Lester Lubuguin is a Toronto-based film and television Assistant Editor with over 14 years of experience. His work spans across unscripted television and documentaries, including AIR CRASH INVESTIGATION and CRYSTAL PITE: ANGELS’ ATLAS, as well as feature films such as STOLEN BY THEIR FATHER and acclaimed scripted dramas like THE HANDMAID’S TALE. Known to never stay in his own lane, Lester decided that sitting in front of the Avid wasn’t enough—so he wrote and directed his own short film, Eden, which came out in 2025. With a versatile skill set, he’s well-versed with the ins and outs of production—from pre to post—and brings both his expertise and a dash of creativity to every project he is a part of.

Victoria Cho is an assistant film and television editor with a background in the literary arts. She blends together an easy-going spirit with a driven work ethic and thrives on collaboration. She is dedicated to telling stories that imagine new ways of being and belonging. Her recent projects include FROM, THE HANDMAID’S TALE, and THE TESTAMENTS.

Assistant Editors: The Heart of Post Production (presented in French)

For our second year we have our assistant editor panels for EditCon! Join us for not one, but two discussions with highly renowned and award-winning French and English-speaking assistant editors. In French we’ll welcome assistants from MISS BOOTS, FLORENT VOLLANT : INNU and HEATED RIVALRY . In English we will welcome assistants from DAVEY & JONESIE’S LOCKER, DISCO’S REVENGE and LOVE ISLAND USA. They’ll discuss the assistant journey, from working with editors on projects to the differences between remote and office workflows, and navigating day-to-day operations in between the edit suites.

Andréanne has been an assistant editor for more than 10 years, working primarily in film and on fictional TV series. She is also a musician with a keen eye (and ear) for detail and a knack for sound design—one of her favourite parts of her work. She has a reputation for thoroughness and versatility, as well as professionalism and excellent listening skills. She has worked on productions like the series SOCIÉTÉ DISTINCTE and the movie MISS BOOTS, both of which have been selected and nominated for numerous festivals and galas in Quebec and beyond.

Sara is a documentary assistant editor for Nikan Productions, an indigenous production company. They discovered their passion for editing at 15 years old while experimenting with after effects on their old family computer and eventually decided to study film. In 2024, after working for Nikan as a production assistant during their studies, they started doing assistant editing work for them. They work closely with the editors while also managing multiple projects that are on different post-production stages at the same time, from ingesting to the online stage.

Geneviève Roberge has been an assistant editor for film and television for more than 15 years. She loves seeing storyboards come to life as the creative process unfolds. She balances technical precision with creative flair and loves working on projects that push her to her limits. She throws herself entirely into every production she works on and is known for her dedication, attention to detail, and ability to collaborate. Her latest projects include Philippe Falardeau’s, A THOUSAND SECRETS, A THOUSAND DANGERS and Jacob Tierney’s HEATED RIVALRY.

After earning a college degree in communication and literature, and dreaming of the theatre, Véronique decided to change courses and study at the Cégep de Jonquière’s school of media arts and technologies. She graduated in 2008 and enjoyed a wonderful internship at Radio-Canada, then joined the team at the now-closed STATION 29. It was during her time at the post-production studio that she fell in love with everything to do with assistant editing. It was also there that she connected with Muse Entertainment and its numerous editors, giving her the chance to work on many of their projects—an opportunity that saw her working not only in Montreal, but in Toronto and Los Angeles as well. Over the past year, she has worked on an impressive collection of projects, including co-production series SO LONG MARIANNE for Crave, THE STICKY for Amazon, and the fourth season of hit sitcom GHOSTS for CBS.

This Year in Canadian Film

Canadian independent films, with their unique funding structures, have fostered a new wave of distinct cinematic voices. From coast to coast, Canadian film editors have shaped a diverse array of stories that reflect the country’s rich tapestry of characters, narratives, and forms. Many of these films have shone on international stages and in theatres across the nation.

We are thrilled to welcome three prolific editors: Kurt Walker, behind the multi-award-winning BLUE HERON; Amélie Labrèche, known for the dreamy and theatrical LE TRAIN; and Brendan Mills, editor of the TIFF-selected 100 SUNSET.

Amélie Labrèche is an editor based in Montreal. She has edited 17 narrative feature films, including NADIA BUTTERFLY by Pascal Plante, selected at the 2020 Cannes Film Festival, and various documentaries, series, short films and music videos. In 2023, she participated in Berlinale Talents. A film buff, her desire is to deepen the creative process of editing and to contribute to profound and innovative works through the narrative and emotional power of film editing. Over the years, her work has received several nominations and awards. Among these, she was awarded with co-editor Olivier Higgins for Best Editing in a Documentary for WANDERING, A ROHINGYA STORY at the Quebec Cinema Awards in 2021.

Brendan Mills is a Canadian film editor whose work has premiered on the stages of Cannes, Venice, TIFF, Sundance and more. Working across narrative and documentary, his nuanced eye is informed by both worlds of storytelling. Brendan’s feature credits include LUCKY LU, 100 SUNSET, SWAN SONG, THE MAIDEN, and TITO.

Kurt Walker is a director, picture editor, and assistant editor from Vancouver/ As a director, he makes movies concerned with place, connection, and time. In 2014, his debut film HIT 2 PASS won doclisboa’s Universidade Lusíada Award for Best International Competition Film. His latest film, I THOUGHT THE WORLD OF YOU, was dubbed “A truly beautiful lyrical essay” by Guy Maddin. The film also won top awards at Festival du Nouveau Cinéma and Torino’s Seeyousound Film Festival. Most recently, he edited Sophy Romvari’s award-winning debut feature BLUE HERON.

Raised on STAR TREK: THE NEXT GENERATION, Justin’s original plan was to push flashy buttons on a Starship as an actor. Fortunately, he found his calling pushing colourful keyboard buttons in a dark room as an editor. His work has been seen ‘round the world in festivals such as Sundance, Berlinale, SXSW, TIFF, Locarno as well as the small screens of HBO, Netflix, FX, Hulu, Crave, SRC, TVA, and Télé-Québec.

Behind the Screen: Youngblood

Go behind the scenes with YOUNGBLOOD picture editor Matt Lyon, CCE and supervising sound editor Jesse Gillingham as they discuss the process behind reimagining the hockey cult classic. 

Discussion includes:

  • The benefits and challenges of offline editing with 5.1 audio
  • Crafting authentic sports action from a picture and sound perspective
  • Behind the scenes examples of building the edit in Media Composer and ProTools
  • How the picture and sound departments collaborate, from prep to final delivery
  • Demystifying the turnover process. What happens to the picture editor’s audio after it gets handed off to the sound post team?

Matt Lyon, CCE is a versatile film and television editor who is equally at home cutting genre, comedy and arthouse. A DGC Award winner and two-time CCE Award nominee, Matt’s feature credits include Writer/Director Eli Roth’s upcoming ICE CREAM MAN, Hubert Davis’ re-imagining of the hockey classic YOUNGBLOOD, Brad Anderson’s THE SILENT HOUR. and the number one Netflix film CODE 8: PART II. Matt loves sharing his knowledge and runs a popular sound editing workshop for picture editors. He is currently chair of the CCE mentorship committee.

A seasoned supervising sound and dialogue editor with 13 years in film and television, Jesse has shaped audio for standout Canadian hits like WILD CARDS and PRIVATE EYES, Apple’s CIRCUIT BREAKERS, and the eagerly awaited YOUNGBLOOD remake. Known for his thoughtful approach and attention to detail, Jesse works closely with filmmakers to elevate storytelling through sound and ensure each moment lands with clarity and impact.

In Person Events

saturday february 7th

Locations (full details on the Ticket Pages)

Toronto: 11:45am (Innis Town Hall: 2 Sussex Ave, Toronto)

Vancouver: 10:30am (IATSE 891 Annex: 1640 Boundary Road, Burnaby)

Edmonton: 11:30am (The Creative Hive: 16819 111 Ave NW, Edmonton)

Winnipeg: 12:30pm (Film Training Manitoba – 245 McDermot Ave, Winnipeg)

Montréal: 12:45pm (National Institute of Image and Sound (L’inis) : 301 Boul. de Maisonneuve E, Montreal)

Halifax: 1:30pm (Nova Scotia Community College Ivany Campus: 80 Mawiomi Pl, Dartmouth)

toronto- In Conversation with Cathy Gulkin, CCE

Join us for an inspiring conversation with acclaimed filmmaker Cathy Gulkin, CCE, whose remarkable career spans both the analogue and digital eras of documentary storytelling. We will explore her journey, her process, and her profound impact on Canadian documentary cinema.

The career of veteran filmmaker Cathy Gulkin, CCE spans the analogue and digital eras. She is best known for her editing of the Genie award-winning FORBIDDEN LOVE (1992) and the Donald Brittain Award-winning GUANTANAMO’S CHILD (2015) for which she also won Best Documentary Editing Awards (Atlantic Film Festival, Directors Guild of Canada and Canadian Cinema Editors). Gulkin has also won awards for CRY OF THE ANCESTORS (1996), YOU ARE HERE (2018), and EVERY CHILD MATTERS (2020) and has been nominated for many others. She has edited over 50 documentary films and TV programmes.

Nick Hector, CCE, BFE, ACE is a Canadian Screen, HotDocs, Canadian Cinema Editors, Directors Guild of Canada, and Gemini Award-winning film editor of more than 150 films and programs. His work has been included in the Criterion Collection and screened at most major international festivals, including the Berlinale, Sundance, and TIFF. Nick is an Associate Professor of film production at the University of Windsor. His scholarly research explores the relationship between the craft process and artistic outcomes in documentary film editing. Nick holds a Master of Arts in Media Education and a Doctorate in Fine Art.

Toronto- editing in comedy

Great comedy tells the truth. Everyday hardships can produce compelling stories and laughter. In SON OF A CRITCH, we follow Mark’s adventures coming of age in Newfoundland in the 80’s. LATE BLOOMER follows Jasmeet Dutta’s ambitions as a content creator who balances family expectations within Canadian society. In OFFICE MOVERS, the Saunders brothers and their inexperienced crew attempt to run a moving company with disastrous results for both furniture and office walls.  Please join us in a conversation with picture editors Pauline Decroix, Baun Mah, and Jordan Hayles as they recount their experiences and challenges in telling these stories through comedy.

Pauline Decroix is an award-winning Picture Editor based in Toronto with 25 years of experience in both Canada and France. Throughout her career, Pauline has worked across a broad range of genres and styles, though narrative stories and documentaries remain her central passions. In 2020, she received her first Canadian Screen Award for Best Editing on the documentary ON THE LINE. She also won the Canadian Cinema Editors award for best editing in a short film two years in a row (2020 & 2021). More recently, she has been nominated several times for her work on the TV series SON OF A CRITCH, and in 2025, she received her first Director’s Guild of Canada Award for her work on the NFB documentary THE NEST, directed by Julietta Singh and Chase Joynt.

Baun is an award-winning editor whose work has spanned multiple genres –including the CBS sitcom DMV, Jasmeet Raina’s LATE BLOOMER, the AMC+ horror anthology SLASHER, CANADA’S DRAG RACE, and LEARN TO SWIM, a dramatic feature that was nominated for Best International Feature at the 2023 NAACP Image Awards. Baun’s also served as a director/producer on BIG BROTHER CANADA and his award-winning short documentary A CHINK IN THE ARMOUR. He’s currently working on the third season of LATE BLOOMER and finds it ironic that cutting scenes all these years has done nothing to improve his ability to cut carbs.

Jordan Hayles is an Award-winning Film & Television Editor, hailing from Scarborough. From editing multiple genres, spanning from Lifestyle, Sports, Documentary, and Narrative, he stubbornly refuses to be boxed into one category when it comes to what is possible to create in his career. This is evidenced by his work appearing across networks like VICE, NBC, CBC, CTV, Crave, and with the Toronto teams owned by Maple Leafs Sports & Entertainment. Mentorship is also something that Jordan takes pride in, by helping others see the possibilities of working in Post Production; maintaining that we can all do something to affect positive change.

Jane was 10 years old when she started her first editing gig by hooking up two VCRs to cut the commercials out of her favourite TV shows. Since then, she’s been fortunate enough to find some folks to trust her with their own projects, and she now has over 15 years’ experience in feature films and series. She has been nominated for three CCE Awards and two Canadian Screen Awards for editing, and her work has screened at festivals around the world. She loves to aim for projects across all genres, and can usually be talked into working when she should be taking time off.

Vancouver- soft skills in the edit suite

Storytelling skills, check. Technical skills, sure, however, what do you do in the edit suite once you’ve got the gig? There’s a lot that goes into editing that isn’t actually… editing. How do you work with your Director? How do you address notes from Producers or networks? What happens when there’s a fire to put out and you have to keep your cool? Should we be considered licensed therapists? Join us in a panel that dives into the “Soft Skills” editors naturally gain over the course of a career.

Aynsley Baldwin has been a Vancouver-based editor and member of the local post production community since 2005.  Her recent works include Kate Kroll’s biopic LUNATIC: THE LUNA VACHON STORY (Canadian Film Festival,  Fantastic Fest, and Festival du Nouveau Cinéma 2025), Jennifer Chiu’s CLAN OF THE PAINTED LADY (Vancouver International Film Festival, DOK Leipzig 2025), and SUPERNATURALS, an APTN docuseries directed by Sean Stiller and Kerriann Cardinal.  Aynsley has also worked extensively as a VFX editor with Image Engine VFX, an award-winning Vancouver studio, on several projects including LOGAN, GAME OF THRONES, SPIDER-MAN: FAR FROM HOME, THE MANDALORIAN, and AHSOKA.

Lawrence Le Lam is an editor / director / filmmaker from Richmond, BC, with an affinity for music-driven stories. His recent editing on Solara Thanh Binh Dang’s short film RIPE (CHIN) was a part of the official selection for the 50th Toronto International Film Festival (2025). Lawrence was CSA-nominated for Best Editing in Feature Documentary for Ying Wang’s 2019 Docu-thriller THE WORLD IS BRIGHT, which was the winner of the Sea to Sky Award, 38th Vancouver International Film Festival, and Emerging Canadian Filmmaker Award, Hot Docs (2020). He’s currently in post-production for his first feature film, THE CHINATOWN DINER.

Anna Chiyeko Shannon is a non-binary mixed-race filmmaker. They are fourth-generation Japanese-Irish-Danish-Czech Canadian, and live with chronic migraines and ADHD.  After graduating from the University of British Columbia with a BFA in Film Production in 2020, Shannon has been primarily editing. They balance hours at Bunch of Carrots Productions Ltd. with various freelance projects that range from short to feature length. Notably two feature documentaries Shannon edited, THE CHEF & THE DARUMA and INAY, were programmed and won awards at VIFF 2024.  Currently, Shannon is stepping back into directing with their Telus Originals short documentary, MEMORIES THAT AREN’T MINE.

 

Patrick Carroll is a film and television editor. He edited the feature documentary LETTER FROM MASANJIA, which was nominated for a Canadian Screen Award and earned him a CCE nomination for Best Documentary Editor. He also received a CCE nomination for his work on RISE & SHINE BENEDICT STONE. His credits span documentary series (HIGHWAY THROUGH HELL, VERY BAD MEN), narrative projects (BLUE SKIES, BRINGING CHRISTMAS HOME), and factual TV (RUST VALLEY RESTORERS, LOVE IT OR LIST IT). As a director, he won the A&E Short Film Award for I’M THAT FOOL, and his film RUN STACK OVERFLOW premiered at AmDocs in Palm Springs.

vancouver- Editing Animated Film and TV in Vancouver

Vancouver has long been a major animation hub…. it’s the birthplace of REBOOT! More recently it’s been home to such projects as SPIDEY AND HIS AMAZING FRIENDS, OCTONAUTS- ABOVE & BEYOND and SAUSAGE PARTY, FOODTOPIA and many, many more. How does the editing process differ from live action to animation? What is the state of animation in Vancouver in 2026?

Rachel Guergis is currently an editor at Atomic Cartoons, where she works on the popular animated television series, SPIDEY AND HIS AMAZING FRIENDS, a collaboration with Disney and Marvel Studios. After graduating from Vancouver Film School in 2016, she went on to edit numerous live action projects, including music videos, shorts, and documentaries. In 2021, she had a chance to pursue her passion for animation and has been working on Spidey with her dream team ever since! Rachel has been nominated for six CCE Awards, and most recently the SPIDEY edit team received a 2025 Emmy nomination for Outstanding Editing!

Chris Holmes is an editor with more than two decades of experience across animation, documentary, and unscripted television. His animation credits include Lead and Supervising Production Editorial roles on Netflix’s OCTONAUTS franchise, contributing to the editorial team behind OCTONAUTS: RING OF FIRE, which earned a 2023 Children’s & Family Emmy nomination for Outstanding Editing. His broader career spans award-winning documentary work and series for CBC, HGTV, W Network, and Slice. Chris is currently working as the Lead Editor and Supervisor on PBS’s new preschool series PHOEBE & JAY.

Vanessa is a Vancouver based film and television editor. With over 15 years of experience, she combines her love of animation and creative flair to bring animated series and feature films to life. Her most recent credits include the series SAUSAGE PARTY: FOODTOPIA, KUNG FU PANDA: THE DRAGON KNIGHT and the feature film THE WILLOUGHBYS.

Kevin Pavlovic is a Vancouver-based, award-winning editor with over 25 years in animation. His film credits include editing the R-rated cult-hit SAUSAGE PARTY and THE ADDAMS FAMILY, and Co-Directing THE ADDAMS FAMILY 2. With a career rooted in animation, he has held roles ranging from in-betweener, animator, and compositing artist, to picture editor on major studio productions. He brings a deep understanding of animation pipelines and editorial craft and continues to contribute to Vancouver’s vibrant animation community. Beyond the cutting room, he champions the creative community, previously serving as Executive Director of the Crazy8s Film Society. He currently co-hosts the CCE’s monthly networking meet-up, The Animation Café.

Winnipeg- In Conversation with Matthew Hannam

Join us in welcoming Winnipeg’s very own Matthew Hannam as he explores his journey from assistant editor in the prairies to award-winning picture editor in LA. During this conversation, Matthew will discuss what it was like finding his footing in the world of picture editing and what connections and choices he made that brought him to work on films such as IRON CLAW and WHITE NOISE. We will also open the doors to the topic of “should I stay or should I go” – a common question amongst many creatives who are established in smaller cities yet curious as to what else is out there.

Matthew Hannam is a film and television editor from Winnipeg, Canada. He attended the Canadian Film Centre in Toronto where his career started. He now lives and works in LA.

Nathalie Massaroni is a Winnipeg-based editor and post production supervisor of more than 400 hours of television. She has edited features and series including WINTERTIDE, ALTER BOYS, and ABERDEEN (which premiered at TIFF 2024). Nathalie has also edited other short form award-winning series and films such as TAILOR MADE, D DOT H, CLEM, and I HURT MYSELF. She was recently part of the Canadian Academy’s Women in Post Program and is on the board for the CCE as the Regional Chair for Western Canada. If she’s not working on a computer, you can find Nathalie at the dance studio or sipping coffee with a cat on her lap.

Halifax- In Conversation with Brett Sullivan, CCE

Join us for an engaging conversation with Brett Sullivan, CCE, as he recounts his journey from assistant editor during the pivotal shift from film to non-linear editing, to cutting his first feature, BLOOD & DONUTS, on 35mm film. Brett will delve into his creative process and the challenges he faced transitioning from Picture Editor to Director, including the surprising lessons he learned moving from the quiet of the edit suite to the bustling studio floor with large crews and multiple departments.

Brett began his career in Toronto as a PA—mainly carrying things—before discovering the far more comfortable world of film editing. He worked his way up during the early days of non-linear systems in the ’90s and was editing a dramatic series by 26. Brett has cut both series and features, film and digital. Eventually, his experience in the editing suite opened the door to directing, a Director’s residency at the CFC. He has since directed a variety of series and feature projects, contributing to well-known series like FLASHPOINT and ORPHAN BLACK as both Director and Editor. A few years back, Brett relocated from Toronto to Nova Scotia, as he continues to develop original ideas while enjoying a new chapter in a quieter setting. He continues to carry things… just closer to the ocean.

Wes Paster is an editor that resides in Wolfville, Nova Scotia. Six years ago he moved there with his family from Los Angeles thinking he could survive off of remote work. That’s worked out pretty well. He usually cuts reality shows. Emmy-Nominated four times for EXTREME MAKEOVER: HOME EDITION, he has worked on many reality shows from THE BACHELOR to SALVAGE KINGS.

Edmonton- WRITING AND EDITING FOR DOCUMENTARY

Join us for an in-depth conversation on the creative relationship between writing and editing in documentary storytelling. Drawing from their diverse experiences across feature docs, series, and shorts, the panel will explore how story is shaped in the edit suite, from structure and character development to voice, ethics, and collaboration with directors and writers. Panelists will share practical insights, real-world examples, and strategies for navigating story challenges, making this session valuable for editors, filmmakers, and storytellers working in non-fiction.

Krystal Moss is an award-winning film & television editor known for her exceptional creativity, collaboration, and problem-solving skills. Her editing work spans television series, short films, and feature documentaries in both English and French. Most recently, Krystal edited the 3x Rosie Award-winning short doc, SEND & RECEIVE, which premiered at CIFF 2025. Other recent credits include THE NATURE OF THINGS 101 on CBC, MOON NOONK EDOUARD for the NFB, and an episode of HORSE WARRIORS S2 on APTN. When she is not in the edit suite, Krystal is in the classroom – sharing her screen industry experience and enthusiasm with NAIT’s Narrative Cinema Students.

I am a First Nations woman of Anishinaabe and German-Canadian descent, and a member of Roseau River Anishinabe First Nation in Manitoba. Influential themes in my work have included Indigenous arts, knowledge, storytelling, and justice. There is a synergy in all these themes that I am passionate about, they are reviving, reclaiming, and renewing. I currently produce at BearPaw Media and Education and as an independent filmmaker. As a producer, director and editor with over a decade of experience, I have worked on broadcast media series, non-profit causes and short artistic projects. No More Kîyâm and (Re)claiming Indian Status, that I produced and directed, won Best Educational Production at the Alberta Film and Television Awards in 2023 and 2021 respectively.

A multi-award-winning editor with over twenty years of experience, Sarah has helped shape countless narratives that have been seen around the world. She has cut a wide range of documentaries, television programs, shorts, and feature films which have been screened at festivals including Tribeca, TIFF, and Sundance, and broadcast on networks like CBC, BBC, PBS, APTN, and AMI. Sarah’s most recent work includes the feature length documentary THE LEBANESE BURGER MAFIA which premiered at HOT DOCS in 2023 and the feature film HEY VIKTOR! which premiered at Tribeca in 2023. Sarah has seamlessly transitioned into the world of podcasting and also hosts and edits interview-based shows such as BRAAAINS and THE EDITOR’S CUT, adding another dimension to her multifaceted storytelling expertise.

MONTRéal - SEEKING MEANING: EDITING EXISTENTIAL STORIES

Join us for an in-depth conversation on the creative relationship between writing and editing in documentary storytelling. Drawing from their diverse experiences across feature docs, series, and shorts, the panel will explore how story is shaped in the edit suite, from structure and character development to voice, ethics, and collaboration with directors and writers. Panelists will share practical insights, real-world examples, and strategies for navigating story challenges, making this session valuable for editors, filmmakers, and storytellers working in non-fiction.

Myriam Magassouba is a film editor who works with documentaries and fiction alike. The films she has edited have been featured and won prizes at numerous Canadian and international film festivals, including Sundance, Locarno, SXSW, TIFF, and Visions du Réel. Her work has also earned nominations for the Canadian Screen Awards, the Prix Iris, and the CCE Awards, winning the latter. In 2025, she was responsible for editing five feature films: FOLICHONNERIES (FOLLIES), J’AI PERDU DE VUE LE PAYSAGE (I LOST SIGHT OF THE LANDSCAPE), AILLEURS LA NUIT (ELSEWHERE AT NIGHT), CHRONIQUES D’UNE VILLE (CHRONICLE OF A CITY), and LA MÉCANIQUE DES FRONTIÈRES (THE MECHANICS OF BORDERS).

Raised on STAR TREK: THE NEXT GENERATION, Justin’s original plan was to push flashy buttons on a Starship as an actor. Fortunately, he found his calling pushing colourful keyboard buttons in a dark room as an editor. His work has been seen ‘round the world in festivals such as Sundance, Berlinale, SXSW, TIFF, Locarno as well as the small screens of HBO, Netflix, FX, Hulu, Crave, SRC, TVA, and Télé-Québec.

Film editor for over twenty years, Elric Robichon was trained at the intersection of documentary and fiction. After honing his craft at the National Film Board of Canada, he went on to collaborate with filmmakers from diverse backgrounds, utilizing a wide range of perspectives and cinematic approaches. His work, recognized at TIFF, Canneseries, Hot Docs, as well as at the Gémeaux Awards and Québec Cinéma, is distinguished by its precision and a sustained attention to the human dimension of storytelling. In 2025, he edited LOVELY DAY by Philippe Falardeau and NESTING by Chloé Cinq-Mars.

Matthieu has always loved cinema; it inspired him to leave behind his science studies to pursue his passion for storytelling. After attempts at becoming a musician and a writer, he found his calling in editing, relishing the way it allows him to play with time, music, and emotion. Over his 20-year career, he has poured his heart into his career, which has allowed him to work with some of Québec’s top humorists (LIKE-MOI!, LÉO, INSPIREZ-EXPIREZ, BYE BYE 2025) and learn more about himself. In 2025, he co-edited his first two feature-length films: LES FURIES (THE FURIES) and DEUX FEMMES EN OR (TWO WOMEN), the latter of which won a Special Jury Award at Sundance.

A graduate in film studies from the Université du Québec à Montréal, Marie-Pier is best known for her work as a film editor (SOLO, AFTERWARDS). In the summer of 2022, she directed her first short film, L’ÉTÉ DES CHALEURS (produced by Nemesis Films), which went on to tour festivals worldwide, including a stop at the prestigious Telluride Film Festival. She loves poutine, reheated microwave coffee, and Garou.

Breakout Rooms (Virtual)

sunday february 8th

What is a breakout room?

Hosted by post-production professionals these rooms offer the opportunity for participants to engage and ask questions on specific topics. Each session will run consecutively, so you won’t need to choose! You can attend them all if you want.

Blue moon: sandra adair | 12PM EST

Re-listen to the podcast and then join Sandra in the Breakout Room to ask any questions you have about what it was like to edit Blue Moon!

Academy Award nominee, Sandra Adair, ACE, has enjoyed an ongoing artistic collaboration with director Richard Linklater, having edited 24 films for him over the past 33 years. Some of their collaborative work includes the cult classic DAZED AND CONFUSED, BEFORE SUNRISE, BEFORE SUNSET AND BEFORE MIDNIGHT, and last year’s HIT MAN. Their latest collaboration is this year’s BLUE MOON. In 2014, Linklater’s BOYHOOD earned 6 Academy Award nominations, including Best Editing for Sandra. Sandra is a member of the Academy of Motion Picture Arts and Sciences, American Cinema Editors, and The Motion Picture Editor’s Guild.

Movement in the Edit Suite: Lindsay Harpham | 12:40 PM EST

Stuck at your desk for endless hours? Join Lindsay Harpham for a short, practical session on bringing movement into the edit suite. Learn simple stretches you can do throughout the day, along with equipment-free exercises to keep your body energized and your mind sharp.

Lindsay Harpham is a Vancouver-based Kinesiologist, contemporary artist, educator, and choreographer whose work bridges professional dance and high-performance sport. Originally from Saskatchewan, she has performed internationally with companies such as Red Sky Performance, Larchaud Dance Project, ACE Dance Theatre, and Gadfly. She co-founded wherewe collective, offering training programs including the summer intensive where we CONNECT. Alongside her creative work, Lindsay trains athletes through Ignite Performance and supports dancers and rehabilitation programs at Performance Clinic, blending refined movement awareness with athletic performance demands. She also delivers seminars for art companies and coaches, focusing on movement literacy, injury prevention, and sustainable training practices.

https://www.lindsayharpham.com/

Meet the afc: leah erbe | 1:20 EST

Discover the support that’s here for you. The AFC, a charity dedicated to supporting people working in Canada’s entertainment industry. In this session, Leah Erbe (she/her), Program Manager at The AFC, will introduce the programs, services, and supports available to help you navigate life and work in our sector – from emergency financial assistance and mental health resources to financial wellness and career sustainability initiatives. Don’t miss this chance to learn how The AFC can support your well-being and help you thrive in your career.

Leah is the Program Manager at The AFC. In 2008, she joined The AFC as the coordinator of the Emergency Financial Aid program. Since moving to Program Manager in 2016, she has overseen the expansion of The AFC’s programming and implemented urgent responses to large-scale emergencies such as COVID-19. Leah has a BA in linguistics and cultural studies from McGill and has previously worked as a musician and singer/songwriter. She is partial to horror movies.

vhttps://afchelps.ca/

cutting through genres: erin deck, cce | 2:00 EST

Discover how to successfully transition between genres and avoid being confined to a single format. Join Erin Deck, CCE in the Breakout Room for an insightful discussion on creative flexibility.

Erin Deck, CCE  is an award-winning Film and Television editor with over 20 years of experience in the industry. With a career that spans Toronto, Los Angeles, and Mexico City, Erin has worked on a diverse range of projects, bringing her expertise to some of the most successful shows in television. Beginning her career as an assistant editor, Erin gained invaluable experience working alongside top-tier editors, giving her a deep understanding of both the technical and creative aspects of today’s digital landscape. Throughout her career, Erin has tackled the creative challenge of editing a wide range of TV shows and Feature length film such as  MOTORHEADS, GINNY & GEORGIA, BEACON 23,  ALTER CARBON, SNOWPIERCER, INTO THE BADLANDS and LETTERKENNY,  showcasing her versatility and ability to help craft compelling narratives. Erin is dedicated to creating a calm, collaborative, and fun environment for directors, showrunners, and producers. Her enthusiasm for storytelling is matched by her commitment to ensuring every project reaches its full potential.

Youngblood: Matt Lyon, CCE & Jesse Gillingham | 2:40 PM Est

Watch the panel and then join Matt & Jesse in the Breakout Room to ask any questions you have about what it was like to work on YOUNGBLOOD!

Matt Lyon, CCE is a versatile film and television editor who is equally at home cutting genre, comedy and arthouse. A DGC Award winner and two-time CCE Award nominee, Matt’s feature credits include Writer/Director Eli Roth’s upcoming ICE CREAM MAN, Hubert Davis’ re-imagining of the hockey classic YOUNGBLOOD, Brad Anderson’s THE SILENT HOUR. and the number one Netflix film CODE 8: PART II. Matt loves sharing his knowledge and runs a popular sound editing workshop for picture editors. He is currently chair of the CCE mentorship committee.

A seasoned supervising sound and dialogue editor with 13 years in film and television, Jesse has shaped audio for standout Canadian hits like WILD CARDS and PRIVATE EYES, Apple’s CIRCUIT BREAKERS, and the eagerly awaited YOUNGBLOOD remake. Known for his thoughtful approach and attention to detail, Jesse works closely with filmmakers to elevate storytelling through sound and ensure each moment lands with clarity and impact.

CCE EditCon Raffle

Our annual raffle features the fabulous prizes listed below. The draw will take place during EditCon.

Congratulations to our Raffle Winners!

With thanks to our Sponsors

Platinum

Gold

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Bronze

Thank you to our board & volunteers:

CCE EditCon Committee:

Gina Binetti

Mikaela Bodin

Adam van Boxmeer

Xi Feng

Daisy Maclean

Alejandro Tello

Volunteer:

Idriss Askour

Mac Dale

Jonathan Dowler, CCE

Paul Hunter, CCE

Tooba Rahim

Rachna Shah

Jamison Staines

Thank you to our CCE Staff:

CCE Operations Manager:

Alison Dowler

CCE Communications Assistant:

Raquel Graston

About EditCon

February 6-8, 2026

Online, Toronto, Montréal, Vancouver, Edmonton, Halifax, Winnipeg

Categories
Articles

Letter from the PM

Categories
Articles

2025 DGC Award Nominations

2025 DGC Award Nominations

CCE - 20250911

Congratulations to our CCE members who were nominated for a DGC Award. The television nominees cover categories for Television Series, Movies for Television and Mini-Series.

Best Picture Editing: Dramatic Series
Stephen Philipson, CCE – LONG BRIGHT RIVER, BLIND SPOT
Aaron Marshall, CCE – THE HANDMAID’S TALE, EXODUS
Roslyn Kalloo, CCE – CROSS, HERO COMPLEX
Maxyme Tremblay – FROM, WHEN WE GO

Best Picture Editing: Movies for Television and Mini-Series
Julia Blua & Pete Watson, CCE – TERROR COMES KNOCKING: THE MARCELA BORGES STORY
      

Best Picture Editing: Comedy or Family Series
Sam Thomson (+1 editor) – NORTH OF NORTH, TOP OF THE WORLD
Mike Fly – CHILDREN RUIN EVERYTHING, FEELINGs
Pauline Decroix – SON OF A CRITCH, HAPPY 1990
Kyle Martin, CCE – SHORESY, BROOKS BARRELMEN
Heath Fashina – DINO DEX, SUPER DINO

Categories
Articles

2025 Rosie Award Nominations

2025 Rosie Award Nominations

Rosie Banner

Congratulations to our CCE members who were nominated for a Rosie Award.

Best Editor Scripted Under 30 Minutes

Kyle Sanborn – QUEEN OF THE UNDERWORLD

 

Best Editor Scripted Over 30 Minutes

Dean Evans – SOUL’S ROAD 

Jerry Skibinsky – HEARTLAND: LEAVE NO TRACE

 

Best Editor Documentary Under 30 Minutes

Colin Waugh – CBC ON DESIGN: CONCRETE

Colin Waugh – CBC ON DESIGN: PRIVACY BOOTHS

 

Best Editor Documentary Over 30 Minutes

Charlene Rule & Dean Evans – CRIP TRIP: THE ANTI-INSPIRATION PORN

Charlene Rule (+1 editor) – CRIP TRIP: TRIPPIN’ THROUGH THE PRAIRIES

Dean Evans – CRIP TRIP: ‘MERICA

Sarah Taylor-Bao, CCE & Charlene Rule – CRIP TRIP: PROTESTS AND PITCHES

Hans Olson (+1 editor) – SIKSIKAKOWAN: THE BLACKFOOT MAN

Categories
Articles

Fantasia International Film Festival

Fantasia International Film Festival

Fantasia 2025 Baner

The CCE are a proud sponsor for the Fantasia International Film Festival.  John-Daniel Arauz edited the short film KITTY THE VIPER and won the CCE Best Editing Award. Congratulations to John-Daniel and we look forward to hearing more from him in the near future.

Categories
The Editors Cut

Episode 109 – Beetlejuice Beetlejuice with Jay Prychidny, CCE

Episode 109: Beetlejuice Beetlejuice with Jay Prychidny, CCE

Episode 109 - Beetlejuice Beetlejuice with Jay Prychidny, CCE

In this episode of THE EDITOR’S CUT, host Sarah Taylor, CCE sits down with the brilliant Jay Prychidny, CCE to talk about all things BEETLEJUICE BEETLEJUICE.

Jay takes us into the edit suite of Tim Burton’s latest film, sharing his creative process, the emotional connection he had to the story, and what it was like to collaborate with such an iconic filmmaker. From navigating the challenges of editing to striking the perfect balance between practical effects and modern techniques, Jay invites us on a wild ride aboard the all soul train through the wonderfully weird world of Beetlejuice. 

Listen Here

The Editor’s Cut – Episode 030 – “What is Anti-Oppression? With Tenniel Brown”

Sarah Taylor [00:00:01]

Hello and welcome to The Editor’s Cut. I’m your host Sarah Taylor. At the CCE, we began our journey of self education with Anti-Oppression training in 2019. It was invaluable for us as it provided us with tools to assess how we as an organization could set a course of action to root our unconscious and systematic bias in our operations. This training is now a permanent part of our budget so future board members and volunteers can continue this work, and equity can be part of the fabric of our organization. We are offering a Lunch and Learn Introduction To Anti Oppressive Communication with Tenniel Brown on July 27. Today I’m lucky to be able to sit down with Tenniel Brown and discuss what Anti-Oppressive training is and what we can expect from this webinar. Tenniel Brown is a passionate anti-racist anti oppression and mental health speaker dedicated to improving the experiences of marginalized people in all institutional settings. She is the founder of the Centre For Anti-Oppressive Communication which specializes in providing anti oppressive, trauma-informed counseling, clinical supervision and organizational consulting, as well as customized workshops training and team retreats. I’m joined with Tenniel Brown, she is the founder of the Centre For Anti-Oppressive Communication based in Toronto. And we just want to have a little conversation about why anti oppression work is important in this and all days but specifically right now. So can you just tell us a little bit about your background and why you started the Center For Anti-Oppressive Communication.

Tenniel Brown [00:01:41]

My background is as a psychotherapist. So I spent I’ve spent many many years working with individuals and couples and families and groups helping them to access more of their well-being by addressing different mental health issues specifically trauma. One of the things that I specialize in addressing is racialized trauma. But also trauma that comes from folks that have experienced different types of oppression. And I think for most people that are called to this type of work it’s quite personal for me right. So often when you don’t see the work that you know needs to happen in the community taking place you create it. And so that was me. You know I think I saw that there was a need for organizations to have somebody come in and not just talk about diversity inclusion but talk about what happens when certain identities have power and that unbalance of power and how to actually address that in our communication. I knew that out in the community there were therapists and social workers that were wanting to do better work. You know work in the best practice way with clients that are black, racialized, queer, and trans, and had nowhere to go to get supervision and support. And finally I knew personally that there were so many folks that when they were ready to do therapy work they needed to see someone sitting across the office that looked like them or had a very similar lived experience and they just were not going to come unless that was the case. So all these things I knew was happening and nobody was doing it. And I said someone’s got to do something and that was me. I think what needs to come out of what’s happened in June is for folks to see black professionals and black community in in the in sort of like the the brilliance of what we do and it’s not uncommon that in many cases where we don’t see ourselves we create it. So yeah that was the spirit of and I think that when I started the organization I knew that it was important for there to be a place where folks from those different backgrounds could come and get that support and information. So it’s a real passion of mine. It is my baby and it’s so beautiful to see folks wanting this information during this time.

Sarah Taylor [00:04:01]

Yeah so important. Can you tell us what Anti-Oppression means and what someone can expect by taking an anti oppressive workshop?

Tenniel Brown [00:04:10]

Sure absolutely. So when you sort of break down the word anti oppression anti oppressive practice we take a look at that anti part and essentially that that just means opposition to oppression and then the practice part. So AOP… the practice part pertains to the context in which you are practicing opposition to oppression. So you can apply an anti oppressive lens to just about anything. And I’ve had the opportunity to work with organizations like Pride Toronto and work with your curators to apply an anti-oppressive lens to the way they do event organizing. I have applied an anti oppressive lens to the way I do therapy and clinical supervision with other therapists. You can apply an anti oppressive lens to teaching. You can apply it to student advising, you can apply it to just about anything. I’ve been working with fitness professionals looking at applying an anti oppressive lens to the way that they support folks that are on their fitness journey. So so it’s about looking at whatever practice whatever context you are working in and using that platform to be able to oppose oppression and all of its forms. So that’s essentially what it is.

Sarah Taylor [00:05:29]

And so when someone takes courses like anti oppressive communication course or participates in your courses what can they expect to be talking about or learning?

Tenniel Brown [00:05:37]

Absolutely so I think one of the most important things is to sort of pull back a little bit of you know the cover on this because I think anti oppressive language is its own language. It’s like Spanish. And you see so many people getting themselves into some rather serious trouble these days because they actually don’t know the language they don’t understand… in some ways the harm of some of the things that they’re doing and saying the deep harm of that. You get a lot of people who don’t really know how to talk about these issues. And so you go into a shame spiral and you just don’t talk. You just get very quiet and I always argue that you know the silence piece is a part of how we got ourselves into this trouble as a human society in the first place. So what I offer is something for everybody. I think over the years what folks have said to me is is even somebody who’s maybe got a social work background and knows about anti oppressive practice when they come to one of my trainings they find that they are moved further along in their application of that perspective around “OK, well what does this mean when I’m interacting with somebody right here in a one on one context.” Other people that are completely brand new have never had the chance to learn any of this language or understand any of these concepts have said over the years that they felt like they left with a really good sense of what this topic is. But not just that practical skills. I’m all about practical skills. I want to offer things that folks can use tomorrow today and the next day and my mission is also for folks to leave his training and talk about it. Tell a friend, tell a colleague, tell a family member, and feel equipped to be able to engage in these conversations. So when someone is saying or doing something problematic, you have this confidence in the skills to be able to interpret what’s going on there and to be able to talk to them and to be able to address it. The other thing that I do is I couch everything that I do in my trainings in a self care and team care perspective. And I think this is very important. We have to look after our emotions. We have to look after ourselves and we have to look after each other. I always say you could be as anti oppressive as you want but if you haven’t had any lunch… if you haven’t eaten anything… you’re not good.

Sarah Taylor [00:07:57]

You’ve got the hangries!

Tenniel Brown [00:07:59]

Trust me, Anti-Oppressive work requires patience. It requires empathy. It requires compassion and self compassion. You will fall down a lot and I find you know and I talk a lot about cancel culture and don’t get me wrong really that could be its own podcast.

Sarah Taylor [00:08:19]

Totally. Especially in this industry.

Tenniel Brown [00:08:22]

Look we need to talk about this and I get why certain people are being canceled for sure. And yet as someone who does this work I recognize that I’m so thankful I wasn’t canceled because over the years I’ve done and said things before I knew before I took a course like this before I had an opportunity to learn what was problematic about my lens. I’m so thankful that I was able to make those mistakes in a safe environment and actually benefit from that and grow. So people get a safe environment to learn language and understand what is going on, what is oppression, if oppression is so bad why don’t we just stop this. Well I unpack that for folks. Why is this so complicated and why doesn’t this just stop. And then I provide practical skills for folks to be able to apply this to their lives and their communication. I think the other thing that I think folks get is not just sort of a general whatever, you’ll find that I’m really interested in applying it to film editors and what it is that you do on a regular basis and looking at how you can use your platform to be able to actually oppose oppression.

Sarah Taylor [00:09:31]

Yeah well it’s like it’s huge I know for myself we did anti oppression workshop as a board for the CCE. I’m in an interracial marriage and so I thought “Oh I know a lot.” Like I’ve been unpacking this stuff for a while and understanding in my own way. But also like kind of like how do I say it to my white uncle who is racist like how do I approach that. And by taking that one course, like you said I got so much more understanding of where people might come from and the language and I could approach it not by just being angry because anytime I’d hear anything I was like “You’re talking about my husband, you’re talking about my child! This is not OK!” And so it made a huge impact on me and I felt like I kind of knew some stuff but I realized that there was so much more to learn. And I think I’m still learning and it’s opened up even conversations I’ve had with my husband and my in-laws… and so I think people who are in my situation are like “no I’m cool I got I’m married to so-and-so or I have my best friend or whatever.” You grew up in your lens and there’s way more to learn and unpack.

Tenniel Brown [00:10:41]

Absolutely. Absolutely it’s so true. And I always say that absolutely positively nobody gets a pass on this.

Sarah Taylor [00:10:48]

100 percent.

Tenniel Brown [00:10:49]

At all. You know myself as someone who identifies as a black fem queer woman, you know folks would be like well you know you of course you couldn’t oppress. And it’s like yes we are all susceptible to experiencing oppression and we are all oppressors. So I have aspects of my identity that allow me to have privilege. And the thing about this is that if you’re not aware of those things that’s how you harm people that’s how you engage in micro aggressions. You know what I mean? That’s how you you know get striking up a conversation with someone about your latest renovation in your house when this person is still renting and doesn’t even have access. These are the types of things that you’re never protected from. Right. Like you’re not protected from that in a certain way. So it’s really important to remember that.

Sarah Taylor [00:11:40]

Where should someone start if they’re like feeling overwhelmed they’re like wow I know that I need to make this change. I’ve seen all this information now on social media and I’m saying all the wrong things and like you said I’m just going to be quiet which is not the right thing to do. So where do they go and what should they focus on first to just like get into this mindset of making these changes?

Tenniel Brown [00:12:02]

That’s a great question. And what I would say is education. Not a coincidence right? So of course you know joining with you know your organization to offer this to the community because I think that’s step number one. I think we do need to have good information about… you need to educate yourself. I would say that it’s a really important first step to really listen, and I find even when you have more information and you have more training it even improves the way that you can listen because what you find is when you don’t have that knowledge there’s certain things that are sort of prevent you from even being open. So I find the training and the skills and the confidence that you get from doing the course like this allows you to even listen deeper right and understand more and I think that that’s step number one. I think that once… but don’t stay there! Because I think a lot of people oh I’m listening but really it’s just their guilt and shame. So yeah they’re still not doing anything but once you’ve had the chance to listen you now can start thinking more about your platform and I think that’s one of the most important thing for your listeners to know that if it’s like well I’m not a social worker I’m not a therapist what’s this got to do with me it’s like it has everything to do with you. You have a platform as a film editor and it’s important for you to acknowledge that there are big ways and small ways that you can make a difference. And we all have a responsibility. What’s happened in this world since COVID what’s happened in this world since June is we can no longer close our eyes to this. We have to look at this and all the years that we have stayed silent on this has been what’s caused the problem. So the reality is is that we all are called to use our platform to be able to address this to look around the room and be like who isn’t here? To look around your history of the films that you and different projects you’ve been involved in and being like how many of these people, how many of these stories featured stories that were outside of what we usually see? Right. And looking at the ways that you can use your platform and your influence to be able to make a change, so we’re all called to do that I don’t care if you’re a child care worker or a housekeeper do some working at a gas station, it literally doesn’t matter we’re all a part of this human society. We all have some sort of platform and so we all have a responsibility to do something. You know Sarah one of my favorite slogans that’s come out of the protest is “Silence is Violence.” I love that one because I know what happens when people don’t have education and knowledge. They go into a shame cycle they go into a guilt cycle and they go into fear and you know what happens there? Shh. And you know what, that doesn’t help anybody at all. So I recognize that these are difficult things for us to unpack but we all have a responsibility to use whatever platform we have to make a difference. So starting by educating yourself, listening a lot, and then that’s going to help you to be more open to what you can do. And then looking at your platform whether that be personal or professional to make a change.

Sarah Taylor [00:15:20]

That was perfect. Yeah. That’s huge. And even since I took my training and even just since I’ve done my own inner work I noticed like I wouldn’t pick certain shots anymore or there’ll be things in my edit where I’m like “that’s a stereotype” or “No that’s not going to work. We can’t do that we can’t have that.” And so I think if everybody’s doing that then what we’re seeing on screen can start changing.

Tenniel Brown [00:15:45]

Absolutely. Absolutely and there’s these you know there’s there’s big ways and then there’s little ways like you describe. So it’s it is about really curating your lens, right and making sure that you’re seeing more and I think training like this just helps you to really open up your lens. So you’re not just seeing directly what’s in front of you work to the side of you but it’s more of like a panoramic view which you folks really need in the work that you do.

Sarah Taylor [00:16:09]

100 percent. Yeah. Well I hope that our membership joins us. I know we’ve already been getting people RSVPing which is very exciting. On July 27 2020 to learn and to unpack and to take part and just hopefully we can continue to do stuff with you and just keep educating and making the changes we can make.

Tenniel Brown [00:16:28]

Yeah. Join us. Join us. Don’t hesitate folks. Be a part of this. I’m really looking forward to working with everybody. And you know what we’re gonna have fun. I know these topics are really heavy but we’re gonna have some fun and we’re really going to connect with each other as a community so I look forward to meeting everybody at this training.

Sarah Taylor [00:16:46]

Thank you so much for taking the time to chat with me today and I look forward to seeing you on the 27th and continuing my journey. So thank you for doing this for us and thank you for sharing your knowledge and your experience with the world. So thank you so much.

Tenniel Brown [00:16:59]

You’re so welcome. Thanks for having me.

Sarah Taylor [00:17:03]

Thank you so much for joining us today. And a big thank you goes to Tenniel Brown and a special thanks to Maureen Grant and Jane MacRae. If you’d like to connect with Tenniel, you can find her on Instagram @TennielBrown. If you’d like to bring Tenniel into your organization to learn more about anti oppressive work, you can check out her website at brownconsulting.com. I look forward to learning more from Tenniel on July 27 2020 at the CCE Lunch and Learn I hope to see you there. The CCE has been supporting BIPOC TV and FILM. BIPOC TV and FILM is a grassroots organization and collective of black, indigenous, and people of colour in Canada’s TV and film industry. From writers, directors, producers, and actors, to editors, crew members, and executives. Their members are a mix of emerging, mid-level, and established industry professionals. BIPOC TV and FILM is dedicated to increasing the representation of BIPOC both in front and behind the camera. If you would like to donate to BIPOC TV and FILM please head to their website at bipoctvandfilm.com. The CCE is taking steps to build a more equitable ecosystem within our industry and we encourage our members to participate in any way they can. 

The main title sound design was created by Jane Tattersall. Additional ADR recording by Andrea Rusch. Original music provided by Chad Blain. This episode was mixed and mastered by Tony Bao. If you’ve enjoyed this podcast, please rate and review us on Apple Podcasts and tell your friends to tune in. Til next time I’m your host Sarah Taylor.

Outtro

The CCE is a non-profit organization with the goal of bettering the art and science of picture editing. If you wish to become a CCE member please visit our website www.cceditors.ca. Join our great community of Canadian editors for more related info.

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Credits

A special thanks goes to

Alison Dowler

Hosted and Produced by

Sarah Taylor

Main Title Sound Design by

Jane Tattersall

ADR Recording by

Andrea Rusch

Mixed and Mastered by

Tony Bao

Original Music by

Chad Blain

Sponsor Narration by

Paul Winestock

Sponsored by

DGC Alberta

Categories
Articles

2025 Leo Award Winners

2025 Leo Award Winners

LEO Awards 2021

Congratulations to our CCE members who won a 2025 Leo Award!

Best Picture Editing Motion Picture

  • Justin Li – Heretic

Best Picture Editing Dramatic Series

  • Jon Anctil, CCE & Christopher A. Smith – Murder in a Small Town – The Suspect

Best Picture Editing Feature Length Documentary

  • Greg Ng, CCE & Darian Lung (+1 editor) – Saints and Warriors

Best Picture Editing Information, Lifestyle or Reality Series

  • Jason Schneider & Alan Flett, CCE – Deadman’s Curse: Legend of the Lost Gold – The Return to the Lost Mine
Categories
Past Events

In Conversation with Catherine Legault – LARRY (THEY/THEM)

In Conversation with Catherine Legault – LARRY (THEY/THEM)
June 26, 2025

This event took place on June 26, 2025

Join us on June 26 for an intimate conversation with director and editor Catherine Legault about her second feature documentary, Larry (they/them).

Catherine is a prolific, award-winning editor and the host of the CCE’s French podcast L’Art du Montage. In Larry (they/them), she takes on the dual role of director and editor, following the vibrant and deeply personal journey of non-binary Montreal photographer Laurence Philomène. Their colorful and intimate photography not only shines throughout the film but also offers a poignant glimpse into the evolving experience of embracing a gender-nonconforming identity.

This event will be moderated by Xi Feng.

About the Event

June 2025

7pm ET

Canada

en_CAEN

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