Canada has signed audiovisual co-production treaties with 57 countries. Administered by Telefilm, they grant a film or series national status in both jurisdictions, they stack tax incentives that can cover most of a budget, and they have been available for decades under a mountain of technical jargon. In plain terms, each treaty is a pre-approved corridor that lets a film hold dual citizenship as a domestic project in both places. They allow collaborating filmmakers to pool capital, talent, and markets across an ocean, so they can build work that neither could launch alone.

Those corridors matter more now than they have in a generation. The film industry no longer lives in one monopolistic address, financing is being creatively reassembled, and the playbook for how and where projects get made is open for rewriting. Film is the rare industry where a country's return on investment via international standing goes far beyond the money spent. Governments recognize this, which is why this relatively small industry gets the privilege of dedicated formal international treaties.

And yet, hardly anyone is aware they exist. The same pattern of paperwork being signed and filed away runs through trade agreements, investment treaties, research partnerships, and certified cultural frameworks. From our perspective, film co-production treaties are the template and the spearhead: the instrument we're leading with toward a much more comprehensive strategy for networked economic growth.

Our aim is to work each corridor as a triangle: a region of the world, an industry with momentum, and a prioritized Canadian connection. Find where all three intersect, and you have a proposal ready to be funded in 2026.

We're living in a moment when neither talent nor resources are the bottleneck, coordination is. And coordination is what Rubedo works on. We curate research on every corridor, develop our own projects built around the treaties, and make introductions between people who need to find each other. The work runs in four phases.