The National Film Board of Canada, a storied institution known for its award-winning animated shorts and documentaries, is grappling with a crisis of morale. Recent surveys rank the NFB among the worst workplaces in the federal government, just one spot above the agency that manages prisons. A deep dive into the organization reveals a complex interplay of passion for the mission and deep-seated frustrations over management, funding, and bureaucracy.
A Glimpse Inside the Creative Hub
In a windowless office at NFB headquarters in Montreal, technical director Eric Pouliot demonstrated how ultraviolet light revealed invisible dots on a puppet's head, used to blend 3D mouth movements with hand-crafted puppetry in the Oscar-winning film The Girl Who Cried Pearls. This moment of creativity underscores the NFB's artistic achievements, but it stands in stark contrast to the dissatisfaction simmering beneath the surface.
Reporter Ben Andrews spent months contacting nearly 100 current and former employees, uncovering a pattern of silence rooted in fear. Those who spoke described a 'culture of fear' that stifles open discussion, even as they called their jobs a 'dream.' The tension between creative fulfillment and organizational dysfunction was a recurring theme.
The 'Mutiny' in the Theatre
In 2018, then film commissioner Claude Joli-Coeur faced a staff uprising in the NFB theatre after an employee died of a heart attack at work. The agency had denied repeated requests for a defibrillator. The incident triggered a 'mutiny,' with workers demanding the dismantling of HR and airing grievances about top-heavy management, mistreatment of filmmakers, and constant organizational churn. Since then, employee surveys have consistently shown low satisfaction.
Award-Winning Work Amidst Turmoil
Despite internal strife, the NFB continues to produce acclaimed work. Films like The Flying Sailor and The Girl Who Cried Pearls have earned Oscar nominations and wins, bolstering Canada's reputation in animation. Filmmakers praise the NFB's unique model as a production house with no profit motive, allowing for creative risk-taking. However, this same structure contributes to workplace challenges, as the agency struggles with stagnant funding and bureaucratic rigidity.
Layoffs and Modernization
In April 2024, the NFB laid off 55 employees (about 15% of its workforce), with union leaders saying the true number was closer to 80 when temporary contracts ended. The cuts, part of a 'modernization process' under former director general Richard Cormier, hollowed out regional offices in Halifax, Edmonton, and Winnipeg, and closed interactive studios in Vancouver and Montreal. Employees described the layoffs as 'brutal and devastating,' carried out without consulting team leaders, leading to confusion and overwork for those remaining.
Film commissioner Suzanne Guèvremont defended the cuts as necessary to reinvest in production, addressing long-standing industry demands. She acknowledged the 'very difficult day, difficult year' but emphasized the need to update practices. However, employee surveys indicate that 95% of respondents view lack of government funding as a threat to the NFB's mission, and 90% see frequent structural changes as a threat.
Survey Data and Employee Concerns
The 2024 Public Service Employee Survey revealed that only 27% of NFB workers strongly agreed their agency is a great place to work. Key issues include work-life balance (only 31% strongly agreed they have support), job security (36% said lack of security wasn't a concern), and official language rights (47% felt free to use their preferred language in meetings). Employees also cited bias in career advancement, with opportunities skewed toward native French speakers.
Despite these challenges, 39% of employees strongly agreed they liked their job, and 40% somewhat agreed. This duality reflects the deep passion for the NFB's mission, even as workers struggle with management decisions.
Looking Ahead
The NFB's future remains uncertain. While the agency has proven resilient, producing Oscar-winning work despite internal turmoil, the threat of further cuts looms. As one expert noted, 'You can have a whole range of Oscars, and they can still say that's the end.' The film board is developing its own survey to better address unique workplace issues, but until then, the disconnect between creative success and employee satisfaction persists.
