We are proud to announce the latest additions to our roster—an elite group of creators, XR artisans, and world-builders redefining narratives and technology.

INVR.SPACE | Germany’s Prolific Immersive Studio
INVR.SPACE joins our roster to lead the charge in immersive experiences. We are happy to collaborate with INVR.Space giving us a sure footprint into the “Dôme” circuit and high-end XR distribution.

Monte Albers de Leon | Prestige Series
Harvard-educated attorney, with over two decades of high-stakes legal experience, Monte Albers de Leon has made a definitive transition to full-time narrative development. He is currently developing a high-profile collaboration with Shaun Redick and Yvette Yates Redick at Impossible Dream Entertainment, alongside a new series and feature projects with Woolf+Lapin.

Nic Bourgeois | Electronics Incarnate
At the intersection of experimentation and performance, Nic develops their own wearable digital instruments to liberate electronic music from its usual static nature. Their work—simultaneously raw and vulnerable—uses the body to explore queer and sensitive realities. Winner of the Gotfrit-Barlett Prize for Nœuds au ventre (2024), this Master’s candidate at the Université de Montréal has established themselves as a key figure in the digital arts, propelling an expressive physical presence into the heart of programmed logic, both in Canada and internationally.

New Voices
With the signing of Emily Roberson, Holly Richter-White, and Mark Alan Furney, Woolf+Lapin continues to prioritize voices that offer a visceral, intellectually rigorous perspective. These three creators exemplify a specific DNA: storytelling that is inherently cinematic, grounded in institutional knowledge, and unafraid of moral friction.

Emily Roberson: Lifestyles of Gods & Monsters is a retelling of Greek myth through the lens of modern celebrity rounding characters pursuing “escape velocity”.

Holly Richter-White: A RCMP member in Ottawa shaped by decades on the front lines of national and international security, Holly brings a forensic gaze to her feature Outgunned.

With more than twenty jury verdicts behind him, Mark Alan Furney crafts character-driven legal thrillers informed by his career as a public defender and prosecutor.

Paloma Dawkins | Symbiotic Frequencies
We are pleased to announce that Paloma Dawkins will participate in this year’s Forum at MUTEK. For the first time, the event unfolds across two adjoining cultural institutions: the Atrium et Studio-Théâtre des Grands Ballets and the Édifice Wilder – Espace danse.

Le vidéoclip « Mdē kuKu » du rappeur Komēdza a remporté le prix du jury (meilleur clip) lors de la 11e édition du Festival Courts d’un soir.

Crédits de l’œuvre :

Réalisation : Komēdza & Éloïse Lavictoire

Direction de la photographie : Mathis Martin

Sinclair Dubreuil & Stephan Dubreuil

How much of a book can you truly squeeze into a two-hour runtime? That question defines modern cinema, but we’re likely asking the wrong thing. It’s a strange irony: while 87% of the global population is literate, recreational reading is in a freefall. In the U.S. alone, daily reading for pleasure plummeted by 40% between 2003 and 2023—a steady, 3% annual decay.

So, Emily Brontë who? Jacob Elordi and Margot Robbie kissing passionately? Yes, please. Hollywood has realized that books are an infinite source of material, but more importantly, they come with a “built-in audience”—a recurrent phrase in the industry today. Is it playing it safe or playing it smart? Whatever your answer, this isn’t exactly a new phenomenon. Think back to the recent frenzy of Harry Potter and The Hunger Games, or even further back to classics like Lawrence of Arabia and 2001: A Space Odyssey. These were targeted at people who’d read the books, sure, but they appealed to everyone else too.

There is a specific art form in taking an imagined world and realizing it as a visual spectacle. Most people walking into the theater or streaming at home might not even know the movie was sourced from a book; to them, it’s just a new, exciting movie worth seeing for its artistic content. While some may go for new emerging voices à la Kane Parsons, the big studio slates seem to suggest that time-tested IPs is the “Safety Net” that makes the gamble worth taking. It’s an insurance policy written in ink.

Take the recent Wuthering Heights—a perfect example of an entertaining modern picture that somehow missed the mark of the book entirely. Brontë described Heathcliff as being of Lascar origin (modern-day Southeast Asia), yet we get trending heartthrob Jacob Elordi as the lead.

Wrong or right, it wasn’t the first time we’d seen a production’s reliance on casting whatever actor was currently ‘trending’ or part of the cultural zeitgeist, regardless of the character’s actual description. Nuances of race or even the current social landscape aside, for those who actually read the English gothic classic, the movie felt more “raunchy” than moving. The reality is that for many, Wuthering Heights will now be Emerald Fennell’s movie, her version, raunchiness and all, rather than Brontë’s book. Going down the Internet rabbit hole will have you read things like the movie is the worst thing to happen to Emily since she died of TB at 30. Ultimately, an adaptation—whatever its quality—is a testament to the original work’s aura and mystic power. That is never negligible. A classic stays alive precisely because it is breathing; it is kept vital by the very reinvention that is criticized.

We can level criticism at everything. But let’s ask: is Hollywood just banking on these adaptations to earn millions from pre-sold fans? Most of the time, yes. On an Excel sheet, it’s just sound business. But we at Woolf+Lapin know that it’s still up to the audience to decide if a movie actually works. Whether it’s an adaptation or not, the criteria remain the same: subject matter, cinematography, and even the soundtrack spell the difference between success and failure.

Look at Quebec’s hero, Denis Villeneuve. From our very own backyard, he adapted the critically acclaimed Incendies from the Wajdi Mouawad play, got an Oscar nod, and eventually launched an international career that led him to Frank Herbert’s Dune (wait a minute that’s another book yes?). Now it’s a massive franchise starring Zendaya and Timothée Chalamet.

So, where is this boom taking us next? In TV, it gave us Canada’s Heated Rivalry and just now Margaret Atwood’s The Testaments. In movies, it’s Project Hail Mary and The Housemaids. Interestingly, while producers want “safer bets,” the Academy just awarded Ryan Coogler “Best Screenplay” for his original script (Sinners), proving that originality will always win. Meanwhile, A24 is mining the online pipeline for inspiration (see trailer for Backrooms)—taking us into unknown places reminiscent of dreams.

And we’re walking the walk. Our own Meredith Hambrock is currently adapting her 2025 novel, She’s a Lamb (ECW Press), with the team at 4am Film Studios. We’ve also just welcomed the brilliant Emily Roberson to the pack, who brought her hit Lifestyles of Gods and Monsters (Macmillan) along for the ride.

For writers, the opportunity is hiding in plain sight. Write a short story, a memoir, a graphic novel, a blog (wait, can we turn this sentence into an immersive dome experience?)—the format doesn’t matter and the IP doesn’t have to be famous yet. It just has to be the right story at the right moment.

Le Festival International du Film sur l’Art (FIFA) s’est clôturé hier à Montréal, et chez Woolf+Lapin, nous sommes encore sous le choc esthétique. Bien que nous n’ayons pas pu tout voir, voici nos coups de cœur de cette édition.

1. Caravaggio (David Bickerstaff & Phil Grabsky)
Maîtriser le passé pour mieux inventer l’avenir. Plonger dans le clair-obscur de Caravage, c’est étudier l’intensité brute et la lumière. Pour Woolf+Lapin, il incarne l’artiste-entrepreneur : rebelle, talentueux et inoubliable. Véritable icône au « buzz massif » de son époque, il est le symbole de l’impact hors norme qui sera toujours propulsé à l’international.

2. Cocteau (Lisa Immordino Vreeland)
Jean Cocteau n’était pas qu’un poète, un cinéaste ou un dessinateur : il était tout cela à la fois. Il incarne l’essence même de la pluridisciplinarité que nous défendons chez Woolf+Lapin. Nous ne représentons pas des cases, nous représentons des visions. Redécouvrir Cocteau au FIFA, c’est célébrer l’idée que l’image de marque d’un artiste est, en soi, une œuvre totale.

3. Wider than the Sky (Valerio Jalongo)
C’est ici que Woolf+Lapin se sent le plus « à la maison ». Ce film est un croisement magistral entre philosophie, art et science. L’intelligence artificielle n’y est pas vue comme une menace, mais comme un nouveau pinceau.
À travers l’œuvre de Refik Anadol, le film nous invite à percevoir l’IA comme une intelligence collective, voire cellulaire, à l’image du monde vivant. Nous sommes fascinés par cette capacité de la technologie à amplifier l’expression humaine en explorant les réseaux de la conscience. Pour une agence nord-américaine, c’est le signal fort que l’avenir de l’art est intrinsèquement lié à l’innovation technologique.

Le FIFA est terminé, mais l’énergie demeure. Si vous avez manqué les projections en salle, vous avez jusqu’au 29 mars pour découvrir la programmation en ligne.

#WoolfLapin #Cultur #LeFIFA #ArtCinema #CulturalIndustry #TalentRepresentation #QuebecCreatif #FilmProduction @le_fifa @refikanadol

Paloma Dawkins is a Canadian/Mexican artist and award winning video game director. Dawkins’
games explore the intersections of mythology, technology, and ecology, using speculative
storytelling to question the structures that govern our existence. Dawkins’ hand drawn animation
evoke a spirit within them that brings inanimate things to life, players are encouraged to engage in
deep ecological listening reminding us that everything has agency and offers us potential for
kinship. In this way, her games are places where we can suspend our disbelief and imagine an
inclusive and shared ecological future. Dawkins’ has animated and directed games with the
National Film Board of Canada, Victoria & Albert Museum, Factory International and has won a
Canadian Screen Academy award. She has received grants from Canada Council for the Arts,
CALQ, Canada Media Fund and is currently pursuing an MFA in Critical Ecological Practices at
Emily Carr University of Art and Design.

“I situate myself as a second-generation immigrant, a white-passing person of color with a maternal
lineage traced to Nahuatl-speaking peoples of the Valley of Mexico and a settler lineage from
Britain. I move with the privilege of passing as white while remaining tethered to Indigenous and
immigrant histories. My practice emerges from these intersections, seeking relational ways of
creating and sharing art. I believe it is essential to imagine ecological futures that recognize both
our capacities and our responsibilities to tend to the garden of the earth. Through this lens, my
work blends the boundaries between nature and technology, engaging with themes such as
biopolitics, migration, the entanglement of virtual and ancestral memory, paradoxes of digital
existence, environmental collapse, and the endurance of mythic narratives.”