During the late ‘90s and the 2000s Canadian science fiction was not only surviving but at its best. Cube (1997) became a cult movie world wide. Splice (2009) attracted the attention of the studios and foreign viewers. These were not merely inventive victories, they were the demonstration of the fact that Canada could be doing boxing shouted-down in genre filmmaking. Then? Something changed. Enthusiasm died off, finances evaporated, and now Canadian sci-fi lives in darkness, forgotten in plain view. How then did it happen?
The High Point: How Cube and Splice Redefined Canadian Sci-Fi
Vincenzo Natali has directed Cube, which was filmed with only 350 000 dollars. It even grossed more than 8 million dollars worldwide and never mind the numbers of creators of global sci-fiction gigs who mention it as a source of inspiration. It was a cult film due to its minimalist structure, high levels of tension, and philosophical content.
Natali came back a dozen years later with Splice, a much larger film funded by Warner Bros. and featuring Adrien Brody and Sarah Polley. It was unveiled in Sundance and collected more than 26 million dollars internationally. The two films demonstrated that Canadian filmmakers did not need many resources in order to innovate.
According to the definition of cult classics in Canadian film history, Cube and Splice became the most creative example of risk-taking features, which was made possible by such ambitious production companies as Telefilm Canada and Toronto-based Copperheart.
The Slowdown: Key Reasons Canadian Sci-Fi Faded After 2010
After 2010, the genre began slipping off the map. Here’s why:
- Funding priorities shifted. Agencies began favoring dramas, social documentaries, and comedies – genres seen as “safe.”
- Distribution dried up. Even strong projects struggled to secure local or international release deals.
- Brain drain occurred. Genre directors like Natali and the Soska sisters moved into Hollywood or television.
- Market competition increased. U.S. streaming platforms flooded the market with big-budget sci-fi, leaving little space for indie efforts.
This combination left a creative vacuum that’s still felt today.
Who Tried to Keep It Alive: Projects and People After Splice
The Colony (2013), a post-apocalyptic (in a frozen world) survival, sci-fi movie featuring Laurence Fishburne. An indie hybrid of superhero and sci-fi film, Code 8 (2019) directed by Jeff Chan and Robbie Amell was partly financed via crowdfunding.
Night Raiders (2021), directed by Danis Goulet, that combined the elements of dystopia with Indigenous resistance, and appeared at Berlinale and TIFF. Vancouver and Montreal film schools also did sci-fi short films, many of which never made it into general distribution. Although this was tried, the genre lacked structural foundations.
What Other Countries Did Differently During the Same Years
Other nations saw growth where Canada saw decline. Why?
- The UK leaned into sci-fi with government support for genre films like Ex Machina and Attack the Block.
- Australia backed films like Predestination and Upgrade with tax incentives and tight co-productions.
- South Korea blended sci-fi into mainstream action (The Wandering Earth) with full support from national film boards.
These countries saw genre film as exportable IP – Canada didn’t. That made a difference.
The Road Ahead: What Needs to Change for Sci-Fi to Return
Talent is not a problem in the Canadian market. The thing that is lacking is commitment. With the explicit resource allocation on genre creation by the funding agencies and with the local distributors acknowledging that sci-fi is a normal culture commodity into which they should invest without worrying of a gamble, the game would change within a short time.
Genre storytelling should also become more serious in film school and not just the practice of students. Streamers, festivals, and even critics they all have a role to play, too. The fragments exist. The missing thing is a concerted effort.
Conclusion: Why Canadian Sci-Fi Deserves a Real Comeback
Canada has the talent, the locations, and the ideas. Cube and Splice proved that bold, smart science fiction could emerge from modest means. But without consistent funding, fair distribution, and cultural value placed on the genre, those moments will remain isolated. If Canada wants to compete globally, sci-fi can’t be an afterthought. It must be a core pillar. The potential hasn’t vanished. It’s just waiting – quiet, but ready.