Jim Donovan

I stole my mom’s Super-8 camera when I was a kid. (She got it back — eventually.) Growing up in Southern California, my early film school consisted of home movie nights, Universal Studios tours, and seeing Star Wars at Mann’s Chinese Theatre. I started making backyard epics starring my brother, our neighbours, my banana-seat bike, and my dad’s Oldsmobile. It was chaos. It was cinema.

Fast forward: I somehow convinced Concordia’s Film School in Montreal to let me in — using a demo tape from my high school rock band as a portfolio. From there, I landed gigs directing music videos and TV commercials, mashing my love for music and visuals into award-winning spots. But the movie bug never left.

So I made indie films. 3 Saisons, shot with friends on a shoestring budget, went on to win Best Director in Mexico, Best Feature at Whistler, and Genie nominations, including Best Film — standing shoulder to shoulder with Denis Villeneuve’s Polytechnique. Not bad for pirate filmmakers.

That kicked open the TV doors. I directed hit shows like Flashpoint (hello, CSA for Best Director), Heartland, and Republic of Doyle, then returned to my French roots to direct prime-time dramas in Quebec like Le Clan, which went all the way to Series Mania in Paris and was optioned for a U.S. remake.

Lately, I’ve been directing movies for television, including Poisoned Love: The Stacey Castor Story (Leo Award winner), and Believe Me: The Abduction of Lisa McVey, which blew up globally on Netflix and TikTok — racking up 100+ million views and another CSA win for Best TV Movie.

Today, I’m a bilingual director working across Canada, known for visual storytelling, emotionally raw performances, and getting the best out of cast and crew. I’ve dipped into documentaries with the NFB, and I’m now diving into AI filmmaking — still chasing that same childhood spark.

And yes — that Super-8 camera still lives on my shelf. Thanks, Mom.