Reelworld Founder & Executive Director Tonya Williams, O.C., shares with Performers Magazine why she’s proud of the training Reelworld has provided to filmmakers, her hopes for Reelworld’s future, and how we must consider all aspects of the industry to create real change (and more).
(5-minute read)
This year’s festival marks a milestone year for Reelworld as it celebrates its 25th anniversary. Looking back at the past 25 years, what accomplishments are you most proud of?
When I started Reelworld, I had no funding or support and faced challenges finding people of colour with programming experience to meet our needs. This element had to be incorporated into our long-term training and experience plan. I am proud to see how individuals trained at Reelworld in the early years are now working in higher positions at other companies and arts organizations. Additionally, it is gratifying to see filmmakers from years one and two securing jobs with production companies and progressively developing more projects. We have made significant advancements over the last 25 years.
Looking ahead over the next 25 years, what would you like to see the festival and Institute accomplish?
I would like to see a strong institution for Reelworld, supported by a solid succession plan. It’s important to see the human investment made over the past 25 years was not done in vain. I believe Reelworld will exceed my dreams and expectations, evolving into a lasting institution.
It’s great to see so many ACTRA Toronto productions featured at this year’s festival, including A Tribe Called Love, which is having its world premiere at Reelworld and stars ACTRA Toronto member and Reelworld 2025 Trailblazer Award recipient Dalmar Abuzeid. Referred to as a “Romeo and Juliet story set in the Somali community of Toronto,” what drew Reelworld to select this film?
We have an amazing programming team, led by Safia Abdigir (Programming Director). I’ll turn the question over to her.
A Tribe Called Love was selected as one of this year’s festival features because it highlights a community that rarely gets the spotlight while remaining highly entertaining. It’s an intriguing debut from a filmmaker with a fresh perspective.
Since its inception, Reelworld has been a steadfast champion of Indigenous and racialized Canadian talent. While the industry has made some strides in the past two decades, what else can be done to overcome the barriers still faced by many Indigenous and racialized Canadians in the screen-based sector?
Even though a lot of positive change has happened in the last five to 10 years, there are still areas where we haven’t made progress. It’s essential to have recognizable actors; fans need people they can follow on screen. On the other hand, we must consider all aspects of the industry, including casting directors, talent agents and literary agents.
Are we cultivating managers who are key to helping talent build successful, lasting careers?
Many people think money is the solution, but we also need to think strategically. How do we use resources effectively and what is the end goal? It’s not just about having these individuals; it’s about building a successful career. We need to nurture everyone involved. The path to success often relies on your talent, but sometimes it depends on circumstances beyond your control. We never know who the audience will respond to.
ACTRA Toronto has been a long-time supporter of Reelworld. How has your relationship with ACTRA Toronto helped to nurture union talent?
I became a member of ACTRA in 1978, and it has been a significant part of my life ever since. The organization has been a vital support for my career and has sponsored Reelworld for over a decade. I firmly believe in being part of a union that protects its members. One of the things I appreciate most are [the retirement contributions the union has negotiated into our collective agreements, ensuring producers] pay into the retirement fund of ACTRA members – something many people overlook when they are young.
I also share ACTRA’s passion for the policy changes for which they advocate, and I truly applaud their efforts to recognize human rights issues, such as their fight for hair and makeup equity. Now that artificial intelligence is becoming part of our industry, ACTRA is working hard to protect us as this unknown entity impacts the industry worldwide.
Recently appointed as an Officer of the Order of Canada, Tonya Williams, O.C., is an award-winning actress, producer and advocate, best known for her roles in various television shows, including Polka Dot Door and her 19-year portrayal of Dr. Olivia Winters on The Young and the Restless. Throughout her career, she has received numerous awards, including two NAACP Image Awards for Outstanding Actress in a Daytime Series, two Emmy nominations, the 2023 Visionary Award from the Legacy Awards, and the 2024 Changemaker Award from the Canadian Screen Awards. In 2025, she was also inducted into Canada’s Walk of Fame.
In 2000, Tonya founded the Reelworld Film Festival, now known as Reelworld Screen Institute, and Reelworld Foundation to create opportunities and support the career development of Black, Indigenous, Asian, South Asian, and People of Colour in the Canadian screen industries. In 2020, she established Access Reelworld, which is Canada’s largest searchable recruitment platform for Black, Indigenous, Asian, South Asian, and People of Colour creatives in the screen industries.
