The National Film Board of Canada's 2024-25 Departmental results report

© His Majesty the King in Right of Canada, as represented by the Minister of Canadian Identity and Culture and Minister responsible for Official Languages, 2025

Catalogue Number: NF1-5E-PDF

ISSN: 2560-9238

Aussi disponible en français sous le titre : Rapport sur les résultats ministériels 2024-2025

Results achieved:

• Determined to create stories from every region of Canada, the NFB achieved its targets for geographic representation. This achievement was facilitated by the changes made in the NFB’s organizational structure for producing its works, as part of a broader efficiency and restructuring exercise completed at the start of the fiscal year. The NFB now has six production units headed by four executive producers: the Western Documentary Unit, the Central Documentary Unit, the Eastern Documentary unit, the French Documentary Unit, the English Animation Unit and the French Animation Unit. The NFB’s Operations and Technical Support teams support all these production units in a flexible, agile manner so as to meet their needs in real time. This new structure ensures standardization and harmonization of production practices, which facilitates collaboration between these units across Canada.
• Standardization of the NFB’s production practices was also enhanced by implementation of the new process for “greenlighting” (approving) new projects, and the use of Autodesk Flow Production Tracking software (formerly known as ShotGrid). In 2024–25, the NFB refined its approval process based on active collaboration among various teams, including the Marketing team. This process ensures rigorous, transparent decision making and reduces risks, in particular with regard to production schedules. In parallel, the NFB integrated the use of Autodesk Flow Production Tracking software for managing production projects. This technology enables productions to be tracked in real time, facilitates coordination between production units and the NFB as a whole and provides an overview of the NFB’s productions.
• Lastly, fiscal year 2024–25 saw the development of the NFB Programming Framework. This framework sets out a consistent, intentional, national approach for all works produced by NFB production units. It considers the NFB’s mandate, regional representation and various commitments related to equity, diversity and inclusion, as well as its distribution strategy, audience consumption patterns and available resources. Starting in 2025–26, the NFB Programming Framework will guide the delivery of balanced, diverse programming that offers Canadians unifying content focused on the issues of the day in every part of the country. The implementation of this process will be supported by Autodesk Flow Production Tracking technology, adapted to serve as a planning tool.

Results achieved:

• The NFB’s documentary and animated works received 89 awards and honours in Canada and internationally in the course of this year. Here are just a few examples. Am I the skinniest person you’ve ever seen?, by Eisha Marjara, received the Betty Youson Award for Best Canadian Short Documentary at the prestigious Hot Docs film festival. In the Shallows, by Arash Akhgari, won the Directors Guild of Canada Award for Best Canadian Animation at the Ottawa International Animation Festival, and the documentary 7 Beats Per Minute, by Yuqi Kang, won the award for Best Canadian Feature Film at the Available Light Film Festival. A single NFB film, the feature-length documentary Any Other Way: The Jackie Shane Story, by Michael Mabbott and Lucah Rosenberg-Lee, garnered eight awards and honours this year, in Canada, the United Kingdom and the United States. In addition to these awards for NFB films, a number of NFB filmmakers received individual awards as well.
• In keeping with its reputation as a global centre of excellence in audiovisual production, the NFB continues to push boundaries with innovative projects. In 2024–25, the NFB established the Innovation Lab, which works to facilitate the gradual adoption of new practices and technologies throughout the NFB, including in its production activities. One good example is the prototype project Across the Board (working title), the idea for which came from the Innovation Lab in 2024–25. The goal of this project is to create French-language content for YouTube and other social platforms in an original documentary format that’s accessible and tailored to young people. By combining authentic, rigorous content with streamlined production methods using artificial-intelligence tools, Across the Board will strengthen the NFB’s presence in the contemporary media space.
• In 2024–25, to maintain its place at the leading edge of developments in the audiovisual industry, the NFB developed its ethical framework for the use of artificial intelligence. This framework is based on the practical results of numerous investigations conducted by the NFB Innovation Lab in the course of the year, as well as collaboration between various NFB departments. The development of this framework will be followed by the establishment of a committee for governance of artificial intelligence at the NFB.

Results achieved:

• In 2024–25, the NFB renewed its commitment to emerging industry talent by holding new editions of its two structured mentorship programs that support such talent: the 15th edition of the Hothouse program, organized by the English Animation Unit, and the 2nd edition of the Alambic program, organized by the French Animation Unit. In the 15th edition of Hothouse, young animation artists produced one-minute animated films on the theme “People Watching,” in a work setting that combined artistic mentoring with access to technical expertise. The 2nd edition of Alambic provided mentoring for early-career Francophone filmmakers as each of them directed an animated documentary on the theme “Animer le reel” (animating reality), with a maximum runtime of three minutes. The Hothouse 15 and Alambic 2 initiatives tangibly demonstrate the NFB’s commitment to providing new talents with their first professional experience in an actual production environment. The NFB thus reaffirms its role as a catalyst for emerging talent, offering a structured springboard for the next generation of Canadian creators, Francophone and Anglophone alike.
• Fiscal 2024–25 also saw a wealth of NFB productions that took authentic, sensitive approaches to Indigenous traditional stories, knowledge, history and relationships with nature. The films Siksikakowan: The Blackfoot Man, Inkwo for When the Starving Return, Northlore and Wilfred Buck all were favourably received by critics and audiences and had garnered 11 awards and honours by year’s end.
• The NFB also continued to meet its commitment to representation of women both behind the camera and on the screen. With women at the head of all NFB production units and many women at the helm of NFB productions, the NFB can rightly say that women’s perspectives are included in its production projects. In addition, several works produced this year reflected the lived experience of women of all ages and from all backgrounds. These included the animated short Hairy Legs, which documents a teenage girl’s rebellion against the social norms imposed on women, and the feature-length documentary The Nest, which traces the history of matriarchs and female political rebels whose stories had been lost in the mists of time.
• Lastly, given the scope of the efficiency and restructuring exercise undertaken at the start of 2024–25, renewal of the NFB’s policies on co-productions remains a priority for the organization and will be addressed in the coming fiscal years.

The NFB has remained faithful to its commitment to amplifying the voices of groups that have been systematically underrepresented in the Canadian media landscape. In 2024–25, the NFB released films presenting the lived experience of people at the intersection of various identities who face numerous systemic obstacles—for example, members of the 2SLGBTQI+ community, people of colour, people living with mental-health disorders, and immigrants. Behind the camera, the NFB has committed to ensuring that more than 30% of its production and co-production projects in 2024–25 are the work of filmmakers who identify as Black or people of colour. The NFB has successfully achieved this ambitious target and presented equitable programming that includes the voices of artists from underrepresented and racialized groups.

In 2024–25, the NFB continued to support the United Nations Sustainable Development Goals (SDGs) through its audiovisual productions. For example, the immersive feature-length documentary Incandescence, directed by Nova Ami and Velcrow Ripper, contributed to SDG 13 (Climate Action) by providing a new perspective on the phenomenon of giant wildfires and exploring the Indigenous practice of controlled burns, which can regenerate the land and foster resilience to climate change. The NFB also contributed to SDG 16 (Peace, Justice and Strong Institutions) with Les perdants (A Losing Game), by Jenny Cartwright, which explores the flaws in Quebec’s electoral system, and Night Watches Us, by Stefan Verna, which presents a socially engaged meditation on marginalization, violence and the quest for justice. These films illustrate the power of documentary storytelling, which can spark important conversations about issues related to systemic inequalities, safety and security, and democracy. By providing a forum for underrepresented voices, the NFB strengthens its role in promoting a society that is more inclusive, more responsible and better informed.

More information on the NFB’s contributions to Canada’s Federal Implementation Plan on the 2030 Agenda and the Federal Sustainable Development Strategy can be found in our Departmental Sustainable Development Strategy.

Fiscal 2024–25 also saw the creation of the NFB Innovation Lab, whose team works to accelerate the NFB’s ability to achieve its strategic objectives through the use of new technologies. Part of the Innovation Lab’s mandate is to analyze and explore as many tools as possible for optimizing and automating each phase of producing audiovisual works, from development through post-production. This year, this lab conducted several tests with artificial-intelligence tools, complying with the appropriate ethical standards at all times. These investigations demonstrate the NFB’s commitment to applying the latest technology to audiovisual production in order to continue producing innovative, contemporary works.

Results achieved:

• Previously a secondary distribution window, digital platforms have now become one of the best avenues for reaching audiences. The NFB has therefore established the Streaming business unit, which focuses on works that lend themselves to being released online by virtue of either their visual attributes or their relevant and topical subjects. Online distribution gives NFB titles excellent visibility on the nfb.ca/onf.ca platform, which receives an average of 700,000 views and 230,000 unique visits per month.
• In addition to being distributed on the NFB’s own channels (nfb.ca/onf.ca, YouTube and Vimeo), the films in the NFB’s collection are accessible on 150 other digital platforms, including other YouTube channels (such as the very popular Real Stories channel, from Little Dot Studios), subscription video on-demand platforms that are accessible worldwide (such as DocuBay), traditional broadcast platforms and educational platforms. In 2024–25, over 1,500 NFB titles were thus made accessible to various audiences both in Canada and internationally.
• To mark the NFB’s 85th anniversary, an English-language FAST channel was launched on Pluto TV Canada (Paramount), the leading free television streaming service. A total of 120 NFB titles were offered on Pluto TV in Canada, on all smart devices. In 2024–25, this channel generated over 500,000 views.

Results achieved:

• The NFB created two marketing business units to support distribution of works with high international potential. The first of these, the Markets unit, promotes documentaries that are of universal cultural relevance. These films stand out in the NFB’s traditional markets: festivals, movie theatres, broadcasters and international sales. The second business unit, Animation, is dedicated to promoting the NFB’s animated films, which are showcased at festivals in Canada and abroad.
• Year after year, the NFB’s works have an international impact, and 2024–25 was no exception. NFB works that carried their filmmakers’ voices and stories across international borders this year included the animated short Inkwo for When the Starving Return, which had its world premiere at the prestigious Sundance Film Festival; the documentary feature A Mother Apart, aired on the PBS network; 11 animated films that were selected to screen at the Annecy International Animation Film Festival; and the feature documentary Any Other Way: The Jackie Shane Story, which was shown in several countries, including Belgium, France, Greece and the United Kingdom.
• In 2024–25, the NFB revised its strategy for operating its YouTube channels, which have more than 630,000 subscribers in total. The NFB removed geoblocking from all titles for which it held distribution rights outside of Canada, so that viewers in other countries could now access them. In this way, the NFB used readily accessible, affordable methods to expand its international audience.

Results achieved:

• The internal restructuring carried out at the start of the fiscal year enabled the NFB to form a new team whose mandate includes creating digital content that attracts and engages new audiences, and young audiences in particular. Toward this end, in 2024–25 this team created hundreds of value-added short videos for social networks, including filmmaker interviews and video clips that presented NFB films in a new light. These efforts have yielded results. In 2024–25, the NFB saw the following percentage increases in its number of subscriptions on various social networks, compared with the year before: 13% on Instagram, 6% on YouTube, 5% on Vimeo and 3% on Facebook.
• Also in 2024–25, the NFB CAMPUS website became NFB Education. The changes made to this platform simplified access to its educational content by enabling the teachers and the millions of students who use it throughout Canada to access it at any time without having to sign in. The NFB also transferred more than 1,000 titles to its free online viewing platform, gathering all of its educational content under one roof.
• The NFB continued to improve its online viewing platform, a project it had begun in 2023–24. This has included changing certain functionalities, which will better support marketing campaigns that enhance the discoverability of the NFB’s works. The design and the graphic redesign of the web page for each work were completed, and the same changes were made to the mobile and smart-TV applications to improve the user experience, which is the key goal of the project. The NFB also conducted a survey to which 2,500 Canadians responded, as well as interviews with volunteer usability testers from various socioeconomic backgrounds throughout Canada. The data collected in this survey and these interviews will be used to guide future improvements in the NFB’s digital services.
• Audience relationships are central to the NFB’s new Impact business unit, not only online, but also in communities throughout Canada. This unit strives to create enduring connections between the audience and an NFB film so that it becomes a means of effecting change in society. In 2024–25, the NFB organized close to 2,300 public screenings, held in almost 430 different communities in Canada across 13 provinces and territories.

Results achieved:

• The workforce reorganization that the NFB began at the start of this fiscal year brought all of its preservation and conservation experts together in a new unit dedicated to preserving and conserving the archival materials (such as text documents, photos and sound recordings) associated with NFB works. This change enabled the NFB to standardize its work methods and practices in this area. The NFB is already well recognized for the quality standards it applies to preserving its audiovisual works. Now the NFB is applying these same standards to preserving the materials that contextualize these works.
• Some major activities delayed digitization of the NFB’s works and achievement of the target set for this fiscal year. These activities included collaboration under agreements with two other institutions—the Cinémathèque québécoise and the National Centre for Truth and Reconciliation—that, like the NFB, are involved in conservation of audiovisual heritage. These agreements required use of some NFB resources but did not negatively affect digitization of its active collection, or its currently distributed works, or those works whose preservation and longevity might otherwise be endangered.

Ever since the NFB made its very first commitments to Indigenous people and to equity, diversity and inclusion, it has been a leader in the audiovisual industry, recognized as an organization that is egalitarian, open and diverse, both behind the camera and on the screen. In the context of its core responsibility Content Accessibility and Audience Engagement, the NFB meets it commitments, for example by creating themed digital channels that feature underrepresented voices. These commitments are also reflected in the NFB’s relationships with Canadian Indigenous distributors, with whom the NFB makes a point of collaborating in distributing works on Indigenous themes and in Indigenous languages. In 2024–25, as part of its continuing efforts in this area, the NFB’s new Streaming business unit assumed a mandate to celebrate Canadian culture, voices and identities and to promote regional stories from coast to coast to coast. The NFB’s online viewing platform is a window on these multiple realities, and all Canadians, without distinction, have access to them free of charge.

The NFB’s democratization of its educational offerings, providing free access to NFB films and teaching content, meets Sustainable Development Goal 4 (SDG 4), Quality Education. In addition, the themes of many NFB productions contribute to other goals of the United Nations 2030 Agenda for Sustainable Development. The documentary Any Other Way: The Jackie Shane Story addresses several themes of SDG 10, Reduced Inequalities. A Man Imagined deals with issues raised by SDG 1, No Poverty, and SDG 3, Good Health and Well-Being. Forêts urbaines (Urban Forests) advances SDG 11, Sustainable Cities and Communities. By giving a voice to those who’ve never had one and shining a bright light on realities that are sometimes harsh, the NFB raises public awareness and contributes in its own way to the United Nations Sustainable Development Goals.

More information on the NFB’s contributions to Canada’s Federal Implementation Plan on the 2030 Agenda and the Federal Sustainable Development Strategy can be found in our Departmental Sustainable Development Strategy.

In 2024–25, in collaboration with their colleagues at the Innovation Lab, the NFB’s Education and Conservation teams worked on developing innovative tools to meet specific needs. These included teaching tools that can be used to more efficiently identify the intersections between NFB works and school curriculums in all the provinces and territories. The Education team also tested some formats that more closely meet the needs of the teachers with whom the NFB partners in creating teaching activities. The Conservation team, for its part, tested some promising AI-assisted tools that will allow it to sort through stock footage more quickly, thus making up for lost time without requiring any additional resources.

Actual spending from main authorities is divided among the National Film Board’s core responsibilities and Internal Services: Audiovisual Programming and Production account for $38.4 million (47%), Content Accessibility and Audience Engagement for $29.0 million (35%) and Internal Services for $14.9 million (18%) of total spending.

The graph does not show spending financed from the NFB’s revolving fund. This fund is used to finance working capital and capital acquisitions; it is reimbursed periodically from the main voted authorities presented earlier in this report.

The NFB’s authorities include budgetary expenditures voted by Parliament on an annual basis. The NFB has also been granted the use of a revolving fund (non-lapsing authority) for working capital and capital acquisitions. This fund is reimbursed through the voted authorities on a periodic basis as directed by Treasury Board.

The main estimates, at $72 million, include $5.3 million in funding for critical operational requirements, as confirmed in Budget 2023. The NFB’s annual reference level has been reduced by $1.2 million for the repayment of funds advanced for the relocation of its headquarters in Montreal. The headquarters relocation project took place mainly in 2018–19 and 2019–20, and the advance of funds totalled $14.4 million, the reimbursement of which is to be completed in 2030–31.

The main voted authorities available for use in 2024–25, which total $84.7 million, include the allocations for retroactive statutory indexations following the signing of collective agreements, as well as $3.1 million carried over from the preceding year. The total authorities available for use include a frozen allotment in the amount of $0.6 million to repay the revolving fund for capital investments made in 2019–20. Repayment of the total investments was completed in 2024–25.

In 2024–25, actual spending from the main authorities totalled $82.4 million and was greater than the prior year, mainly because of the indexation of salaries and the disbursement of retroactive payments following the signing of collective agreements. This spending also includes transition costs related to the elimination of positions in the organizational restructuring carried out to optimize the NFB’s work and business processes. The NFB undertook its modernization by streamlining its internal processes and developing decision-making information tools to become a more nimble, efficient organization. The funds freed up by streamlining the NFB’s work structures will be reinvested in programming and production projects, which are at the heart of the NFB’s mandate.

The revolving fund authorities are used to finance working capital and capital acquisitions; this fund is reimbursed periodically from the main voted authorities.

The NFB estimates its planned spending from the Main Estimates at $73.3 million in 2025–26, subject to approval by Parliament. This reference level includes the adjustments for confirmed pay indexations. The funding for critical operational requirements included in Budget 2023 for 2023–24 and 2024–25 is excluded from the reference level starting in 2025–26.

The need for drawdowns on the revolving fund to finance capital investments will be determined on the basis of requirements.

It is also important to underscore that the NFB’s reference level was reduced by $1.2 million to repay the funds advanced for the relocation of its headquarters in Montreal. This reduction represents a total repayment of $14.4 million that will be completed in 2030–31.

Graph 2 includes the following information in a bar graph:

The graph excludes spending financed from the NFB revolving fund. This fund is used to finance working capital and capital acquisitions; it is reimbursed periodically from the main voted authorities presented earlier in this report.

The spending for 2024–25 and prior years includes $5.3 million in funding for critical operational requirements. This funding is excluded from the reference level starting in 2025–26.

Actual spending in 2024–25 was higher than in 2022–23 and 2023–24, mainly because of the payment of retroactive pay increases following signing of collective agreements.

The reimbursement of the revolving fund for the investments made in 2019–20 was completed in 2024–25 through a frozen annual allotment. The frozen amounts were $1.7 million in 2021–22, $1.5 million in 2022–23 and $0.6 million in 2023–24 and in 2024–25.

The NFB received funding to finance the relocation of its headquarters in Montreal, which took place in 2019–20. The NFB will reimburse the amount of $14.4 million through a $1.2 million decrease in its annual allocation; the total repayment will be completed in 2030–31.

Revenues recorded in 2024–25 were lower than the projected results, mainly as the result of the billing of revenues from partnerships on projects.

Expenses are stated using the accrual accounting method.

The increase between the actual results achieved in 2024–25 and the projected results comes mainly from the adjustment in the provisions for statutory pay increases following the signing of collective agreements.

Revenues recorded in 2024–25 were lower than in the preceding year, mainly as the result of the billing of revenues from partnerships on projects.

Expenses are stated using the accrual accounting method.

The actual results achieved in 2024–25 are comparable to those for the preceding year. The reorganization of the NFB’s work structures resulted in a substantial reduction in its workforce. Some transition costs were recognized in 2024–25. The funds thus freed up will be reinvested in programming and production projects, which are at the heart of the NFB’s mandate.

The decrease in total net liabilities resulted from the retroactive payment of statutory pay increases for which provisions were made over the past few years, as well as the decrease in accumulated vacation entitlements following the workforce reduction.

The total net financial assets are comparable to the preceding year’s.

The departmental net debt represents the difference between total net liabilities and total net financial assets.

The decrease in total non-financial assets was due to amortization of the capital assets acquired under the investment plan, which exceeds the capital investments during the current year.

The departmental net financial position increased as the result of the decreases in the provisions and in the value of the capital assets.

The level of human resources was reduced in 2024–25 following the reorganization begun in 2023–24, which included closing the NFB’s interactive studios and streamlining its work structures and internal processes. The funds thus freed up will in due course be reinvested in programming and production projects, which are at the heart of the NFB’s mandate.

The level of human resources allocated to Internal Services remains comparable to the preceding year’s.

The NFB is implementing its strategic plan, continuing to optimize its new structure and evolve alongside the modernization of the Canadian audiovisual landscape.

The NFB’s initiatives to streamline its work structures and internal processes have enabled a reduction in human resources of approximately 10%, which will be reflected in the next three fiscal years. The funds thus freed up will be reinvested in programming and production projects, which are at the heart of the NFB’s mandate.

Appropriate minister:

The Honourable Steven Guilbeault, P.C., M.P., Minister of Canadian Identity and Culture and Minister responsible for Official Languages

Institutional head:

Suzanne Guèvremont, Government Film Commissioner and Chairperson of the National Film Board

Ministerial portfolio:

Canadian Heritage

Enabling instrument(s):

National Film Act, R.S.C., c. N-8

Year of incorporation / commencement:

1939

Other:

The NFB Board of Trustees is composed of eight members: the Government Film Commissioner, who acts as the Board’s chairperson, the Executive Director of Telefilm Canada (ex-officio member) and six other members appointed by the Governor in Council. With the exception of the Commissioner and Executive Director of Telefilm Canada, Board members serve three-year terms. The Board’s primary role is to define the NFB’s broad strategic directions and monitor its results. It approves its strategic plans and budgets, among other items.

Mailing address:

National Film Board of Canada
1501 De Bleury Street
Montreal, QC
Canada H3A 0H3

Telephone:

1-800-267-7710

Email: 

reports@onf-nfb.qc.ca

Website(s):

www.nfb.ca
www.canada.ca/en/national-film-board.html

Social Media:

www.facebook.com/nfb.ca
x.com/thenfb
vimeo.com/thenfb
www.youtube.com/user/nfb
www.instagram.com/onf_nfb/

appropriation (crédit)

Any authority of Parliament to pay money out of the Consolidated Revenue Fund.

budgetary expenditures (dépenses budgétaires)

Operating and capital expenditures; transfer payments to other levels of government, departments or individuals; and payments to Crown corporations.

core responsibility (responsabilité essentielle)

An enduring function or role of a department. The departmental results listed for a core responsibility reflect the outcomes that the department seeks to influence or achieve.

Departmental Plan (plan ministériel)

A report that outlines the anticipated activities and expected performance of an appropriated department over a 3-year period. Departmental Plans are usually tabled in Parliament in spring.

departmental priority (priorité)

A plan, project or activity that a department focuses and reports on during a specific planning period. Priorities represent the most important things to be done or those to be addressed first to help achieve the desired departmental results.

departmental result (résultat ministériel)

A high-level outcome related to the core responsibilities of a department.

departmental result indicator (indicateur de résultat ministériel)

A quantitative or qualitative measure that assesses progress toward a departmental result.

departmental results framework (cadre ministériel des résultats)

A framework that connects the department’s core responsibilities to its departmental results and departmental result indicators.

Departmental Results Report (rapport sur les résultats ministériels)

A report outlining a department’s accomplishments against the plans, priorities and expected results set out in the corresponding Departmental Plan.

full-time equivalent (équivalent temps plein)

Measures the person years in a departmental budget.  An employee's scheduled hours per week divided by the employer's hours for a full-time workweek calculates a full-time equivalent. For example, an employee who works 20 hours in a 40-hour standard workweek represents a 0.5 full-time equivalent.

Gender-based Analysis Plus (GBA Plus) (analyse comparative entre les sexes plus [ACS Plus])

An analytical tool that helps to understand the ways diverse individuals experience policies, programs and other initiatives. Applying GBA Plus to policies, programs and other initiatives helps to identify the different needs of the people affected, the ways to be more responsive and inclusive, and the methods to anticipate and mitigate potential barriers to accessing or benefitting from the initiative. GBA Plus goes beyond biological (sex) and socio-cultural (gender) differences to consider other factors, such as age, disability, education, ethnicity, economic status, geography (including rurality), language, race, religion, and sexual orientation.

government priorities (priorités gouvernementales)

For the purpose of the 2024–25 Departmental Results Report, government priorities are the high-level themes outlining the government’s agenda as announced in the 2021 Speech from the Throne.

horizontal initiative (initiative horizontale)

A program, project or other initiative where two or more federal departments receive funding to work collaboratively on a shared outcome usually linked to a government priority, and where the ministers involved agree to designate it as horizontal. Specific reporting requirements apply, including that the lead department must report on combined expenditures and results.

Indigenous business (entreprise autochtones)

For the purposes of a Departmental Result Report, this includes any entity that meets the Indigenous Services Canada’s criteria of being owned and operated by Elders, band and tribal councils, registered in the Indigenous Business Directory or registered on a modern treaty beneficiary business list.

non‑budgetary expenditures (dépenses non budgétaires)

Net outlays and receipts related to loans, investments and advances, which change the composition of the financial assets of the Government of Canada.

performance (rendement)

What a department did with its resources to achieve its results, how well those results compare to what the department intended to achieve, and how well lessons learned have been identified.

performance indicator (indicateur de rendement)

A qualitative or quantitative measure that assesses progress toward a departmental-level or program-level result, or the expected outputs or outcomes of a program, policy or initiative.

plan (plan)

The articulation of strategic choices, which provides information on how a department intends to achieve its priorities and associated results. Generally, a plan will explain the logic behind the strategies chosen and tend to focus on actions that lead to the expected result.

planned spending (dépenses prévues)

For Departmental Plans and Departmental Results Reports, planned spending refers to the amounts presented in Main Estimates. Departments must determine their planned spending and be able to defend the financial numbers presented in their Departmental Plans and Departmental Results Reports.

program (programme)

An Individual, group, or combination of services and activities managed together within a department and focused on a specific set of outputs, outcomes or service levels.

program inventory (répertoire des programmes)

A listing that identifies all the department’s programs and the resources that contribute to delivering on the department’s core responsibilities and achieving its results.

result (résultat)

An outcome or output related to the activities of a department, policy, program or initiative.

statutory expenditures (dépenses législatives)

Spending approved through legislation passed in Parliament, other than appropriation acts. The legislation sets out the purpose and the terms and conditions of the expenditures.

target (cible)

A quantitative or qualitative, measurable goal that a department, program or initiative plans to achieve within a specified time period.

voted expenditures (dépenses votées)

Spending approved annually through an appropriation act passed in Parliament. The vote also outlines the conditions that govern the spending.