A work in constant progress (and occasional regress).
Release Date:
June 18, 2021
Original Title:
A Chance for Christmas
Alternate Titles:
Und täglich grüßt das Weihnachtsfest
Świąteczna Szansa
Genres:
Comedy | Fantasy | Romance | TV Movie
Production Companies:
Neshama Entertainment
Production Countries:
Canada
Ratings / Certifications:
DE: 6 SE: 11 US: PG
Runtime: 86
Social media influencer Christina Chance promotes the perfect family image. This year, she has the chance to become the face of lifestyle brand, Love Handles, on the condition that her Christmas Eve special delivers at least two million engagements. Seems easy enough except Christina’s family is far from perfect. When her Love Handles account manager, Devon, shows up and discovers Christina’s life is all smoke and mirrors, he helps Christina keep up her ruse. With a Christmas wish, Christina and Devon are given the chance to relive the day until Christina can get the views she needs to win the endorsement. As Christina and Devon work together, sparks fly, and they learn the power of family is far more important than views.
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Assistant Hairstylist:
Christie Capustinsky
Assistant Makeup Artist:
Christie Capustinsky
Associate Producer:
Mattie Fellbaum
Marly Reed
Daijah Abram
Rachel Bulatovich
Boom Operator:
Julien Desormeaux
Camera Operator:
Jessie Turner
Casting Director:
Ilona Smyth
Director:
Stefan Brogren
Director of Photography:
Bill St. John
Driver:
Jessica Laight
Editor:
David J. Cain
Executive Producer:
Fernando Szew
Arnie Zipursky
Marianne C. Wunch
Hannah Pillemer
Suzanne L. Berger
Gaffer:
David Rajsic
Hair Department Head:
Jessica Awadis
Hair Designer:
Tracy Page
Lighting Technician:
Alanna Broere
Makeup Department Head:
Anna Della Zazzera
Music:
Ari Posner
Post Production Coordinator:
Dani Larsen
Producer:
Caitlin Delaney
Shane Boucher
Production Supervisor:
Ryan Greig
Second Unit First Assistant Director:
Jade Bacon
Set Decoration:
Chris Oliveira
Sound Mixer:
László Szíjártó
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While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
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Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
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Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.