A still from Éléonore Goldberg’s animated short film My Yiddish Papi (Picbois Productions/NFB).
On Jan. 25, the National Film Board of Canada released Éléonore Goldberg’s animated short film My Yiddish Papi (Picbois Productions/NFB). It can be streamed free of charge across Canada on nfb.ca, as well as on NFB’s YouTube channel and Facebook page.
The online release of the film marked the International Day of Commemoration in Memory of the Victims of the Holocaust, which is observed on Jan. 27. With My Yiddish Papi, Goldberg has made a personal short film about filial love, duty and the transmission of memory by honouring a promise made long ago: that of illustrating the adventures of her grandfather, a resistance fighter during the Second World War.
Produced by Karine Dubois (Picbois Productions) and Julie Roy (NFB), the film was presented as a world première at the 2017 Ottawa International Animation Festival, and was also selected for the Sommets du cinéma d’animation de Montréal and the London International Animation Festival, among others.
Goldberg is an award-winning Franco-Canadian filmmaker, animator and cartoonist. In My Yiddish Papi, using ink-on-paper animation, she relates the story of her grandfather, Georges (Josek) Goldberg, who became a resistance fighter at age 20 during the Second World War. “He saved many lives and he and his family narrowly escaped Auschwitz,” said Goldberg in an interview on the NFB website. He died, in Paris, in July 2009.
“He would sometimes share his wartime memories when we dined together during the time I lived in Paris,” Goldberg told the NFB. “He never bragged; he was a humble, shy person. He would have liked me to make a graphic novel or film about his resistance adventures, and I had committed to doing it. But time passed and I did nothing. At his death, my promise came back to me.”
Hart Snider has followed up his award-winning animated short The Basketball Game with Shop Class, one of four National Film Board of Canada shorts selected for the 2018 Spark Animation Festival, which runs Oct. 25-28.
“I wrote and developed Shop Class while editing the TV series Yukon Gold, Klondike Trappers and Ice Pilots – documentary/reality series driven by ‘manly men’ who would run into big problems in remote locations, but then they’d break out some tools, rock music would start playing, there’d be a montage, and the guys would ‘man up’ to fix the problem,” Snider told the Independent. “While they were very successful shows, it made me laugh to be a not very macho guy telling these stories. It reminded me about being 14 and wanting to take home ec, but instead being forced to take industrial arts class, where my teacher tried to scare us into becoming men. I was inspired to write the story, which, yes, felt very cathartic – especially when I shared it with friends who also had him for a teacher.”
Not only does young Hart have to endure the bullying of his shop teacher, but he and his friends are targets for their bullying classmates. In one scene, Hart and his buddies are hanging out at a convenience store, when the friend checking out the latest Supermensch comic receives a punch in the stomach.
“The comic is not just a reference to being Jewish,” said Snider, “but to my first film. Shop Class is actually a sequel of sorts, to my 2011 National Film Board of Canada animation The Basketball Game, another autobiographical story. It’s about being 9 years old and at Jewish summer camp for the first time, when ex-students of notorious Holocaust denier/high school teacher Jim Keegstra come to our camp in Pine Lake, Alta., for a ‘day of fun and fellowship.’ Early in the film, my character is reading a Supermensch comic (which is there mostly because of the unnamed villain in Supermensch, seen fighting on the cover, that ends up inspiring a nightmarish transformation later in the story).
“Shop Class has a documentary-type scene that takes place in a convenience store, so I added a teenager reading Supermensch, issue #18, the same comic, to show that both the stories actually exist in the same cinematic universe.”
Every single character in Shop Class is voiced by Corner Gas and Dan for Mayor star Fred Ewanuick.
“Fred went from listening to me imitating my old teacher’s way of talking,” said Snider, “to stepping into the recording booth and totally bringing that character to life – and he did it just by saying, ‘Sit down, Turkeys,’ over and over until he totally nailed it.”
As for the other characters in the film, Snider said, “I’m still friends to this day with people I met in kindergarten at Talmud Torah in Edmonton, and I included a couple of them in both of my films. The love interest is totally inspired by my wife, Galit Mastai.”
The couple lives in Vancouver and, according to his bio, Snider “can usually be found either in an edit suite or at the park with his wife Galit, daughter Leora and dog Wolfie.”
In addition to writing and directing Shop Class and The Basketball Game, Snider also wrote and directed the animation segments for I Am Sam Kinison, a feature-length documentary about the late comedian that aired on Spike television. “I’ve edited animated short films as well,” he said, “including Lisa Jackson’s The Visit and Elisa Chee’s Lucy. Most recently (outside of animation), I’ve written and edited the theatrical documentary features I Am Heath Ledger and Botero, which will be released next year.”
On the NFB media site for Shop Class – on which he reveals his plan to create a third short “in this trilogy of animated films about growing up in Edmonton in the 1980s” – Snider traces his love of animation “back to being a little kid on Saturday mornings, glued to the TV. I have loved animation ever since,” he says, “but it took attending a screening of adult animation shorts (which included the film Lupo the Butcher by Danny Antonucci) when I was in high school to make me realize I really wanted to write and direct animated films. After interning at Nelvana animation in university, I thought I was on my way, until a job in post-production on a doc series about Cirque du Soleil back in 2001 led me on a totally different path as a documentary editor and writer.”
So, while he still loves animation, he doesn’t do the art for his films. “I just love telling stories using the medium,” he told the Independent, “and I’ve gotten to work with some brilliant artists – Sean Covernton animated The Basketball Game and the team at Jesters Animation, led by animation supervisor Brad Gibson, brought Shop Class to life.”
Shop Class screens Oct. 26, 11 p.m., at Vancity Theatre (19+). The NFB’s Animal Behaviour, by Jewish community member David Fine and Alison Snowden (jewishindependent.ca/animated-therapy-session), screens Oct. 25, 7 p.m., at Scotiabank Theatre. For the full festival lineup and tickets, visit sparkfx.ca.
David Fine and Alison Snowden wrote, directed and animated the National Film Board of Canada animated short Animal Therapy. (photo by John Bolton)
They’re baaaack! And with another funny – and thought-provoking – National Film Board of Canada animated short. Jewish community member David Fine and wife Alison Snowden, who co-created the NFB’s Oscar-winning Bob’s Birthday 25 years ago, have returned to the genre with Animal Behaviour.
Animal Behaviour, which screened at the Toronto International Film Festival earlier this week, will be part of the Vancouver International Film Festival’s True North Shorts program, The Curtain Calls, on Oct. 1 and 8. There are further screenings scheduled for other festivals across Canada.
The 14-minute short, produced by Michael Fukushima, executive producer of the NFB’s animation studio, is written, directed and animated by Fine and Snowden, who are currently based in Vancouver. In addition to countless other projects, the pair also created, and contributed in many capacities to, the adult animated series Bob and Margaret, which was based on Bob’s Birthday.
“We had worked in series and missed making a personal film and doing the animation ourselves, directly,” Fine told the Independent about what motivated Snowden and him to make another animated short. “We really thought it would be nice to get back to the type of filmmaking we started our career with and our producer, Michael, had suggested that he would be keen to see any ideas from us and we happened to have one, so we thought, why not have a go. It’s very different to make a personal film like this than a series.”
The couple humorously tackled some of the issues of being middle age in Bob’s Birthday. In Animal Behaviour, they explore – also with much humour – some of the pros and cons of following our natural instincts versus doing what is socially acceptable. They do so using the vehicle of a weekly group therapy session led by Dr. Leonard Clement, a Labrador retriever.
Lorraine, the leech, has attachment issues and experiences panic attacks; Todd, the pig, has an eating disorder and suffers from insecurity; Cheryl, the mantis, hasn’t had a lasting relationship, and the fact that she has 1,000 kids is the lesser of her two main problems; Linda, the Tabby cat, has obsessive compulsive disorder and doesn’t ever feel clean enough, despite constantly licking herself; and Jeffrey, the blue jay, has some serious guilt issues as a result of something he did when he was a very young bird. The members of the group seem to know one another well and there is a rhythm to their session. Then walks in Victor, the ape, with his anger issues, who believes that everyone else is an idiot and that people in therapy are navel-gazers who just need to get on with their lives.
“The notion of going to therapy to change seems like a tall order, so we thought it would be fun to look at therapy and have a character who comes in and questions its validity,” explains Fine in an NFB interview online. “At the same time, we’re careful not to go for the low-hanging fruit or make fun of the process. We don’t want to answer the question (‘Is therapy valid?’), we want to pose the question and start the discussion.”
“It was quite a difficult script to write,” says Snowden in the NFB interview. “We thought it would be easy, because it’s in one room, there’s one conversation, but there are so many possibilities with all the animals, and if we did it wrong it would get boring.
“At first, there were a lot of characters, but you couldn’t get attached to any of them, so we honed it down. Really, it’s about the ape and Dr. Clement – that’s the showdown. Then they all came together. The others are in the room, they’re observers, and they’re there for comedy. But the key characters are those two and their drama.”
“From idea to final film was probably about five years,” Fine told the Independent, “but there was a development period, which was sporadic and took time to get to the green light. Once in production, it took about 2.5 years to make, in terms of pure working time.”
About working in animation, Fine said, “We like controlling every frame and effectively being both directors and actors, because we pose and make the characters act. We also love working with voice actors and then being able to edit the track in a way you can’t really do in live action. It’s really about all the nuance and control, which is so much fun.”
The creative process starts with the writing, he said, “with the idea and the script,” which they “work to refine…. After that, the voice record was key. We interviewed about 300 voices to cast this group. All the actors are Vancouver-based, which we are very proud of.”
Among the credits, thanks are given to the animation programs at Capilano and Emily Carr universities, and the film is dedicated “to the wonderful doctors, nurses and staff at Vancouver General Hospital.”
“During the production, near the end, Alison was struck with a very sudden, serious health crisis and was in intensive care and recovery for five months,” explained Fine. “VGH saved her life, so, when we were finally able to finish the film together, it was very important to us to make that dedication to show our appreciation.”
For tickets to The Curtain Calls and the full film festival schedule, visit viff.org.
Ryan Sidhoo’s new docuseries, True North, looks at the youth basketball scene in Toronto. (photo by Yasin Osman)
“Wherever I travel, I go play pickup basketball and I always make friends, and maybe end up at someone’s house for dinner … you go ask to play basketball on someone’s court, there’s always that moment of, ‘Who is this guy?’ but, once you get out there and you start playing, it’s an inviting, universal sport that you don’t need a lot to participate in,” filmmaker Ryan Sidhoo told the Independent in a phone interview from Toronto.
Sidhoo is the creator and director of True North, a nine-part online docuseries produced by the National Film Board of Canada (NFB) and Red Bull Media House about the youth basketball scene in Toronto.
“More and more young Canadians are playing basketball – over 350,000 according to the 2014 Canada Youth Sports Report – and the trend is particularly pronounced in and around Toronto, where a wave of second- and third-generation Canadians are shaping Canada’s new game,” notes an NFB blog about the series. It also notes that, “Canada now has over a dozen players in the NBA [National Basketball Association], more than any other outside country.”
In episodes ranging from 15 to 23 minutes, True North examines “the rise of the Toronto hoop dream through the stories of five young athletes.”
The series – which was three years in the making – “has a multigenerational appeal,” said Sidhoo, who spoke with players, coaches and families. Given the subject matter and format, he said younger viewers enjoy it but that, also, people closer to the age of the parents of the kids featured get something out of it from a parenting point of view.
In the series format, he said, we can tell in-depth stories, “but then that 15-minute episode has to be focused on one kid and their journey. I think that’s an appeal of the series, because they’re highly personal episodes and they’re not trying to do too much at once.”
Sidhoo has worked on various projects, including for Pulse Films, MTV and NBCUniversal, and he has produced and directed content across various VICE platforms; he was the creator and executive producer of Welcome to Fairfax, a 10-part docuseries for Participant Media about a group of young entrepreneurs in Los Angeles.
Born and raised in Vancouver, he’s since lived in California and New York. It was in New York that he earned his master’s in media studies, with a focus on documentary filmmaking, from the New School, in 2013.
“The seeds of the project were really planted at that time,” he said, referring to True North. At the New School, he wanted to do a project “on this old streetball legend named Fly Williams, who I’d read about in a book my dad had given me as a kid called Heaven is a Playground.”
In his search for Williams, Sidhoo ended up at a few different basketball tournaments. At the time, YouTube was just taking off, he said. “What I was seeing at these gyms in New York were these parents marketing their children as the next best basketball phenom. You started to see this cottage industry around youth basketball.”
Fascinated by this, Sidhoo said he kept his finger on the pulse of that world. He noticed that Canadians were having a lot of success getting into the NBA and the question of how basketball became significant in Canada led him to Toronto, “the epicentre of it all.”
“For me,” said Sidhoo of his love of basketball, “growing up in Vancouver, and, especially, having immigrant roots on both sides – my mom is Ashkenazi, they came from Poland and Winnipeg and eventually Vancouver, [while] my dad’s side of the family is from India – I just think that the popular sport in Canada is, obviously, hockey, and winter sports in general have more of a built-in tradition … [but] basketball lends itself to newcomers to a country, so my dad gravitated towards basketball as a kid. For me, growing up, basketball was always in the house, it was always on TV, it was something that I was around and I, naturally, through my dad, was introduced to the sport…. Of course, I like hockey and Wayne Gretzky and all that, but basketball was the thing that was a part of my identity … I always felt comfortable in the niche community of basketball in Vancouver because it was really diverse and it was very multicultural. As someone who had these mixed backgrounds, I felt at home in that world.”
Sidhoo played in various leagues in Vancouver, as well as participating in more than one JCC Maccabi Games. He described as “pivotal,” the Kitsilano Youth Basketball, run by Mel Davis, a former Harlem Globetrotter. Davis’s son, Hubert Davis, directed Hardwood, a documentary (also produced by the NFB) about his relationship with his father and basketball. When Sidhoo saw that film, he said he had two thoughts: “one, that’s amazing, because I know Mel and remember Hubert refereeing the games but then, secondly, it’s projects like that that plant the seed that, hey, maybe I could be a documentary filmmaker, too.”
As a kid, Sidhoo and his brother were encouraged to do what they wanted creatively. “I’d go out back and make videos of myself playing basketball,” he said. “My dad was always showing us films that maybe he shouldn’t have been showing us at that young an age, but explaining why he was showing them. So, basketball was always there and these offbeat films, or films that were aged above my viewing in terms of age appropriateness, that was always a constant, too.”
Growing up, he was also exposed to books, art shows and other culture. Sidhoo recalled his father taking him to one of the first Slam City Jams, a skateboard competition, in the early 1990s, when Sidhoo was 5 or 6 years old. “Back then, skateboarding wasn’t as corporate as it is now, it was still pretty punk,” he said. And, while it was a bit different to be at such an event, “at the same time, it’s normal because I’ve been consuming this kind of content and going to different, what you could call counter-culture, events, with my dad. So, the fascination with subculture was always there, along with basketball.”
True North is Sidhoo’s first project with the NFB. He called the film board with his idea while in Vancouver, and spoke with Shirley Vercruysse, executive producer of NFB BC & Yukon Studio. “She was open-minded,” said Sidhoo and connected him to the paperwork he’d have to submit for the NFB to consider producing the documentary.
“What I think attracted the National Film Board,” he said, “was that basketball is shaping Canadian identity, because we’re exporting so many amazing basketball players to the south that the perception of Canada is not just hockey anymore … basketball is part of the shifting Canadian identity. On a global, macro picture, that resonated with the film board. And then, also tapping into the human, story-driven documentary approach that I wanted to take is what the film board has been doing for a really long time. It spoke to a story that was big, but then also was told through the intimate, personal narratives of these kids. It was a nice combination for them, I think.”
In The Mountain of SGaana, sea hunter Naa-Naa-Simgat is abducted by a killer whale and his lover, Kuuga Kuns, must try to save him. (image from National Film Board of Canada)
One of the highlights at this year’s Vancouver International Film Festival will be the animated short The Mountain of SGaana, presented by the National Film Board of Canada.
In The Mountain of SGaana, Haida filmmaker Christopher Auchter tells the tale of two lovers, sea hunter Naa-Naa-Simgat and Kuuga Kuns. When Naa-Naa-Simgat is abducted by a killer whale (SGanna, in Haida), Kuuga Kuns must negotiate a supernatural undersea world in order to save him. If she doesn’t succeed, they will both become part of the spirit world forever.
The film starts in the present-day, with a thoroughly modern fisherman, Skipper, ignoring all that is around him; his focus being solely on his cellphone, until a small mouse catches his attention and, literally, knits the supernatural tale. Auchter notes in an interview on the NFB website that SGaana also means “supernatural” in the Haida language.
“The Haida are an indigenous people whose island territories lie off the West Coast of Canada and in the southern regions of Alaska,” explains Auchter in the interview. “The modern name for the archipelago is Haida Gwaii, which best translates to “people’s island.” There was a time when the islands were called Xaadlaa gwaayee, which means ‘coming out of concealment,’ appropriately named for its location in the world’s largest remaining temperate rainforest.
“Haida Gwaii was formerly named the Queen Charlotte Islands, after the ship of a British explorer who landed there in 1787. The lands of the Haida nation were re-named in 2009.”
Auchter first read the story told in The Mountain of SGaana years ago in an anthology. In subsequent research, he encountered various versions of the tale, but all contained the same fundamental elements.
In addition to directing the 10-minute short, Auchter co-wrote the film with Annie Reid and the film’s vivid and magical animation was created by Auchter, Tara Barker, Marco Li and Sitji Chou. Jewish community member Michael Mann is listed as compositor, VFX and after-effects animator.
“Chris Auchter designed and created this beautiful world of The Mountain of SGaana, which had this beautiful Haida iconography and told a really wonderful story,” Mann said in a phone interview with the NFB. “What I did is, I took this 2-D animation and basically added lighting, camera moves and visual effects. Say, I get a flat image of water, I make it feel more watery and rippley.”
Mann also colour-graded the film. He explained that certain parts of it needed to look aged, as the film contrasts an older world with a more modern one. He said, “My reading of the story is, it’s a modern-day character [Skipper] who’s lost connection with his stories…. For a long time, they’re very separate and by the end they connect.”
And Mann also had to unite the characters that inhabit the different worlds. “One thing that’s really fun,” he said, “is playing with sunlight and darkness and rain. And all these mythical characters, how do you make them feel they’re all in the same world?”
He said, “I think of myself as a visual sandwich maker sometimes because, basically, someone gives me one layer of the sandwich and then I add all those other layers up to it so that it looks like it’s all one meal, like it’s all one world.”
Mann mostly worked on The Mountain of SGaana remotely from his studio on Salt Spring Island, but came to the NFB offices in Vancouver at the end for an intense 36-hour session with Auchter to finalize all the film’s effects.
Mann’s work as a visual storyteller – using animation, illustration and graphic design – has been featured in the opening ceremonies of the 2010 Winter Olympics in Vancouver, on Nickelodeon, on PBS, in advertising campaigns, in documentaries, in video games, at Ontario’s Stratford Festival, the list goes on.
“Whether working on documentaries, commercial projects, government initiatives or collaborations with other artists,” reads his bio, Mann “loves using creativity to translate cultural concepts to new audiences.”
And The Mountain of SGaana certainly communicates, if only in a small way, something about Haida culture.
“I used Haida art to help frame the action and highlight key moments in the story, and to give those important moments an exclamation mark,” explains Auchter in the online interview. “I also use the Haida art as symbolism: at the beginning of the film, the character of Skipper is surrounded by multiple frames featuring various scenes from his environment. He ignores what’s going on around him, and doesn’t engage with his world. These scenes that surround Skipper are framed with black lines. This works in contrast with the other more complex multi-panel Haida formline shots we see throughout the course of the film. Skipper doesn’t get this more complex visual treatment until later in the story when he actively begins to engage with the world around him. His biggest moment comes when he throws the rope to Kuuga Kuns and Naa-Naa-Simgat and pulls them in. This symbolizes that he is pulling his culture closer to him.”
The Mountain of SGaana won the Young Audiences 6-12 Official Competition at this year’s Ottawa International Animation Festival and was an official selection for ImagineNATIVE 2017 and the Vancouver International Film Festival. It screens at VIFF on Oct. 5, 9:15 p.m., and Oct. 12, 3:15 p.m., at International Village 8, as part of the Strangers in Strange Lands shorts program. For tickets and the full festival lineup, visit viff.org. The festival runs Sept. 28-Oct. 13.
In the very talented ensemble of The Road Forward by Marie Clements are Michelle St. John, left, and Jennifer Kreisberg. (photos from National Film Board of Canada)
This year’s DOXA Documentary Film Festival features several films with Jewish community connections. They explore a wide range of topics: First Nations activism, Fort McMurray and the oil sands, real-life mermaids, bigotry against larger people, and being a freelance journalist in the Middle East. They will make you question your assumptions, ponder the various ways in which humans find connection, and introduce you to ideas, people and places you probably didn’t know existed.
Opening the festival, which runs May 4-14, is The Road Forward. In the very talented ensemble of this musical documentary by Marie Clements are Michelle St. John and Jennifer Kreisberg. As many of us do, St. John and Kreisberg have multiple cultural heritages that form their identity; in their instances, First Nations and Jewish are among them. In addition to performing, Kreisberg also composed and/or arranged many of the songs; the main composer is Wayne Lavallee.
The Road Forward began as a 10-minute performance piece commissioned for the Aboriginal Pavilion at the 2010 Olympics, and premièred as a full-length theatre show at the 2015 PuSh Festival. The documentary has mostly traditional components – interviews, archival footage, news clips – but these are broken up by a number of songs, which add energy and emotion to the film.
The documentary uses as its starting point the Native Brotherhood and Sisterhood, which were established in the 1930s, when First Nations people were not permitted to meet and organize. The groups’ “official organ,” the Native Voice, was the first indigenous-run newspaper in Canada.
“The idea was to honour B.C.’s history, so I started researching and reading online and came across the archives of the Native Brotherhood and Sisterhood, the oldest Native organization in the country. Their parent organization, the Native Fishing Association, is located in West Vancouver, close to me,” explains Clements in the press material.
The Road Forward touches on many issues along its journey to current-day First Nation activists, who carry on in their ancestors’ paths. Though their goals are varied – some fight for particular legal or policy changes, others for restitution and reconciliation, yet others for their own voice and place in the world – they are all seeking justice, equality, understanding.
The songs highlight the immense struggles. As but two examples, “1965” is about the decades upon decades that First Nations have been denied the basic rights that most other Canadians have long enjoyed, and “My Girl” is a heartbreaking tribute to the aboriginal women who have been murdered along British Columbia’s Highway 16, the “Highway of Tears.” The Indian Constitution Express, a movement organized by George Manuel in 1980-81 to protest the lack of aboriginal rights in then-prime minister Pierre Trudeau’s plans to patriate the Canadian Constitution, receives somewhat more attention than other activist achievements, and the song “If You Really Believe,” based on a speech by Manuel, is quite powerful.
The May 4 gala screening of The Road Forward is the official launch of Aabiziingwashi (#WideAwake), National Film Board of Canada’s Indigenous Cinema on Tour. For the length of 2017, NFB is offering films from its 250-plus collection to all Canadians via [email protected]. The film also runs on May 10 and Clements will participate in a Q&A following both screenings.
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Limit is the Sky follows a handful of 20-somethings who have moved to Fort McMurray to follow their dreams. A few years before the price of oil plummeted in 2015 and the 2016 wildfire decimated the northern Alberta city, the average family income in “Fort Mac,” was $190,000 a year, according to the film. Working on the oil sands was where the real money lay, but others were drawn to the college or to places that serve the oil workers (and others), such as hairdressing salons and restaurants.
Most striking about the population we meet in Limit is the Sky is their diversity: they not only come from other Canadian provinces and the United States but from much further afield. The seven young dreamers featured include Max, from Lebanon; Mucharata, from the Philippines, who had to leave her 2-year-old son behind initially (for fours years); and KingDeng, a former child soldier from South Sudan, who had to help support his wife and children (in Edmonton) while at school in Fort McMurray.
“I was looking for young people who’d just recently arrived in Fort Mac, full of hopes, dreams and naïveté,” says filmmaker Julia Ivanova in the press material. “I wanted to walk the viewer through their ups and downs in a place where the men seem tough and the women even tougher. I wasn’t looking for tough characters, though: sensitivity and beauty – both inner and physical beauty – were important to me.”
Ivanova, who has Jewish roots, migrated to Canada from Russia many years ago.
“Being an immigrant myself,” she notes, “I could feel what was at stake for these young people and the challenges they face on a very intimate level.”
The main filming ran from fall 2012 to spring 2015. She felt welcomed by the people in the city, though not by the industry. “That was a brick wall I hit over and over again,” she says. “There was no filming of anyone allowed, anywhere, period.”
By the end of the film, most of the millennials featured had left the city, along with many others. “The town felt almost deserted, compared to how I had seen it in 2012 and 2013,” says Ivanova. “So many people were leaving. There was so much anxiety. I went to all the places I loved – and they’d all changed.”
Ivanova’s film shows the hope, the drive, the challenges, the loneliness of her interviewees. The dynamics are much more complex than one might assume of a city that relied on the oil sands for its prosperity. The environment is of crucial importance, obviously, but people matter, too, and this documentary shines a necessary light on that fact.
Limit is the Sky screens May 5.
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Falling into the who-ever-would-have-thought category, Ali Weinstein’s Mermaids introduces viewers to real-life mermaids, of a sort.
Rachel’s underwater job at the Dive Bar in Sacramento, Calif., helps her deal with a family tragedy. Vicki and a group of former Weeki Wachee Resort (in Florida) swimmers recall their mermaid days, including a show for Elvis and a 50th anniversary performance. Being a mermaid helps Cookie, who was abused as a child and has mental health issues, manage life, and she and her soulmate, Eric, who makes her mermaid tails, are married in a mermaid wedding, after being together for some 30 years. Last but not least, Julz, a transgender woman who was bullied as a child and disowned by her father, discovers acceptance and love in a Huntington Beach, Calif., mermaid group.
Weinstein intersperses these stories with brief summaries of long-told mermaid tales, “from the 3,000-year-old Assyrian figure of Atargatis to the Mami Wata water spirits of West Africa.”
It really is a fascinating documentary, showing just how resilient and resourceful the human spirit is.
Mermaids plays twice during DOXA, on May 6 and 13, and Weinstein will be in attendance at both screenings.
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Think of the cartoon villains and the hapless sidekicks. How are they often portrayed? As fat, dumb and/or oversexed? If those weren’t your first thoughts, think again. The documentary Fattitude convincingly shows how widespread bigotry against larger people is – so much so that it can be overlooked, until pointed out. Then, you wonder how you ever missed it.
From the old woman in the candy house that eats Hansel and Gretel, to Star Wars’ Jabba the Hut, to the evil squid in The Little Mermaid, these are just a few of the villains. Then there is the heavyset and dumb Hardy, sidekick to thin, smart Laurel; the stereotypical chubby best friend in so many movies; and the archetypal black nanny, forever cast in the caring, subservient role. Miss Piggy is a more complex character, both strong and confident in herself, but also sex-crazy over Kermit. And, in the entire Star Trek franchise – where have the larger people gone?
From the age of 3, the film notes, we are already programmed with negative stereotypes. When all put together, it’s quite depressing. However, Fattitude is a rather upbeat documentary, as its interviewees are spirited, determined and intelligent enough to effect some change, mainly via social media.
Filmmakers Lindsey Averill and Viridiana Lieberman speak to almost 50 people and, to a person, they provide an interesting perspective, connecting the body images depicted in films, television shows, cartoons, magazines and advertisements with their effects on viewers and on our perceptions of ourselves and others. The film discusses the links between race, socioeconomic status and weight, as well as the reasons why Michelle Obama’s campaign to end childhood obesity was misguided.
Fattitude screens May 9.
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Being a journalist in a war zone seems dangerous and frightening, and it is. But it is also tedious and lonely. At least this is what it seems from watching Santiago Bertolino’s Freelancer on the Front Lines.
Bertolino follows Toronto-born, Beirut-based freelance journalist Jesse Rosenfeld as Rosenfeld hustles to get story ideas and budgets approved, waits in sparse hotel rooms for fixers to connect him with interviewees, and ventures into Egypt during its post-Arab Spring elections, the West Bank during an Israeli-Palestinian conflict, a Syrian refugee camp in Turkey and to Iraq, where they witness the fight against ISIS from the front lines.
Some of the more disturbing images are of the bodies of Palestinians gunned down in a home by undetermined executioners and the corpses of dead ISIS fighters dumped in the back of a truck, as well as tied to its back bumper. In another memorable part, Rosenfeld yells questions to a caged Mohamed Fahmy, when Fahmy and two fellow Al Jazeera journalists were on trial in Cairo. (Fahmy, who holds both Canadian and Egytian citizenship, spent almost two years in jail of a three-year sentence.)
Rosenfeld has strong views and isn’t afraid to share them, though he struggles to make eye contact with the camera when he makes his pronouncements. Some of the best exchanges in the film are between him and Canadian-Israeli journalist Lia Tarachansky, who hold different opinions on the Israeli-Palestinian conflict.
Freelancer on the Front Lines screens May 13 at Vancity and will include a post-film discussion.
For tickets and the full DOXA Documentary Film Festival schedule, visit doxafestival.ca.