Grant Gochin in J’Accuse!, which can be screened online as part of the South African Film Festival Nov. 2-12. (screenshot)
The award-winning film J’Accuse! is about the alliance between Grant Gochin, a Jewish activist for Lithuanian Holocaust truth, and Silvia Foti, the author of Storm in the Land of Rain, which reveals that her grandfather – Jonas Noreika – operated as a Nazi collaborator who ordered the massacre of thousands of Lithuania’s Jews. However, Lithuania continues to view Noreika as a freedom fighter because he fought against the Communists.
J’Accuse!, by filmmaker Michael Kretzmer, screens as part of the South African Film Festival, which runs Nov. 2-12, presenting more than 20 movies.
SAFF Canada brings together the combined histories and volunteer efforts of two in-person festivals – the Toronto South African Film Festival and the Vancouver South African Film Festival. When the pandemic hit in 2020, the organizations transitioned to one virtual South African Film Festival that could reach audiences across Canada. While most films are online, there are some in-person screenings and events in both Vancouver and Toronto.
The festival is part of, and raises funds for, Education without Borders, created in 2002 by local Jewish community members Cecil and Ruth Hershler.
“It is estimated that over 90% of South African Jews are Litvaks, [are] of Lithuanian descent,” said Cecil Hershler. “On a personal note, my maternal grandparents were born in Plunge. My grandmother, Ethel Sher, arrived on a ship in Cape Town in 1905 – she was 10 years old, she never saw her parents in Plunge again. On Ruth’s side, her paternal ancestors come from Riteva.”
More than 220,000 Jews – more than 95% of the prewar Jewish population – were murdered in the Holocaust. Kretzmer’s documentary exposes the scale and scandal of Lithuanian Holocaust denial by focusing on Noreika, who murdered as many as 14,500 Jews in the Plunge region in 1941. Gochin, whose family was murdered by Noreika, brought almost 30 legal actions against the Lithuanian government over more than three decades. In focusing on Noreika, the film also examines the role of the Lithuanian Genocide and Resistance Research Centre.
For tickets to watch J’Accuse! – the Vancouver Holocaust Education Centre is a community partner on the film – or any of the South African Film Festival offerings, go to saffcanada.ca.
Filmmaker Sam Green will narrate live his documentary 32 Sounds, which is part of the Vancouver International Film Festival. (photo by Catalina Kulczar)
“There’s a thing in documentary filmmaking where, after you’ve done an interview with someone, you need to get what’s called room tone,” shares director, writer and editor Sam Green in his film 32 Sounds. “Room tone,” he explains, “is basically just sitting still for about 30 seconds or so and recording the sound of the room; this can help out a lot with editing later. I’ve been making films, which is kind of just marveling at people in the world, for 25 years now, and there’s always something odd and wonderful about this moment. An interview takes a person to other times and places and, now, they’re just here in the present, sitting with the sound of the room.”
Watching some of his interviewees, as they struggle or embrace sitting in silence for a few seconds, is one of the many highlights of Green’s latest documentary, 32 Sounds, which screens Oct. 5, 7 p.m., at the Vancouver Playhouse, as part of the Vancouver International Film Festival’s specialty program VIFF Live. New York-based Green will be in town to narrate the screening in-person, and audience members will be given headphones to wear, to help make the experience as immersive as possible.
The film premièred in January 2022 at the Sundance Film Festival. It exists in three forms: one as described above, but sometimes also with live music by composer JD Samson, who wrote original music for the film; another designed for an immersive at-home experience; and a theatre version without the in-person performance aspect. Watching the film at home without headphones was not ideal, but it was still enjoyable and mind-opening. There are parts where it would have added understanding and had greater impact to have heard something in only the left ear or only the right one.
32 Sounds is not just auditorily stunning but a visual pleasure, and intellectually stimulating, as well. Though there are explanations of how humans hear and how sound affects our bodies, the documentary is more philosophical than scientific. It presents concepts like the idea that all the sounds that have been made in the world should still be out there somewhere, “tiny ripples vibrating,” as contemplated by mathematician Charles Babbage, who is credited with having invented the computer, in the 1800s. If we had the right device, mused Babbage, we should be able to listen again to every joke, declaration of love or angry word ever uttered, narrates Green. “The air itself is one vast library, on whose pages are forever written all that man has ever said or woman whispered,” wrote Babbage in 1837.
In 2022, Green wrote: “I’ve made many documentary films over the years, and each one has changed me in some way, but none as much as the film I just recently finished called 32 Sounds. The film weaves together 32 different recordings as well as images, music by JD Samson, and voice-over to create a meditation on sound. Or, put a different way, the film uses sound to consider some of the basic features of our experience of being alive: time and time passing, loss, memory, connection with others, and the ephemeral beauty of the present moment.”
From the sound of a womb, to a cat purring, to fog horns, to a man who captures the sound of bombs landing nearby as he’s recording his music, Green masterfully takes viewers (listeners) on an emotional journey. We get to see how movie sound magic is made by foley artists like Joanna Fang. We meet sound and visual artist Christine Sun Kim, who talks about the deaf community, as well as hearing people’s perceptions of her work. Edgar Choueriri, professor of physics at Princeton, plays part of a tape he made for his future self when he was 11 years old. And we get to know a bit about composer and academic Annea Lockwood, 81 at the time of filming, who had been recording things like the sound of rivers for more than 50 years. Lockwood fundamentally changed how Green thinks about sound, especially a point she makes in the film: “There’s something I started writing about a year ago: listening with, as opposed to listening to,” she shares. “And it’s my sense that, if I’m standing here, I’m just one of many organisms that are listening with one another within this environment … we’re within it and we’re all listening together, as it were.”
32 Sounds has much to recommend it, including the chance to get up and dance, if you choose, when Green pumps up the volume on Sampson’s music, so you can “feel the sounds in your whole body.”
Accepting oneself
Sound that you can feel in your whole body plays an important part in the short film Cut by Samuel Lucas Allen. In what may – or may not – be semi-autobiographical, Cut tells the story of Daniel, a high school student who tries to hide his Jewishness and his queerness. At key moments, the original score created by Sam Weiss thrums with tension, underscoring Daniel’s inner conflict.
Despite being somewhat heavy-handed – there is nothing subtle in this film, perhaps because it is only 19 minutes long – Cut is interesting, well-acted and put together. It opens with a Chassidic man holding a rooster, then shows Daniel cutting his hair, which falls onto a copy of Merchant of Venice, from which the teen will eventually have to perform, by memory, Shylock’s “If you prick us, do we not bleed?” speech. Daniel’s room has drawn images of men on his walls, in various poses, apparently his own work.
The film defines its three main elements: kapparot, as a “Jewish ritual where a chicken is blessed and slaughtered in the place of a person, to atone for their sins”; tefillin as a “pair of leather boxes containing portions of the Torah, worn by Jewish men in their morning prayers”; and cut, “a slang term for circumcision, the surgical removal of the foreskin, usually performed for religious reasons.”
It is mainly the Jewish aspect that Allen deals with in this work. Daniel is able to walk away from a gay slur, but not an antisemitic one, and, in the end, he is reconciled to himself and his Orthodox father by the mystical Chassidic man’s performing kapparot over him. We witness Daniel’s acceptance of being Jewish, but are left to wonder if he comes to accept his queerness, an aspect of his being that conflicts with Orthodox Judaism, though his soul would still be considered divine in religious circles, even if he engages in homosexual acts, which are prohibited by the Torah.
Cut is featured in VIFF’s International Shorts: Nothing Comes Easy, a program for viewers aged 18+, in which the films’ “protagonists discover that sorting out their lives can be much more difficult to achieve than they realized.” It screens Oct. 5, 6:45 p.m., and Oct. 7, 12:15 p.m., at International Village 8.
The Vancouver International Film Festival runs Sept. 28-Oct. 8. For the full schedule and tickets, visit viff.org.
A still from the film Kidnapped, which is set in 19th-century Italy. In it, a 6-year-old Jewish child is abducted by papal soldiers who inform his parents that the boy was secretly baptized by a maid. If they want him back, they must convert to Catholicism. In the meantime, the boy will be educated in the Vatican at the feet of Pope Pius IX (Paolo Pierobon). There’s an international outcry, but even as the Church loses political ground with the emergence of an Italian state, the Pope remains adamant: the child has been saved.
Marco Bellocchio (The Traitor, Dormant Beauty and Exterior Night) seizes on this true story to mount a fierce denunciation of antisemitism and the excesses of the Catholic Church, as well as to chronicle a pivotal chapter in Italian history.
Email [email protected] by Sept. 27 for a chance to win two vouchersto see the Jewish Independent-sponsored film Kidnapped at the Vancouver International Film Festival Sept. 28, Oct. 3 or Oct. 6.
Zanna Linskaia and Rudy Rozanski were key in making the video Burquest Jewish Community: Past, Present, Future, which is available on YouTube. (screenshots)
Burquest Jewish Community, which serves people in the eastern suburbs of Vancouver, turns 50 next year. Whether that milestone is marked by a major celebration or not, a recently released video provides a permanent commemoration of the impact the group has had on individuals and Jewish life in the area. The film premièred at an event June 25.
Zanna Linskaia, a former Burquest board member and longtime force of nature in the community, had the idea of making a permanent, easily viewable history of the community and she got the support of the organization’s board. She recruited Rudy Rozanski, Burquest’s then-president, to work with her to get the project done.
They collected archival materials, old photos, newspaper clippings and historical artifacts, and identified people to interview on camera to help tell the story. A valuable find was video footage of Burquest members taken two decades ago by Jelena Fuks and longtime member and past president Dov Lank. They also hired filmmaker Lior Noyman.
Linskaia and Rozanski have several lifetimes of creative achievement between them.
“I was always a huge fan of Zanna,” Rozanski told the Independent. “I had the great honour to arrange a few of her songs and do some performances with her and so I knew she’s a composer, a writer, a poet … probably the most amazing woman I’ve ever known.”
In addition to all that, Linskaia, a journalist by background (she once wrote the Russian-language page in the Jewish Independent’s predecessor, the Jewish Western Bulletin) and a Coquitlam resident for two decades, retired in 2020 as a seniors outreach counselor for Jewish Family Services. Rozanski is a classical pianist and teacher, with a PhD in musicology. He has lived in Coquitlam for 30 years.
Through interviews with a host of longtime members – including two founding originals, Bill Gruenthal and Max Jacobson (who, sadly, died Aug. 18) – the video sets the stage by indicating how remote many suburban Jews felt from the geographic heart of the community half a century ago.
Gruenthal recalled reading the Jerusalem Post on the bus headed for Kootenay Loop those many decades ago and a fellow passenger leaned over to ask if he was “a member of the tribe.” It was Jacobson.
“Max and I have been friends ever since,” Gruenthal says in the film.
A few intrepid people plodded through the old Jewish phone book and called anyone who lived in Burnaby, New Westminster, Coquitlam and surrounding areas. A living room meeting was held in 1974, with a few more than a dozen attendees. A lawyer volunteered to shepherd the nascent group into legal existence and Jacobson became founding president.
A year later, they formed a supplementary school for kids in the community, and Burquest became a gathering place for holidays and simchas. But they were meeting mostly in private homes. They raised some money, with the support of the late Morris J. Wosk, the Diamond Foundation and other philanthropists, and hired an architect to design a purpose-built shul and community centre. But the plan wasn’t feasible and it was decided to buy an existing building instead. Gruenthal’s son-in-law was in the mortgage sector and helped the society purchase a Jehovah’s Witnesses building in Coquitlam that has served ever since as Burquest’s locus for Shabbat and holiday celebrations, classes, kids programs, seniors lunches and a raft of other activities. Visiting rabbis, including Rabbi Yosef Wosk, have led holiday services over the years. Cantor Steve Levin has been Burquest’s spiritual leader for more than two decades.
Current and past members speak in the video about the impact Burquest has had on them and their families.
“Some of the most emotional and connected experiences we had with Judaism were when we were at Burquest,” recalls Shelley Rivkin. Stewart Levitt talks about the number of intermarried families or families with converted members and how they were welcomed.
The film, Burquest Jewish Community: Past, Present, Future, is available on YouTube. The musical score is an original creation by Rozanski.
“I ended up improvising some of [the music] on the spot as we were editing and we went through the entire film and edited it scene by scene,” he said.
At the wine-and-cheese reception before the première screening, Rozanski performed the entire score, accompanied by Arnold Kobiliansky on violin.
“The music [in the film] gets cut up and only specific parts are used,” said Rozanski, “so we wanted to present the film music almost as a score, so they could hear the entire music as it unfolds … and then they would be able to recognize it in the film.”
The film project, a labour of love, was a major undertaking.
“We are not going to do a second film,” Linskaia said with a laugh.
“We both felt this was really important,” said Rozanski. “I realized immediately what an important gift this was to Burquest and to future generations. It really is our gift and we put our heart into this. We understand nothing is perfect, of course, but we really did our best with it.”
For Linskaia, the film is a tribute to the centrality of the community in her life.
Screenshot from Jordan Amit’s video on the former Jewish settlement of Edenbridge, Sask. The synagogue and the Jewish cemetery are cared for by the Saskatchewan Wildlife Federation.
Almost 120 years ago, 56 Jews fled Lithuania and ended up in a remote Saskatchewan prairie that would become the community of Edenbridge. The town and its people have scattered to the winds – but the spirit of the place comes to life again in a short video by North Vancouver filmmaker Jordan Amit.
In addition to filmmaking – which he hopes to turn into his main gig – Amit has a window-washing business and, for years, traveled to Alberta and Saskatchewan for seasonal work. Through the Chabad rabbi in Saskatoon, he learned about the abandoned Jewish settlement, which lies about two-and-a-half hours northeast of Saskatoon – the last leg on a dirt road.
The shul is beautifully maintained – or it was when Amit took his camera there – and the small synagogue is open to the public. Said to be the oldest shul in the province, the site, which includes the Jewish cemetery, is cared for by the Saskatchewan Wildlife Federation, which was granted a 40-acre plot in 1987, when the rest of the Jewish settlement’s land was sold.
The Litvaks, Lithuanian Jews, who came here did not set out for one of the coldest, most unforgiving places on earth. They traveled first to South Africa, where one of their party, Sam Vickar, saw an ad for cheap land in the Canadian West. They uprooted again, arriving in 1906 at what they would call Edenbridge.
Originally, they wanted to call it Jewtown, but the government balked. They chose Edenbridge as a sort of Anglicization of “yidden bridge,” reflecting the bridge that traversed the small Carrot River nearby.
On their initial 160 acres, bought for $10, they built Beth Israel Synagogue. Expanding out into other fields, three schools, a Jewish community hall and numerous houses would eventually form the structures of a community that, at its peak in the 1920s, was home to 170 people.
Indigenous neighbours helped teach them how to survive the first winter with sod-roofed dugouts.
While other Jewish settlements in Saskatchewan were funded by Baron Maurice de Hirsch, Edenbridge does not appear to have received such support, Amit said, though he doesn’t know that for sure.
The Depression and the general trend toward urbanization started a decline in the town and, by 1964, the synagogue ceased operation. The exact date of Edenbridge’s transition into ghost town status is vague, in part because local farmers moved to Saskatoon and returned seasonally to farm.
At the cemetery, the last gravestone is dated 2000, a departed resident who chose to be interred in the cemetery of the abandoned village. The last bar mitzvah at the shul was more recent – the child of one of the community’s descendants, in 2021. Amit had his own bar there, too. Born in Israel, he came with his family to Vancouver as a child and never became bar mitzvah. So, his friend and rabbi in Saskatoon suggested he have a belated ceremony at the historical site, and it was the first since 1976.
As more people have seen the video online, descendants of the settlers have reached out to him. He is piecing more history of Edenbridge together, and also is on the lookout for additional off-the-beaten-path Jewish (and non-Jewish) sites to explore for his growing online video explorations.
“I always have this feeling when I see Jewish sites that are kind of in the middle of nowhere, there’s something so fascinating about it,” he said, recalling a trip to the Indian province of Kerala, where he explored three abandoned synagogues. “When you go into the synagogue, it’s a special experience. You go in and you just feel this presence of the building and the silence.”
Amit invites anyone with knowledge of Edenbridge, or ideas for future videos, to contact him at [email protected]. He also recommends road-trippers make the diversion to the remote location to see the place themselves.
“It’s fully open to the public,” he said. “You just open the latch and walk inside. You only see that in Saskatchewan, that kind of trust. They just trust that it’s going to get taken care of and respected.”
In the story of Edenbridge, Amit contemplates the settlers’ tenacity and the opportunities, sometimes hard won, of newcomers to a land.
“[It is] something we could learn from, that despite difficulties of life and all the odds against us in realizing our dreams, really, if we put our mind to it, we can do whatever we want,” he said. “We can self-realize and create the life that we want, just like they did.”
Pets & Pickers producer Tyson Hepburn confers with Regional Animal Protection Society chief executive officer Eyal Lichtmann during the film shoot.
The Regional Animal Protection Society (RAPS) in Richmond operates a cat sanctuary, a fostering network, thrift stores and a full-service animal hospital, along with an adoption and education centre. RAPS has grown into one of Canada’s largest and most innovative nonprofit animal-serving organizations – and it will be featured in the TV show Pets & Pickers, the second season of which airs Saturdays at 5 p.m. Pacific on Animal Planet.
RAPS began in the 1980s as the Richmond Homeless Cats Society. Driven by a small team of volunteers, it housed countless feral, abandoned and surrendered cats. In 2005, the organization pivoted to become the Richmond Animal Protection Society, extending its standard of care and no-kill animal policy to all of Richmond’s animals. In 2017, it became the Regional Animal Protection Society to better reflect the geographic diversity of its patient base.
For Jewish community member Eyal Lichtmann, executive director and chief executive officer of RAPS, “pets are part of the family.”
Lichtmann joined RAPS in 2016. His resumé before RAPS included a stint as executive director of the Vancouver Hillel Foundation, where he helped raise $10 million to build the University of British Columbia’s current Hillel House. With proven capabilities in fundraising, he was asked to lead a fundraiser with RAPS, and eventually became their CEO.
Lichtmann is passionate about “taking nonprofit organizations to the next level.” At RAPS, he created a new mission and vision for the organization, centred around helping both animals and their owners. He contends that saving more animal lives can be accomplished by helping individuals overcome any financial obstacles they may encounter in caring for their pets.
Recognizing that many pet owners cannot afford quality animal care, Lichtmann has made affordability a core focus of RAPS: “we are the only clinic we know of that offers interest-free payment plans based on the person’s ability to pay,” he said. In addition to giving annual community subsidies amounting to $1 million, he said, RAPS still generates profits, directing them towards the cat sanctuary, which houses more than 500 cats at the moment.
“Everyone is entitled to have a pet as part of the family,” said Dr. Joseph Martinez, one of RAPS’s veterinary staff. Martinez has been with RAPS since Lichtmann joined in 2016. His passion lies in treating exotic animals, such as reptiles and small mammals, an area not many veterinarians are knowledgeable about.
Having grown up on a farm in the Negev Desert in Israel and being the son of a farmer from Sicily, Martinez developed a deep love for animals. He even became a vegetarian at the age of 10, despite his family’s meat-loving Italian culture. Animal care is second nature to him, he said, noting that “animal welfare started in the Bible,” and has only been enhanced by modern-day science and technology. When he moved to Vancouver 30 years ago, Martinez was drawn to RAPS by a drive to help the less fortunate – “the idea is to not leave anybody behind in terms of funding,” he said.
“Jewish values are definitely ingrained in all of us,” said Lichtmann about his staff, many of whom followed his transition from Hillel to RAPS. Lichtmann said he is “programmed” by tikkun olam and views himself as part of a “Jewish family” at RAPS – even though not all the staff are Jewish, they are growing familiar with Jewish values and culture, he said. Last year, for example, 60 staff members attended a Passover seder with the organization. Lichtmann added, “my mother is cooking for the staff all the time,” treating the team to home-made matzah ball soup, hamantashen, challah and more.
In addition to its subsidy programs, RAPS partners with organizations such as Jewish Family Services Vancouver, Tikva Housing Society, women’s shelters, homeless shelters, and senior care facilities. Martinez said veterinarians “should be open to different cultures,” to build positive relationships with pet-owning families.
Ayala Dafni, an Israeli animal technician and assistant manager at RAPS, has been “working with animals since forever,” aspiring to be a vet since the age of 4 – “everything that was legal to keep as a pet, I had growing up.” After getting her bachelor in animal science at Hebrew University, she went on to study animal assistant therapy, and manage a chain of pet stores in Israel.
Dafni is driven by “mitzvot,” she said, especially helping the community and donating to certain causes. At RAPS, she said, this translates to being compassionate and committed to understanding different perspectives. Dafni emphasized that “empathy is most important in this job” and, despite years of experience in the veterinary field, she still finds herself emotionally invested in difficult cases.
Lichtmann attributed RAPS’s corporate culture as part of the reason that Pets & Pickers was attracted to feature them. The unscripted series follows animals, their owners and the veterinarians who care for them.
To learn more about RAPS, visit rapsbc.com and tune into Season 2 of Pets & Pickers, which is also on Animal Planet in the United States. Season 1 can be streamed on Crave.
Alisa Bressler is a fourth-year student at Queen’s University in Kingston, Ont. She is an avid reader and writer, and the online director of the arts and culture publication MUSE Magazine. Bressler is a member of the Vancouver Jewish community, and the inaugural Baila Lazarus Jewish Journalism Intern.
Laura Leibow is one of the 14 comics featured on The New Wave of Standup, now streaming on CBC Gem. (photo by Emily Cooper)
The whole thing was a highlight really! I still kind of had that post-COVID ‘I can’t believe I get to take the stage again’ sense of wonder in me at that time,” comedian Laura Leibow told the Independent. “Combine that with getting to see comics I respect and love do their thing made the whole experience very cool. Plus, I love staying in hotels.”
Leibow was speaking about the taping of the latest season of The New Wave of Standup, a Just For Laughs Vancouver and CBC original series, which is now streaming on CBC Gem. Leibow and fellow Jewish community member Jacob Balshin are two of the 14 comics featured on the show.
“I try really hard to approach taped sets in the same way I’d approach ones that are not being taped because, ultimately, it’s just about that live experience between you and the crowd and, hopefully, the tape will capture that,” said Leibow. “The only major difference is I mind the subject matter I cover a little more when I’m being filmed, so my mommy and daddy don’t get mad at me!”
Balshin went into the New Wave set having worked out more of what he was going to say than he usually does. “I love writing and try and work every day on my comedy. I do not like repeating the same set over and over again though,” he said. “It can make me depressed. Leading into the taping, I only ran the set a few times. I was just getting back into comedy after the last COVID lockdown in Ontario and did not want to take a break from having fun to repeat the same jokes over and over. I try not to overthink things. Comedy is the easy part of my life. The rest is the struggle.
“After I got off stage that night, I went to another show,” he said. “It was next door to where we were shooting and was actually part of a tour I was on…. I was able to make it in time to do my spot. I bombed trying new stuff. No one in the audience knew I had just filmed for TV 20 minutes earlier. Both sets held the same weight to me – I just want to make people laugh, and get better. I do not think any one set matters that much. And, if it does, I will be prepared because I know I have put in the work.”
It took Balshin time to find his comedic voice. “I did not know my own voice when I started comedy, so I would speak like other people who I was a fan of,” he said. “Now, it is not something I think about. Everything I do is naturally me. And that feels like a really good place to be – and something I always wanted. To me, the goal is to be yourself. Anyone can be funny, but only you can be yourself. So, over the years, it has been more about actually living a life and less about what happens on stage.”
While Leibow seems to have experienced a less drastic evolution, she, too, has reached the point where, she said, “I’m far less concerned now with trying to impress certain people than I am with just talking about what I think is funny.”
Leibow said, “My comedic voice is driven largely by my ADHD [attention-deficit / hyperactivity disorder], friendship, laughter, feminism, silliness, clay, and Jews. No, I don’t know if I can really nail down my comedic voice other than saying that it really is largely driven by my scattered brain and throwing spaghetti at the wall. If something really tickles me, and it seems to be making other people laugh, then that’s great!”
Both Leibow and Balshin have topics they won’t cover in their acts.
“I won’t tell a joke that denigrates or harms a marginalized group and I prefer to stay in my lane when it comes to certain issues,” said Leibow. “I’m not going to boldly speak out of turn on a topic about which I’m not well informed. I also try not to violate the privacy of my family members. Unless I think of a good joke that would require me to do so.”
Balshin only writes material that is about him. “I only have my own story to tell,” he said. “I hope my comedy makes you feel good when you watch it. And I always feel bad when someone has a bad night. If any joke I ever tell hurts someone, I am interested to know why and am willing to listen.”
On stage, Balshin interacts with the audience quite a lot.
“It is a part of my comedy that naturally developed from doing comedy in rooms in Toronto, where the audience … [wants] you to feel present and talk to them,” he said. “I struggle with social anxiety off stage and rarely talk to people. It is pretty fun to have a space where that seems to not exist for me at all. And I love when the audience opens up to me. It feels like the reward I get for being so open with them. And to know they trust me sometimes is really special.”
Balshin tours the country regularly. “I’ve performed in places with populations in the hundreds many times in my career. For many, I am the first Jewish person they have ever met,” he said. “From my own experience, I would say there is a big difference between hate and ignorance. I would say the vast majority of what I have encountered firsthand is ignorance. Most people though do not care that I am Jewish. We are all just people.
“I hope to be funny and genuine enough on stage so that anyone who came in with any misconceptions or hate towards Jewish people can recognize someone who has nothing but love to give. Even though we are different, we can all relate to the weird experience that is living.”
In addition to being part of The New Wave of Standup, Balshin’s debut standup comedy special will be airing on his YouTube channel in the next few months. “It’s called 30 and Breathing Funny,” he said. “It was recorded on my 30th birthday and it would mean a lot if you gave it a watch. It better showcases my style of comedy and includes some material about being Jewish that is not in the CBC taping.”
Balshin moved to Vancouver last year, after a breakup. “When I arrived at the airport, friends Bobby Warrener and Malik Ellassal [also on New Wave this season] picked me up and immediately helped the move feel far less lonely. Getting to do my first TV taping with both them a few months later helped relieve me of that same feeling of loneliness,” he said. “And getting to watch them both kill, knowing how hard they both work and how much they deserve it, was definitely a highlight. Go watch their episodes! They are two of the funniest young comics in Canada.”
Rounding out The New Wave of Standup lineup are Brendan D’Souza, Travis Lindsay, Rachel Schaefer, Courtney Gilmour, Charles Haycock, Seán Devlin, Dino Archie, Heidi Brander, Jackie Pirico and Mike Green. To watch, go to gem.cbc.ca/the-new-wave-of-standup.
Igal Hecht filming Secrets of the Land. (photo from Chutzpa Productions Inc.)
The Western Wall area, with thousands of metres of subterranean space, contains much that is yet to be discovered. The latest find in this space is a market. While not open to the public, people can get a glimpse of the ancient market on the new Yes TV documentary series Secrets of the Land, directed, produced and written by Israeli-Canadian filmmaker Igal Hecht.
Each episode of Secrets of the Land, which is presented by Chutzpa Productions Inc., takes viewers behind the scenes of substantial excavations in Israel, and features some of the region’s top archeologists and most historically significant sites. The series debuted March 15, and runs each week for 13 episodes.
In addition to on-site discoveries, Hecht visits the labs that explore the meanings of each artifact.
“I realized that the way archaeology is explored today is very CSI,” said Hecht, referring to the popular television series. “The excavations themselves might be low-tech, but everything that comes after, such as carbon dating and things along those lines are very high-tech.”
One of many examples is when archeologists found grape seeds in 2,000-year-old donkey feces and, through that, determined the types of people who lived in the area.
Hecht and his crew – which included Lior Cohen, Gabriel Volcovich, Nikki Greenspan and Julian Hoffman – take viewers on a journey through various parts of the Holy Land. Hecht said he learned something every step of the way.
“I had very little knowledge [of archeology],” Hecht told the Independent. “In fact, in the show, I don’t pretend that I do. That makes the show work. I am there experiencing the discoveries in the same manner that the audience does, as they watch at home.”
Among many sites, the crew visited Timna, the location of Solomon’s Mines, where Hecht was awed by the landscape. “The rock formation is something you’d see in Petra in Jordan or the Grand Canyon,” he said. “There’s so much beauty and history to explore there.”
Other locales included Tower of David, also known as the Citadel, located near the Jaffa Gate entrance to the Old City of Jerusalem. There’s also an episode about Shiloh, in Samaria, or the West Bank, where the Israelites, prior to King David’s time, set up a sanctuary and city, and where the Ark of the Covenant was housed for hundreds of years. Meanwhile, Magdala is home to an ancient city from the first century, where recent excavations revealed the Migdal Synagogue, dating from the Second Temple.
Over the past quarter-century, Hecht has been involved in the production of more than 50 documentary films and more than 20 television series. His projects have appeared on Netflix, BBC, Documentary Channel, CBC, HBO Europe, and others. Secrets of the Land is the latest in a string of Jewish-themed films, such as A Universal Language, which taped six comedians performing in Israel. An upcoming project includes The Jewish Shadow, a documentary that explores the lives of Soviet Jews in 1970s Ukraine.
For Hecht, Secrets of the Land wasn’t merely a project, but very much a passion to do his part to help the Jewish people.
“I think the biggest takeaway for Jewish audiences is the historical and unbreakable connection of the Jewish people to that land,” he said. “That archeology truly proves that the Jews were, in fact, living in Judea and Samaria, Jerusalem and all over the Fertile Crescent thousands of years ago.”
Dave Gordon is a Toronto-based freelance writer whose work has appeared in more than 100 publications around the world. His website is davegordonwrites.com.
Just For Laughs Vancouver and CBC have announced that original series The New Wave of Standup is returning for Season 3 beginning March 24 on the free CBC Gem streaming service.
The third season showcases 14 Canadian comedians with diverse backgrounds and unique comedy styles who perform standup sets that explore topics including dating, workplace politics, family dynamics and overall observations about life and finding the humour in it. Among the rising stars are Jewish community members Jacob Balshin and Laura Leibow.
Balshin was the winner of I Heart Jokes Awards Newcomer of the Year in Toronto and was later nominated for Breakout Comic of the Year. He has recorded sets for CBC’s Laugh Out Loud and Sirius XM. He is currently fresh off a month-long run of shows at the Edinburgh Fringe Festival in Scotland. His standup clips on TikTok have amassed millions of likes and a loyal group of fans who enjoy his personal, loose and free style of joke-telling.
In 2022, Leibow was chosen to be a part of New Faces at Just For Laughs at the Montreal and Toronto festivals and also did a taping for CBC Gem’s New Wave of Standup. She has a witty and laid-back comedic style, performing on the club circuit, in alternative rooms and in theatres. She has performed in clubs like the Improv and Micky’s in Los Angeles, and Gotham and Broadway Comedy Club in New York City. She is the editor of the comedy website Unoriginal and hosts two podcasts for the Canadian Jewish News. She can be heard frequently on SiriusXM and on 604 Records’ comedy compilation album The Great Canadian Comedy Rumble.
The new season also features comedian Brendan D’Souza, a fast-talking non-binary comedian and podcaster. Travis Lindsay – an on-air correspondent and writer for CBC’s This Hour Has 22 Minutes – brings a mix of jokes and storytelling. Rachel Schaefer has been featured on CBC Radio’s Laugh Out Loud, and appears on the JFL Original’s comedy album Stand-Up BC: Yee-Haw Hell Yeah.
Courtney Gilmour has written for and made appearances on CBC’s The Debaters and Humour Resources. Using a rapid-fire joke style and laid-back demeanour, Bobby Warrener has performed standup at multiple festivals, on TV and on tours across Canada. Charles Haycock has performed at many festivals, as well.
Seán Devlin was a 2022 Juno nominee for his comedy album Airports, Animals, and was a consulting producer on Borat: The Subsequent Movie Film, as well as writer and director of the satirical feature film When the Storm Fades. Dino Archie made his network late-night debut on Jimmy Kimmel Live!, while Heidi Brander is a writer for CBC’s Son of a Critch, Baroness Von Sketch Show and Still Standing, who has served for three seasons as head writer of This Hour Has 22 Minutes.
Jackie Pirico has multiple Just For Laughs television tapings under her belt and a feature film (Sundowners); she also has made appearances on Viceland TV and Crave’s new mockumentary series New Eden. Malik Elassal is a stand-up comedian, actor and writer, performing in clubs across Canada and appearing on various TV shows, while Mike Green produces shows Secret Standup Series and Comedy At the Handsome Daughter, which is one of the longest running weekly shows in the country.
Alegría screens at the Rothstein Theatre March 19, and online March 19-26. (photo from vjff.org)
You can pick your friends, the old saying goes, but you can’t pick your family. For Alegría, a prerequisite of adulthood is distancing from relatives and interacting with them on her terms.
The vital 40-something protagonist of Alegría, screening in the Vancouver Jewish Film Festival (vjff.org), has deliberately carved out a self-centred existence in her quiet hometown of Melilla, a small Spanish city on the northern coast of Africa. Alegría (Cecilia Suárez) Facetimes with her kibbutznik daughter and directs the young Muslim woman who cooks and cleans for her, relishing her independence.
Warm colours and inviting interiors, however, signal from the outset that Alegría is going to be a story of connection rather than isolation, of love supplanting loneliness and redemption trumping regret. In her satisfying and touching feature debut, Spanish director and co-writer Violeta Salama’s generosity extends well beyond Alegría to the young women who enter her orbit.
But none of that is on the table when Alegría gets a call that her Orthodox brother, sister-in-law and niece are coming to Melilla for the latter’s wedding to a local guy. They plan to stay at Alegría’s place – the house where she and her brother grew up – invading her space and brushing the cobwebs from her dormant Sephardi Jewish identity.
Alegría has literally sealed off the past – mezuzot, photos, furniture and menorot behind a locked door. Secular to the point of caustic irreverence, Alegría views her assimilation as an emblem of freedom and enlightened coexistence. Bit by bit, though, she will realize that she has denied a core component of her character.
Alegría doesn’t define herself in terms of or in reaction to men, and hasn’t for a long time. Yet the tough love, bordering on lack of empathy, that this stalwart feminist evinces for Yael, the bride, and Dunia, her part-time housekeeper, is shocking.
Yael is used to obeying her father but is beginning to doubt the merits of transferring that acquiescence to her soon-to-be husband. Dunia’s brother, the head of that household, stands in the way of her dream of studying drawing in Paris.
Women escaping the constraints, and embracing the ties, of family has long been the stuff of melodrama. But the filmmaker adopts a lighter tone with humorous bits that undercut the seriousness with which the characters take their respective situations.
“I’d cut my foot off before stepping into a synagogue,” Alegría proclaims in a seemingly unambiguous rejection of ritual, tradition and faith. But when she visits the rabbi to reserve the mikvah for the bride and Yael’s mother, their banter suggests that he and Alegría had a youthful romance (while opening the window to a potential future relationship). The synagogue, therefore, doesn’t represent a religious institution or unhappy family memories to Alegría. It’s just a reminder of who she used to be – or, more accurately, who she is.
One of the pleasures of Alegría is that it unfolds in a calm, civilized setting that feels like an oasis. No sirens or boom boxes jangle our nerves, and the family feudings rarely require the raising of voices.
Salama told an interviewer when she was completing the film in 2021: “To create Alegría’s world, I wanted to steer away from the realism of life in a border town, a major port, instead setting her down in the world of my childhood. I want to share the city as I see it, the city I carry inside me, and so I recreated certain moments where the focus is entirely on these seemingly very different women who share the same problems and contradictions.”
To that end, the centrepiece of the film is an overnight outing to Dunia’s grandmother’s house, just over the border in Morocco, where the women cook, dance and toss an impromptu bachelorette party for Yael. They are free to live on their terms, fully self-sufficient, with no men in sight.
Alegría offers some passing yet pointed critiques of patriarchal autocracy, and the male characters are relegated to the edges of the frame. This is what used to be disparagingly called a “woman’s picture,” because it centres women’s demands – to be who they want to be – and desires – to avail themselves of every opportunity. The most gratifying aspect, however, is that the movie’s spirit of cooperation and, yes, coexistence ultimately touches every character.
Michael Foxis a writer and film critic living in San Francisco.