animation

Creating life in face of death

A still from the feature film Charlotte, about artist Charlotte Salomon.

The creative drive that some people have astounds me. In about a year-and-a-half, as the Holocaust closed in on her – and her family’s history of depression became known to her – Charlotte Salomon painted hundreds of works, telling her life story in images and words, in what is considered by many, apparently, as the first graphic novel.

Somehow, despite the artist having inspired a live action film, a documentary feature, an opera, a novel, a ballet and several plays, I’d never heard of her, or of her masterpiece, Life? Or Theatre? That is, until I watched the animated feature film Charlotte, a Canada-France-Belgium collaboration that was just released. Featured at the Toronto International Film Festival earlier this month, Charlotte has two screenings at the Vancouver International Film Festival: Oct. 3, 3 p.m., and Oct. 6, 9:15 p.m., at Vancouver Playhouse.

Based on the story and the cast, the Jewish Independent chose to be a media sponsor of the local screenings. And, on these points, the film scores high. Led by Oscar nominee Keira Knightley as the voice of Charlotte, the actors do a formidable job with dialogue that is, at times, stilted and animation that is pretty basic, with the exception of the scenes and transitional pieces that depict Salomon’s artwork. These parts of the film are sumptuous and give the most sense of Salomon as a person and artist.

The film begins near the end of Salomon’s life, as she is handing over her paintings to a man, who we find out later is a local doctor and friend, in what we later find out is the south of France. She asks him to guard the paintings for her, as they are her life, almost literally, given their content. The narrative then jumps to Berlin, to a young Charlotte trying to comfort a woman who is ill and sad. The woman turns out to be Charlotte’s mother, who dies, the young girl is told, of influenza.

Jumping ahead, still in Berlin, Charlotte’s father, Albert, has married Paula Lindberg, an opera singer, through whom, incidentally, a teenage Charlotte meets her first love, Alfred Wolfsohn, who is a singing teacher. He is also a veteran of the First World War.

Wolfsohn has a lot of personal issues, to say the least, and he ultimately betrays Charlotte, but he is also strongly supportive of her being an artist. While she gains entrance to Berlin’s art academy, despite being Jewish – it is 1933 and the Nazis are now in power – she is expelled pretty soon thereafter, though whether that’s because of her nonconformity to the artistic norms taught at the school, her Jewishness or both, is not clear.

What is certain is that, after Kristallnacht, the violence against Jews in Berlin has become unavoidable and Charlotte’s parents send her to the south of France to take refuge, and care for her maternal grandparents. Her grandmother is a troubled woman and her grandfather is, in a word, an asshole, but Charlotte finds beauty in her friendship with a wealthy American, Ottilie Moore, who owns a villa in Villefranche, and in her relationship with fellow refugee Alexander Nagler, whom she marries eventually.

image - In a scene from the film, Charlotte stares into the water, thinking about her aunt, who had drowned — In a scene from the film, Charlotte stares into the water, thinking about her aunt, who had drowned.

When Moore returns to the United States, she offers to try and take Charlotte and Alexander with her, but they stay in France – Charlotte because of her sense of duty to her grandparents. It is in caring for them that she witnesses the tragedy of her grandmother’s suicide and finds out from her grandfather that mental illness runs in the family, having claimed the lives of Charlotte’s mother, aunt and several other relatives.

Spurred on by the potential that she, too, will fall ill, as well as by the Nazis’ proximity, Charlotte turns her focus to creating the almost 800 paintings that comprise Life? or Theatre? She manages to give them (and other works, it seems) to Dr. Georges Moridis, who she had consulted about her own health and who had tried to help her grandparents, before she and Alexander are seized by the Nazis. Both Charlotte and Alexander are killed at Auschwitz; Charlotte five months pregnant.

The film, which isn’t shy about showing some of the brutality of the Holocaust, does step back from showing the deaths in Auschwitz, leaving viewers instead with an image of the idyllic setting in which they lived in France, as we hear the noises of their arrest, then silence.

Before the credits, the filmmakers tell us what happened to Charlotte, Alexander and Ottolie, and show us clips of a real-life archival interview with Charlotte’s father and stepmother, who survived the Holocaust, as well as a sampling of Charlotte’s paintings.

As depressing as Charlotte’s story is, it is not a depressing movie. That she anticipated her demise and created an artistic legacy in the face of death is somehow uplifting. As producer Julia Rosenberg states in the film’s production notes, “… hope isn’t rainbows and unicorns. It’s finding the courage to see beauty despite suffering.

“Charlotte Salomon’s ability to do just that is exceptional and inspiring.”

Indeed, it is.

Charlotte is a worthy introduction to a person we all should know.

For the full Vancouver International Film Festival schedule and tickets, visit viff.org. To potentially get free tickets to the Oct. 6 screening of Charlotte, email [email protected]. Tickets will be available as supplies last (there are 10 to giveaway).

Animatedly tackling issues

In Bayla’s Issues, the title character is plagued by the travails of aging and anxiety, and a desire for acknowledgement in the art world.

Bayla’s Issues, a 2020 animated short based on the comic strip Bayla’s Comics by Vancouver artist Hinda Avery, has been making the Jewish film festival circuit, with a recent stop in Washington, D.C. The 15-minute film, which follows the story of its title character and her quest to be recognized as an artist, was directed and edited by Victoria’s Michael Kissinger, and is voiced by Ellen Kennedy and animated by Marty Emanuel.

Divided into eight chapters, Bayla’s Issues delves into the inner thoughts – a turbulent sea of doubts, fears and anxieties – of its heroine and her conversations with an expensive and expletive-laden therapist, who is neither encouraging nor helpful.

The character of Bayla came into being after Avery retired from her career in academia. At the time, she wanted to do two things: return to painting after a long break and establish a means of connecting with family who died in the Holocaust.

“Clearly, the only way for me to make this connection would be through an imaginary process, and painting seemed a tangible tool,” Avery told the Independent. “I decided to paint myself with my late mother and, with the help of only two motley photographs, my murdered aunt and grandmother. This would suffice as a way of spending time with them.”

Avery’s mother had left Poland before the start of the Second World War, but was severely traumatized by the murder of her family by the Nazis.

“The atrocity affected both her mental and physical health; her trauma was passed down to me, hence my close connection to the Holocaust,” Avery said.

Over time, in a process that began in 2005 and lasted 13 years, Avery was able to separate herself from, as she puts it, “an overt depiction of the Holocaust experience – an event too catastrophic for me to depict using conventional representation – and instead depicted it as a phantasmagoric event. I added more women and called us all ‘The Rosen Sisters.’” Rosen was her mother’s family name.

The paintings feature strong, confident women resisters in situations that are both humorous and dark. Avery found it therapeutic and liberating “to fight the Nazis in this vicarious method.” Still, she said, “beneath the surface of all the paintings, the calamity and horror of the Holocaust is ever present.”

screenshot - In Bayla’s Issues, Bayla must deal with her past — In *Bayla’s Issues*, Bayla must deal with her past.

When the paintings, in her view, had run their course, she was “desolate” and expressed this by drawing a comic about a befuddled, unfulfilled older Jewish woman who is plagued by the travails of aging and anxiety, and a desire for acknowledgement in the art world.

“In many of the comics, Bayla expresses her angst about being Jewish. Her Jewishness has never been a joy for her. In one of the comics, she says it feels like a huge lead-heavy Star of David, attached to a thick chain-link, hanging from her neck – it weighs her down, she can’t pull it off,” said Avery.

Kissinger’s collaboration with Avery can be traced to 2015, when he served as the editor of the now-defunct Vancouver Courier. “She left a message on my work phone about an upcoming art exhibit of her paintings and I, of course, never returned her call…. But she left another message, and another message,” Kissinger recounted.

“We didn’t do a lot of art exhibit coverage,” he explained. “But, for some reason, I decided to Google her name and up came these paintings of elderly women in bikinis holding automatic weapons and swearing and taking down Hitler and having a great time while they were at it. From that point on, I was in.”

Kissinger went on to write a story and created a five-minute video to accompany it on the newspaper’s website.

screenshot - Hinda Avery’s cartoon strip has been transformed into film about an “‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons” — Hinda Avery’s cartoon strip has been transformed into film about an “‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons.”

A year later, Avery reached out again – this time to share that she had obtained a Canada Council grant and to ask Kissinger if he would be interested in making a documentary about her, her paintings, and her journey in dealing with the Holocaust and depression.

A 27-minute documentary, Hinda and Her Sisterrrz, ensued. That 2018 film screened at a number of Jewish film festivals, including those of San Francisco, Toronto, Boston, Vancouver and Victoria.

“The documentary ends with Hinda talking about retiring the characters in her paintings and moving on to working on a comic strip about an ‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons,” said Kissinger.

“Because I know Hinda’s work and backstory and she trusts me with it and was happy with the documentary, she asked me if I could help her animate her comic strip,” he added.

“Bayla lends herself to being animated. I love seeing her come alive!” Avery said.

The original strip, Bayla’s Comics, appeared in Jewish Currents. More episodes about Bayla’s tribulations – under the title Bayla’s Got Problems – are currently underway.

To watch the trailer for Bayla’s Issues, visit vimeo.com/439541618.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Future of Film Showcase starts July 9

A still from Max Shoham’s animated film Sophie and Jacob.

The Future of Film Showcase, an annual short film festival and professional development conference dedicated to fostering the future of emerging Canadian filmmakers, features 11 shorts from Canada’s most promising new voices aged 40 and younger. This year’s slate includes Toronto Jewish community member Max Shoham’s animated film Sophie and Jacob, based on the true story of his great-grandparents, who find love while fleeing Nazi-occupied Romania in 1939. Shoham is a graduate of Etobicoke School of the Arts, where he majored in film, and is currently at Concordia University studying film animation.

The Future of Film Showcase takes place July 9 to 22, with films available to stream for free on the CBC Gem streaming service.

– Courtesy Future of Film Showcase

R2R fest teaches, entertains

Seu Jorge, left, and Noah Schnapp in a still from Abe. (image from Reel 2 Real)

The upcoming Reel 2 Real International Film Festival for Youth is not just for youth, though younger viewers are its target audience. There are entertaining and engaging films for all ages among the 18 features and 45 shorts that will be available for streaming online April 14-23.

The focus of this year’s festival is “films that explore the impact of social media, racism and discrimination, with a focus on Germany.” While many of the offerings will interest Jewish community members, at least four cover topics of specific relevance.

The American feature Abe was part of the recent Vancouver Jewish Film Festival. It is carried by the impressive acting of Noah Schnapp as 12-year-old Abe and that of Seu Jorge as Chico, the Brazilian-American chef that Abe idolizes. The food, glorious food, is an added bonus.

While the writing of Abe’s family dynamics is clunky and without nuance – his father’s side is Muslim, his mother’s Jewish, and never the twain shall meet on religion or the Palestinian-Israeli conflict – Abe himself is charming. He puts his heart into trying to bring everyone together, in part, by creating a fancy dinner that comprises several of his grandmothers’ traditional recipes. The grumpy but caring Chico helps, having reluctantly taken Abe in, first as a dishwasher then as one of his prep cooks.

Food doesn’t turn out to be the way to his family members’ hearts but the disastrous fusion meal, which ends in a big fight and Abe running away, does push his family to at least reconsider their priorities.

***

still - Mouize and Ranin become friends over popcorn and a shared love of cinema in Cinema Rex — Mouize and Ranin become friends over popcorn and a shared love of cinema in *Cinema Rex. (image from Reel 2 Real)*

In another charming film, the young also show the adults the possible way to some form of peace. In the Israeli animated short Cinema Rex, the Jewish boy Mouize and the Arab girl Ranin become friends over popcorn and a shared love of cinema.

Set in Jerusalem in 1938, a new movie theatre opens, “In the heart of the city, on the seam line between the Jewish side and the Arab side, and adjacent to the British police.” It is “co-owned by partners from both sides of [the] divided city” and Mouize’s dad is the projectionist. When Mouize catches a glimpse of someone peeking into the projection room, he follows the trail of popcorn to Ranin, who shares it with him in exchange for a seat beside him in the best seats in the house. The two imagine themselves as the heroes in Robin Hood, as actors in a Laurel and Hardy film, dancers in a Fred Astaire and Ginger Rogers movie, and more.

Ranin’s mother is non-plused to find her daughter hanging out with Mouize, and Mouize’s dad tries to tell him, “Someday, you’ll understand why you and she can’t be friends.” But the kids have none of it.

Beautifully drawn and a story simply told – in Arabic, English and Hebrew with English subtitles – this short is highly recommended viewing.

***

still - Alina is a tension-filled short film — *Alina* is a tension-filled short film. *(image from Reel 2 Real)*

A more serious and nerve-wracking short is the tension-filled American film Alina. For 25 minutes, breathing will be more difficult, as the fate of a three-month-old baby lies in the hands of Alina (played by Alia Shawkat). The non-Jewish woman is part of a group of women (and men, as her brother helps) who are smuggling Jewish children out of the Warsaw Ghetto during the Holocaust.

Inspired by factual events, but fictional, the film opens as Nazi soldiers kick their way into a building and make their way up each floor, searching every room for children, with orders to seize them. Alina must escape from an upper-level apartment with the baby through the bathroom window, using a makeshift rope of tied sheets. She must then meet her brother, make it through a checkpoint and even face Nazi soldiers in her own home, as a Nazi captain accompanies her there from the checkpoint, so convinced is he that she is hiding something from him.

Alina is a multiple-award-winning film for many reasons. And it precedes the fascinating feature-length documentary The Lesson, which sees its Canadian première at Reel 2 Real.

photo - The Lesson director Elena Horn — *The Lesson* director Elena Horn. *(image from Reel 2 Real)*

Through the lens of German filmmaker Elena Horn, who herself grew up in Fröndenberg and went to Fröndenberg Comprehensive School, The Lesson is a personal look at how students in Germany are taught about the Holocaust. Over a five-year period, Horn followed a handful of students through their classes on the topic, their projects and field trips. She juxtaposes this perspective with archival footage from the 1930s, showing children doing paramilitary exercises, learning about what makes a good German and other propaganda. She also includes current-day nationalism and how some of the students deal with the differences between what they’re being taught in school about the Holocaust and what their families have told them about that period in time.

Horn frames the content in the context of overarching questions such as, could the Holocaust have been initiated by other countries just as easily as in Germany, or is there something inherent about Germany that allowed it to start there? She wonders if history is repeating itself, and she continues to struggle with the question, “What would I have done?” She highlights some of the efforts of those who refused to be bystanders to genocide, and she hopes to inspire some viewers to be courageous if, God forbid, they ever face such a choice.

***

For the full festival schedule and tickets, as well as information on Reel 2 Real’s several youth programs and workshops, visit r2rfestival.org.

Kliner voices Old Dog

As I watched the National Film Board of Canada short film Old Dog, which preceded a documentary screening at this year’s Vancouver International Film Festival, I did a double take. Or, rather, a double listen. I knew that voice. And the credits confirmed it – former longtime Independent Menschenings columnist Alex Kliner was the voice of the elderly gentleman caring for his elderly dog.

Old Dog was created by writer and director Ann Marie Fleming.

“This film started off as a way of talking about aging, inspired by my namesake, Ann-Marie Fleming, who I often get mixed up with in internet searches,” said Fleming in an interview on nfb.ca. “The other Ann-Marie has a company that makes technologies for aging dogs and also for their humans. I was struck by the compassion she has for these vulnerable animals, helping them navigate the latter stages of their lives, and by how much dogs have to teach human beings.”

“Full disclosure,” Fleming told the Independent, “I made a film about twins and doubles many years ago (It’s Me, Again) and there is another Ann Marie Fleming out there I have been confused with, so it’s not unusual that I would do some sleuthing. When I read Ann-Marie’s interview and mission statement on her website for her company, Dog Quality, which makes technologies for senior dogs, I was really moved by her saying that she felt she was her best self when she was caring for her aging canines.”

So, Fleming contacted her namesake last year, and then approached the NFB, who agreed to produce it, and even suggested she use her “team” to make it: animator Kevin Langdale and composer/sound designer Gordon Durity.

“I went to 100 Mile House to meet Ann-Marie and her old dogs (literally), listen to her stories, see her technologies and get some reference footage for the animation,” said Fleming. “Then I wrote the very simple script and drew a storyboard. Kevin took my designs and made them his own – he definitely improves on them. Then it was recording the voice, cutting together an animatic, doing the animation.

“Gordon and I discussed the vibe I wanted – Dave Brubeck ‘Take 5’ meets ‘Freddy the Freeloader.’ Cool jazz from when our human character would have been in his youth. A few months later and shazam! The film is finished right as we go into a lockdown across the country.”

Fleming listened to many great voices for this film, she said. In her mind, she would think, “Does he sound mature enough? Does he sound like he really has a connection with his dog? Alex didn’t sound like anybody else. (You recognized him immediately, right?) The warmth and vulnerability and humour and care he had was just there.”

Alex was the consummate professional, she added. “I felt he was very generous to me with his performance in this little film. He can say a line a dozen nuanced ways. I love working with actors.”

Alex has been in the industry a long time, and his desire to act goes back even further – to Jewish school, when he just 7 years old, and was asked by the teacher to read the Yiddish poem “Why a Grandmother is the Way She is.”

“And I did the poem, and I got a huge applause – not so much perhaps because of the talent but because I spoke Yiddish so beautifully,” Alex told me. “And I did speak it beautifully, just the way any person who has a first language speaks it beautifully. I liked the applause and I liked doing the poem. I liked the ambience of the whole thing and, at that point, I decided I was going to be an actor. And, 20 years later, at age 27, I became a professional actor, got all my union cards because I was working in the theatre, in a union company.”

Over the years, he has been in theatre, radio, film and television, and he’s worked as both an actor and as a director. A very partial list of people with whom he has shared the screen include Melanie Griffiths, Vince Vaughn, Ellen Burstyn, Ryan Reynolds, Eddie Murphy, William H. Macy, Christopher Plummer, Sylvester Stalone, Jerry Lewis, Laura Linney, Isabella Rosselini, Jack Lemmon, Mariel Hemingway, Valerie Harper, Mandy Patinkin and Robin Williams.

“I worked with them either as an actor or as a background performer who interacted with the actor,” said Alex.

He was Mickey Rooney’s stand-in in Night at the Museum, which is also where he worked with Dick Van Dyke and Ben Stiller, among others.

The audition for Old Dog was an ordinary call, said Alex. While he hasn’t done much by way of voice work, he has done some dubbing of acting parts that didn’t come out properly sound-wise in the filming. The process for Old Dog was similar, he said.

“I just did one line and then the director said, OK, time to do the next line. Sometimes, she would ask me to do it two or three times but never more than three times,” he said. “The whole thing took a little more than an hour.”

In this type of work, while the actor doesn’t see the animation, he said, “You know what she wants, like your attitude toward the dog … and then you bring that attitude or that feeling or emotion to the line. But you do it without seeing the movie and then they sync what I’ve done vocally to the film.”

Alex’s wife, Elaine, works with him in the film industry. “We’re both still working,” said Alex. “It keeps us happy and young.”

Old Dog can be seen at nfb.ca/film/old-dog.

Animal Behaviour’s double honours

A scene from Alison Snowden and David Fine’s Animal Behaviour: Victor acts out. (image from National Film Board of Canada)

Alison Snowden and David Fine’s National Film Board animated short Animal Behaviour won for best animated short at the Canadian Screen Awards March 31.

The film also was an Academy Award nominee this year. It is the fourth Oscar nomination for the Vancouver-based husband-and-wife animation duo, who took home the Oscar 24 years ago for the NFB-Snowden Fine Animation-Channel 4 co-production Bob’s Birthday. They were also nominated for their 1987 NFB short George and Rosemary, with Snowden nominated before that for her 1984 student film Second Class Mail.

Animal Behaviour takes viewers inside a group therapy session for animals who grapple with issues not unlike our own. (See jewishindependent.ca/animated-therapy-session.) Produced and executive produced by Michael Fukushima for the NFB’s Animation Studio in Montreal, Animal Behaviour is the 75th Academy Award nomination for the NFB – more than any other film organization based outside of Hollywood. The NFB has received 12 Oscars over its 79-year history, including a 1989 Honourary Academy Award for overall excellence in cinema.

Fulfilling her promise

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.”

Revisiting shop class misery

A scene from Shop Class. (photo from NFB)

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.

Animated therapy session

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.

photo - In Animal Therapy, Victor aggressively takes issue with Dr. Clement’s approach to therapy — In Animal Therapy, Victor aggressively takes issue with Dr. Clement’s approach to therapy. *(photo from NFB)*

“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.

Liked Beauty, not Wall

Lili Tepperman is one of five kids featured in Beauty. (photo from NFB)

It’s fine to be who you are,” says Bex Mosch, who turned 9 years old last year, when Beauty was released. Since the age of 3, Bex – formerly Rebecca – says he has known that he is a boy. He and the other “gender-creative” kids interviewed in Christina Willings’ 23-minute documentary have been forced by circumstances to become more mature than most kids their age. And they have more nuanced views on what it means to be human than many adults.

Beauty has its local première during the Vancouver Queer Film Festival’s first short film program, called The Coast is Genderqueer, which takes place Aug. 17. In addition to Bex, Fox Kou Asano, Milo Santini-Kammer, Montreal Jewish community member Lili Tepperman and Tru Wilson are interviewed. Interwoven with the interviews, footage of the kids being kids and meeting their families briefly, parts of Beauty are animated. These illustrations depict some of the kids’ favourite interests and tie together some of their common experiences. None of the parents is interviewed.

“In a way, the concept of this film came to me in the early ’80s,” says Willings in an interview on the NFB media site. “I was thinking a lot about the deconstruction of gender at that time, as were many others. We examined it from every angle, but what’s new now is that it’s children who are leading the conversation, who are saying, ‘Hey! Something’s wrong here!’ Some compassionate, and I would say enlightened, parents are hearing them. The new conversation isn’t ideologically driven, it’s experiential, and there’s a profound purity about that. It’s a breakthrough that I have felt very moved and honoured to witness and, by 2012, I realized this shift was going to be the subject of my next film.”

All of the five interviewees have had to face serious challenges, from being laughed at to being bullied. And, of course, they have had to talk with their parents about how they see themselves, versus how their parents initially viewed them.

“Sometimes, it’s easy to think it would be less stressful just to fit in,” says Lili in the film, “but then I’m not really being myself, and I find that’s an important part of living life because, if everybody’s trying to be like everybody else … it doesn’t make any sense to me.”

Beauty screens Aug. 17, 5 p.m., at SFU’s Goldcorp Centre for the Arts. For tickets, visit queerfilmfestival.ca/film/the-coast-is-genderqueer.

* * *

image - David Hare’s Wall purports to have complexity it doesn’t — David Hare’s Wall purports to have complexity it doesn’t. *(image from NFB)*

Another NFB film being screened in Vancouver next month is Wall, which is based on British playwright David Hare’s 2009 monologue on the security fence/wall between Israel and the Palestinian territories. Wall is not the first extended exploration of the Israeli-Palestinian conflict for Sir David, who was knighted in 1998. Written in 1997, his Via Dolorosa monologue premièred in London in 1998.

The film Wall has been a long time in coming. According to the NFB media site, in 2010, NFB executive producer and producer David Christensen “had a three-hour drive ahead of him when he chanced upon a podcast of Wall.”

“‘Listening to David Hare’s take on this wall Israel had put up gripped me visually,’ recalls Christensen.

“Riveted by Hare’s reframing of the issue and struck by how he could visualize the piece as an animated film, Christensen immediately called his producing partner Bonnie Thompson, who had the same reaction he did upon listening to Hare’s piece.

“‘For many of us, the issues around the Middle East, Israel and Palestine are complex and polarizing,’ says Thompson. ‘We thought making an animated film was a way to better understand this wall.’”

Canadian filmmaker Cam Christiansen is the animator who brought the concept to life visually, using 3-D motion-capture footage and other “cutting-edge animation tools.”

Wall has been the official selection of six film festivals to date, so it has captured critics’ imaginations. However, most Jewish community members will find it hard to watch, as Hare pays lip-service to the complexity of the situation but never veers very far away from blaming Israel for pretty much everything. When he says, “words become flags. They announce which side you’re on,” anyone with a basic knowledge of the Israeli-Palestinian conflict only has to look at the title of this work to know on which sides he falls. But then he goes on for 80 minutes about it.

There are a few instances when Hare seems about to offer the Israeli side, or at least condemn Hamas, but then he retreats. When he is told about a Hamas torture tactic, he is at first repulsed but then suggests it’s a metaphor for how Palestinians must feel at the hands of Israel. When he sees a poster of Saddam Hussein in a Ramallah café, he wonders about the appropriateness of such a man as a hero but then concludes it’s OK because Israel put up the wall, after all. And, then there’s his exchange with a Palestinian who says that Britain is to blame for all the problems: “Of course it’s your fault. The British were running Palestine in the 1940s. When they ran away and left everything to the Israelis, they didn’t care what happened to everyone else. There was a life here – a Christian life, a Muslim life, a Jewish life – and that life was destroyed.”

This ridiculous statement – and so many others – is not only left unchallenged by Hare or any of the filmmakers, but gets nods or words of understanding. With Israeli novelist David Grossman as the predominant voice defending or explaining Israel’s motivations and actions in Wall, most Jewish movie-goers will know before seeing it just how limited are the views expressed in this film, no matter what complexity it proclaims to convey.

Wall screens four times between Aug. 17 and 21 at Vancity Theatre. For tickets, visit viff.org.