Dan Russek

Victoria film fest set to start

The Latin American and Spanish Film Week returns to Cinecenta, on the campus of the University of Victoria, Sept. 19-22. (photos courtesy Dan Russek)

The Latin American and Spanish Film Week returns to Cinecenta, on the campus of the University of Victoria, from Sept. 19 to 22. Now in its 14th season, this year’s event will offer movies from Argentina, Mexico and Spain, with all screenings taking place at 7 p.m. Each showing will have English subtitles.

The cinematic fiesta is put together by the Hispanic Film Society of Victoria. The society’s mandate is to promote Latin American and Spanish films in the city through the annual film festival. It also aims to further the knowledge and enjoyment of Spanish-language films through cultural and academic events to benefit the community.

Jewish community member Prof. Dan Russek, the organizer of the event, which began in 2010, said, “As part of the UVic faculty and a member of the Hispanic community, I am proud to bring this cultural event to Victoria again. It should interest folks not only from Latin America and Spain but also members of the community at large.

“There is no need to speak Spanish to understand the movies,” Russek added. “They all feature contemporary, relatable stories, and they function as windows to the diverse societies, cultures, histories and politics of the Spanish world. Our mission is to expand the horizons of our audience, and we believe, at the society, that we have achieved this goal again.”

The week will actually start on Sept. 18 at Caffe Fantastico (965 Kings Rd.) at 6 p.m. with a presentation from the society that will feature five local artists, all of whom hail from Latin America. They will discuss their experiences as migrants to Canada, their process of adaptation and their artistic practices.

Cuban pianist Pablo Cardenas, Mexican classical violinist Pablo Diemecke and Mercedes Batiz-Benet, a Mexican writer, theatre director and producer, will start the evening. They will be followed by Cuban trumpeter Miguelito Valdes and Chilean actress and theatre producer Lina de Guevara. The event is free, though audience members are encouraged to purchase food and drinks.

The first film offering, on Sept. 19, is Totem, a Mexican movie from director Lila Aviles. The family drama focuses on 7-year-old Sol, who bears witness to the preparations of a party in honour of her cancer-stricken father, Tona.

Totem was Mexico’s entry for best foreign feature for the 2023 Academy Awards. It picked up the Ecumenical Award for Best Film at the 2023 Berlin International Film Festival, and Aviles received an award for best director at the 2023 Jerusalem Film Festival.

Puán, an Argentine-Italian-French-German-Brazilian international co-production, will hit the screen on Sept.20. The 2023 comedy-drama from Maria Alché and Benjamin Naishtat tells the tale of Marcelo, a philosophy professor in Buenos Aires who sees his plans upended upon the arrival of his former colleague, who is based in Germany – the charismatic Rafael. Their conflict is set amid the crisis in Argentina’s education sector.

“The hapless but deeply lovable and tragically self-aware Marcelo needs and deserves a psychological makeover, and Naishtat and Alché are too fond of him to deny him one. How and where it happens is a treat,” Jessica Kiang wrote in Variety.

Lillian Torres’s Mamifera will represent Spain on Sept. 21. The 2024 film tells the story of Lola, who, along with her partner, Bruno, enjoys a happy life until an unexpected pregnancy turns everything upside down. Her previous determination not to be a mother is challenged by social expectations and the inner fears she faces. In a review for the Austin Chronicle, Jessi Cape wrote that the film “tackles an endlessly complicated, often excruciating, sometimes beautiful topic with grace, humour and easily relatable characters.”

The festival concludes Sept. 22 with Bernardo Arsuaga’s 2023 documentary The Michoacán File, which traces the history of Mexican food and the efforts of a group of diplomats, chefs and intellectuals to make the country’s cuisine an Intangible Cultural Heritage of Humanity, an acknowledgement granted by UNESCO. After the film, the public is invited to stay for a conversation and Q&A about Mexican food with Israel Alverez Molina, owner and chef of Victoria’s MaiiZ Nixtamal Eatery and Tortilleria, and Maria Elena Cuervo-Lorens, the author of two cookbooks on Mexican cuisine.

For more information about the Latin American and Spanish Film Week, visit the Hispanic Film Society of Victoria website, hispfilmvic.ca.

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

Art beyond the gallery walls

For Dan Russek, art abounds in urban settings, whether it be in the form of manhole covers, bike racks or other items and scenes that city dwellers regularly encounter. Spurred by an early love of photography, he has been surveying cityscapes with an eye for “public art that goes beyond the gallery.”

photo - University of Victoria professor Dan Russek, author of Exercises in Urban Mysticism: Practical Poetry and other books — University of Victoria professor Dan Russek, author of Exercises in Urban Mysticism: Practical Poetry and other books. (*photo from Dan Russek)*

A professor in the department of Hispanic and Italian studies at the University of Victoria, Russek is the author of Exercises in Urban Mysticism: Practical Poetry, a 2020 book – written in Spanish, with the title Ejercicios de mística urbana: Poesía práctica, and published in Mexico – that explores the poetry of everyday life.

“One way I look at it is that I take the idea of modern art seriously,” Russek told the Independent. “When you see a painting by Jackson Pollock, you may understand its place in the history of art. But what Pollock is showing is a kind of texture, composition and movement that you can find outside of the gallery walls, appealing to a certain sensibility that takes you beyond the museum.”

Russek was intrigued by the 1996 book Manhole Covers, written by Mimi and Robert Melnick and published by MIT Press. It delved into how an object many consider ordinary can provide a record of the history of a city and, some would argue, be deserving of a spot in contemporary urban culture; in other words, seeing a utilitarian object as an “urban sculpture.”

Russek devoted a lot of space in his illustrated book to manhole covers, bike racks, various geometric structures and a variety of textures. Art, as he views it, extends far beyond the confines of canvas or paper. Indeed, by his admission, one of his favourite spots to be is on construction sites, especially in a place like Mexico City, where there are few restrictions for getting inside.

“You take something in itself that may not appear to be too interesting, but, when you look at it in a certain way, it becomes interesting. Or, to quote Gustav Flaubert, ‘Anything becomes interesting if you look at it long enough,’” Russek said.

As an example of this, Russek gives the work of American photographer Edward Weston in the 1920s and 1930s. As Russek describes it, in one image, Weston takes a simple green pepper and turns it into something “astounding.” The same can be done for bike racks and many other urban and industrial artifacts, he said.

Russek, who was born in Mexico, remembers being surrounded by relatives who were passionate about photography.

“As a kid, we would make an album while on a vacation. Each trip yielded an album, as did life events, weddings, bar mitzvahs,” he said. “Life was documented. It gave me a model. I began taking pictures in high school, and I realized I was interested in abstraction.”

Over the years, walking through the streets of cities like Chicago, Mexico City and Buenos Aires, Russek has been struck by many aspects of street art, including graffiti, another form of public art that is found beyond the gallery. In fact, some graffiti, he said, is as valuable as the art one finds in a museum.

“I wish I had my camera with me all the time. The reflections of light in the afternoon over the pavement, it’s phenomenal. The light making reflections on the water from a gutter – life is full of these interesting moments. Bringing the camera is a good thing because I don’t have to look for anything, the world sends it to me,” he said.

Russek completed a PhD in comparative literature at the University of Chicago, specializing in modern and contemporary Latin American literature and visual arts. His fields of research include the links between literature and the visual arts and media, urban studies and esthetics. He has explored the relations between modern technology, culture and literature, and centres on the notion of epiphany and the phenomenon of light. His first book, Textual Exposures: Photography in Twentieth Century Spanish American Narrative Fiction, was published in 2015 by University of Calgary Press.

Some of Russek’s next plans involve going beyond the printed page. He wants to make videos, as the medium “allows you to do more stuff, with music and the matching of images, that you cannot do in a book.” He also writes poetry (sonnets in particular) because, for one reason, “you can take an object or an emotion and write a poem about it and elevate it to a new level of importance.”

Argentine writer Julio Cortázar is an example Russek cites of an artist reaching beyond the confines of a particular medium, an approach that is multifaceted or experimental. In one work, Último Round (Last Round), Cortázar created an almanac-style book filled with articles, poems, essays and illustrations.

Aside from teaching and writing, Russek is the coordinator of the Latin American and Spanish Film Week, now in its 14th year, held in the fall at UVic’s Cinecenta. He is also the president of the Hispanic Film Society of Victoria.

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

Golem dances tango & more

University of Victoria’s Prof. Dan Russek spoke about Jewish writers in Argentina and Mexico, as well as Jorge Luis Borges’ Jewish-related writings. (photo from Dan Russek)

Dan Russek spoke on 20th-century Latin American writers, both Jewish and those who have been influenced by Jewish themes, at a Jan. 10 Zoom event organized by Congregation Emanu-El in Victoria.

Entitled The Golem Dances the Tango, the talk began with discussion of four Jewish authors – Alberto Gerchunoff and Ana Maria Shua of Argentina and Margo Glantz and Myriam Moscona of Mexico – before examining Argentine Jorge Luis Borges’ Jewish-related writings.

Gerchunoff (1883-1950) painted an idealized version of Jewish life in the Argentine countryside in his writings, with religious Jews as peasant farmers in a new land, explained Russek, an associate professor in the University of Victoria’s department of Hispanic and Italian studies.

In his best-known work, The Jewish Gauchos of the Pampas, a series of vignettes, “Gerchunoff was keen to find parallels between peasant life in Argentina and the Bible, and explore the interaction between Jews and the local residents,” Russek said. In one story, El Episodio de Myriam, a Jewish girl from a pious family elopes with a non-Jewish boy, causing uproar in the community.

Shua represents a more modern writer, less attached to traditions, said Russek. In her 1994 novel The Book of Memories, an anonymous narrator tells the story of the Rimetka family. “Gossip reigns supreme in this fictionalized account of a family. One feels as though we are witnessing a family dinner, perhaps a seder,” Russek explained. The narrator presents different and sometimes contradictory accounts, he said, creating a “series of foibles and misadventures with no end.”

Mexico’s Glantz incorporates much of her family story into her most-recognized book, The Genealogies, published in 1981. The daughter of immigrants from Ukraine, her father, Jacobo Glantz, was a promoter of Jewish intellectual life in Mexico, and once penned a poem about Christopher Columbus in Yiddish.

The Genealogies “is a form of literature as transcription and personal document,” Russek said. “It is a family story centred on her parents and her own coming of age. In Glantz, we see an adoption of Jewish culture but not of Jewish faith nor a strong sense of belonging.”

Moscona, a poet, journalist and translator, was the most contemporary writer of the four. Born in Mexico City to Ladino-speaking Bulgarian immigrants, her autobiographic novel Tela de sevoya explores her quest to find her cultural and linguistic heritage.

Russek then discussed Borges, a Judeophile who had several Jewish friends, from his time studying in Geneva, as well as literary mentors, such as Baruch Spinoza and Franz Kafka. Borges credited his English Protestant grandmother for providing a passion for Israel through a love of the Bible, and recognized Judaism as a pillar of Western Civilization.

In 1934, early in his literary life, Borges wrote an article called “I, A Jew,” which was a defence against an attack from a fascist magazine accusing him of hiding his Jewishness. In it, Borges says he would not mind at all being Jewish.

Borges lauded Israel in his poetry. In his 1969 collection In Praise of Darkness, he views Israel as a place that transcends Jewish history and the stereotypes associated with Jews. Two of the poems were written after the Six Day War and herald Israeli heroism on the battlefield.

In “Israel, 1969,” Borges writes, “You shall forget your parents’ tongue and learn the tongue of Paradise. / You shall be an Israeli. / You shall be a soldier. / You shall build the homeland with swamps, you shall erect it in deserts.”

Jewish characters and themes appear in “The Secret Miracle” and “The Death and the Compass.” And Borges had an abiding interest in kabbalah, which is documented in his essays and lectures. About his story El Aleph, Borges wrote: “In the kabbalah, that letter [aleph] signifies the En Soph, the pure and unlimited godhead; it has also been said that its shape is that of a man pointing to the sky and the earth, to indicate that the lower world is the map and mirror of the higher.”

Russek concluded with Borges’ poem “The Golem,” from the 1964 book El otro, el mismo. “Despite the logical structure of the poem, the theme deals with magic, myth and religion. The main philosophical/theological subject is the relationship between the creator and its creatures,” Russek said.

Russek is the author of Textual Exposures: Photography in 20th-Century Latin American Narrative Fiction and the upcoming Exercises in Urban Mysticism, a book of illustrated poetic prose. He coordinates Victoria’s annual Latin American and Spanish Film Week at Cinecinta.

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