documentaries

Remain vital and outspoken

The stars of Stacey Tenenbaum’s documentary Tough Old Broads, playing at VIFF Centre March 14 and 17: Kathrine Switzer, left, Sharon Farmer, centre, and Siila Watt-Cloutier. (screenshots from film)

If you’re feeling hopeless about the state of the world – or you just want to know more about some incredible people who have spent their lives making the world a better place – head to VIFF Centre March 14 or 17 to see Stacey Tenenbaum’s Tough Old Broads.

The feature-length documentary features Sharon Farmer, the first woman and first person of colour to be director of White House photography; Kathrine Switzer, the first woman to officially run the Boston Marathon; and Siila Watt-Cloutier, the first woman to connect climate change to human rights (garnering a 2007 Nobel Peace Prize nomination for that work).

Watt-Cloutier, who calls Kuujjuaq, Que., home, also lived in Iqaluit, Nunavut, for 15 years or so. She was a pioneer in fighting for environmental protections, starting in earnest in the 1980s, when it was realized that pesticides and other toxic chemicals were poisoning the marine mammals that the Inuit were eating, ending up in the breast milk of Inuit women. At the time, Watt-Cloutier was head of the Inuit Circumpolar Council, which represents Inuit from Alaska, Canada, Greenland and Chukotka, Russia, on international matters. She has been instrumental in several actions that have changed how people think about climate justice.

In the documentary, she talks about negotiating with the United Nations from the perspective of being a mother. She says, “How could Inuit women be carrying this burden of, if I eat my country food, I’m going to poison myself and my children? At each UN talk, I continuously intervened to educate people on the importance of Inuit culture and how the world needs to do things differently.”

More than 40 years later, she continues to speak internationally, educating people about Inuit culture and the environment. In the film, at a conference, she shares one of the lessons she has learned: there will always be tough moments and “it is really about sticking with it and not giving up during those periods of time because those are the moments that you are meant to be at to raise your next level of consciousness, those are the moments that are making you, not breaking you.”

Not giving up is a key message from Farmer, too. The photographer was part of the civil rights movement in the 1970s, capturing images of the protests at Ohio State University; she was a student there at the time. Her career was spent fighting for social justice and documenting key moments in American history with her camera, including when she was at the White House (during the Clinton administration). She continues to do so.

Right after the 2024 election of Donald Trump, Farmer, who lives in Washington, DC, comments on the lack of people at the White House gates.

“If you don’t register displeasure,” she says, “everybody thinks what happens is OK – and I mean around the world, too. I don’t want that tale of woe to be our legacy. Our legacy should be we still have courage, we still don’t like what’s going on and we’re not giving up. I don’t see that happening down here today, and that’s the disappointing part.”

The third subject of Tough Old Broads is Switzer, who, while running the Boston Marathon in 1967, was literally attacked by race official Jock Semple, so outraged was he by her participation. Switzer’s coach, Arnie Briggs, running alongside her, body-checked Semple out of the way and she finished the race. This was the seminal moment in her life of activism, which has included helping bring the women’s marathon event to the Olympics (1984) and founding the nonprofit 261 Fearless, “261” having been her bib number in the 1967 marathon.

Switzer continues advocating for and mentoring women, pushing for equality. She says in the film: “There is so much to do and I still feel responsible…. It hasn’t been finished yet, and it is very simple. If you put the hard work in, if you pay attention, if you ‘work the phones,’ as we used to say, if you show up, is the biggest thing. That is the key point. It’ll happen. I’m not saying you have to be patient, I’m just saying we have to be persistent.”

Watt-Cloutier and Farmer would likely agree.

Tenenbaum, who is a member of the Montreal Jewish community, said in the press release: “I made this film to share the wisdom and experience of older women with a new generation and to inspire all people to remain vital and outspoken as they age.”

At tougholdbroads.com, people can read more about the film, find some data on the status of women’s equality and download a discussion guide. It is hoped that the documentary “will spark a movement of women, both young and old, to embrace their power, speak out and demand attention.”

For tickets to the Vancouver 1 p.m. screenings, go to viff.org.

Four Peretz pillars honoured

As the owner of the 95-year-old Jewish Independent, I know full well that our Jewish community is built on the shoulders of those came before us. It is upon this foundation that we continue to grow, keeping our institutions going, while also starting new ventures and winding up groups that have served their purpose. Sometimes an organization will rebrand and recreate itself, sometimes it will reconnect with and reestablish its roots.

It is with these thoughts in mind that I watched the short documentary film Four Pillars of Peretz, which premiered last month at the Peretz Centre for Secular Jewish Culture. But it was also more personal than that, as I knew the four women being profiled: Bluma Field, Sylvia Friedman, Claire Klein Osipov and Gallia Chud, all of whom have passed away. To me, these women exemplified grace and grit. They were doers and they lived by their beliefs – most important, to me, though, was that they welcomed me, made a place for me, treated me as if I mattered, despite my holding very different views than they did on many things.

screenshot - Bluma Field, left, and Claire Klein Osipov — Bluma Field, left, and Claire Klein Osipov. *(screenshot)*

Nothing in filmmaker Michael Kissinger’s 36-minute documentary shattered the notion that they treated everyone with such respect, for which I’m grateful. I want to remember these women this way. A key element I feel is missing in the world today is this ability to be friends, or at least be civil to, people with different opinions. We are so polarized that our own views – and our need to express them – often take precedence over making another human feel, well, human.

I know that this phenomenon is nothing new. As is the case with most organizations, the Peretz Centre was started to fill a need that wasn’t being met by other groups at the time. Secular and socialist in nature, the Peretz has rarely “fit in” with the mainstream Jewish community over its 80-year history. While its politics held no interest for me, its focus on Yiddish culture, its choir in particular, did appeal to me and I was involved for some 30 years, having been introduced to the centre by Claire, who was the epitome of class – and, wow, what an incredible voice. She was close friends with my aunt, who also, sadly, has passed away.

Going down memory lane with Four Pillars of Peretz was truly a pleasure. For people who don’t know the four women profiled, I would still recommend watching it, if only to demystify the Peretz Centre. Community unity shouldn’t mean community uniformity, and everyone should be so lucky as to have at least one place where they feel welcome. We don’t need to belong everywhere, but it’s vital to our health, I think, that we belong somewhere.

screenshot - Sylvia Friedman with her son, Michael Friedman — Sylvia Friedman with her son, Michael Friedman. *(screenshot)*

Four Pillars of Peretz is also an example of what other organizations could do to honour their founders. Keeping history alive is so important, in my view. It’s not an inexpensive endeavour, but it’s worthwhile. In the case of this documentary, Kissinger really captures the spirits of these women and the way in which they still inspire others. Bluma, Sylvia, Claire and Gallia were by no means the only pillars of the Peretz Centre, but they were particularly driving forces, and they were so for decades.

“These stubborn old ladies, you know, they get sh*t done,” says Faith Jones, providing the first comments in the film, which features clips from interviews with other Peretz members and with members of the women’s families. Through these snippets, as well as photographs and other archival material, you get a sense of the enormous amount of effort and love that it takes to start an organization and keep it running.

The film starts with an overview of the four women, then each gets their own spotlight. The snappy music and the way in which Kissinger has edited the film makes it move along smoothly, both communicating the challenges these women – and others in their generation – faced with tenacity, but also with joy.

“I think all of these women, if they were here today, would say that they got just as much out of it as they put into it, because it’s community,” says one of Gallia’s daughters, Rita Chudnovsky, near the end of the film. “And there’s no replacement for a sense of community, and that’s something that’s, I think, getting harder for people to find.”

For more about the film, go to peretz-centre.org/post/four-pillars-of-peretz-short-documentary-film-project.

Doc on Zapiro screens Nov. 6

The South African Film Festival, which takes place Nov. 6-17, is primarily a streaming festival, but there are a few in-person cinematic experiences, including a screening of The Showerhead on Nov. 6, 6:30 p.m., at SFU Goldcorp Centre for the Arts.

The Showerhead is a feature-length documentary that examines the work of political cartoonist Jonathan Shapiro, aka Zapiro, tracing his journey from anti-apartheid activist and struggle artist to “conscience of the nation” and champion of freedom of expression in democratic South Africa.

The documentary delves into the origins, relevance and impact of an iconic feature in Zapiro’s work that gives the film its title: the plumbing hardware fixed to the head of Jacob Zuma, the former president of South Africa. Through Zapiro’s cartoons, the film explores Zuma’s scandal-ridden rise to power, his turbulent presidency and eventual downfall.

Zapiro’s cartoons also capture a range of critical issues that have plagued South Africa in the post-Mandela era: failures of leadership during the AIDS pandemic, corruption, chauvinism, cronyism, self-enrichment, subversion of the constitution and the rule of law, and escalating threats to freedom of expression.

For tickets to The Showerhead, go to southafricanfilmfest.com.

– Courtesy South African Film Festival

Sharing a personal journey

Son of a Seeker follows Kai Balin’s search for where he fits within Judaism and Jewish community. (still from Son of a Seeker)

Kai Balin’s documentary Son of a Seeker, which screened to a sold-out Rothstein Theatre last month, is an official selection of the 2026 Vancouver Jewish Film Festival, which will take place next April.

The very personal work that follows Balin’s search for where he fits within Judaism and Jewish community will be thought-provoking for viewers, generating questions about what religion, family and belonging mean to them.

“I think my mother, sister and even my brother have a more innate sense of security in who they are and in who they are as Jews,” Balin told the Independent. “My dad and I, on the other hand, have a more complex identity. It makes it harder to fully ﬁt in or feel completely rooted. However, I see it – and I know my dad does too – as a kind of blessing. It’s ultimately who we are. And, while it comes with plenty of challenges, being a seeker is also a beautiful way to live.”

Balin dedicates the documentary to his grandparents, who survived the Holocaust. “But survival is not the same as security,” he narrates in the film. “My father and I have spent our lives trying to understand what it means to continue.”

Having grown up in a Jewish but not religious home, where his deeper questions were not answered, Balin’s father, Jeffrey, began looking for answers elsewhere, notably, in Buddhism. And, while Balin’s mother, Jennifer Shecter, grew up in a traditional Jewish family and attended Jewish school, “bringing a strong sense of Judaism into the home wasn’t a priority, but I knew I was a Jew,” says Kai Balin in the film. “And I got to create a version of Judaism that I owned and I loved.”

The home video clips in the film highlight this love. As a child, Balin plays at being a rabbi, wants to be one when he grows up. But, over the years, he loses this connection, just as his father begins to return to Judaism. How the father and son negotiate their respective paths, while being respectful of the other’s journey, is a key aspect of the documentary.

“When I ﬁrst started making Son of a Seeker, I had no idea what the title would be, or even what the story really was,” said Kai Balin. “I knew I wanted to explore Judaism and what it means to be Jewish, but I didn’t expect it to become so personal. Early on, I interviewed a few dozen Jewish people from across the spectrum on camera. But, in the end, I realized I wanted this ﬁlm to be something much more intimate.

“My dad initially thought he’d just be one of many voices in the ﬁlm. He didn’t expect to become such a central ﬁgure in the story. It pushed him far beyond his comfort zone, but he ultimately believed in the project and gave me his full blessing to be a part of my documentary.”

Balin’s sister, Justine, and brother, Jackson, are also in the film, his brother in the background, while his sister is featured more prominently.

“My sister was my right-hand woman throughout the entire process – I truly couldn’t have made this ﬁlm without her,” said Balin. “She ﬁlmed what’s arguably the most important scene in the movie, when I’m walking through the town where our grandfather was born and raised until he was sent away to a forced labour camp and had everything taken from him and his family. My sister also spent countless hours in the editing room, helping make the tough calls about what to cut and what to keep. Without her input, the ﬁlm would’ve easily been two hours long and a lot less focused.

“My whole family really stood behind me on this project,” he said. “They gave me the strength, courage and conﬁdence to see it through.”

Balin came to filmmaking somewhat organically.

“I was studying kinesiology at Western University. After my second year, I worked on an indie ﬁlm, Volition, as part of the swing crew, helping with lighting and grip. Later that summer, I was the program director at Camp Hatikvah (2017), where the videographer/photographer, Denis Lipman, brought some super cool gear…. Right before my third year, I bought a camera – and, from then on, I started dedicating less and less time to what I was actually studying, and more time learning how to shoot and edit.

“I was running a nonproﬁt at school that threw club and bar events for local charities, and the ﬁrst video I ever made was a recap of one of those nights,” said Balin. “I started getting more involved on campus and around the city (London, Ont.), looking for any chance to shoot videos.

“My ﬁrst paid gig was ﬁlming a club event that featured a guy in a robot suit on stilts. I was also on the rugby team, so I made a few hype-up videos for them whenever I was injured (which was quite a bit). Over the last two years at my time in university, I got more invested in videography and less focused on kinesiology. I ended up shooting videos for all sorts of events and student clubs.”

After graduating, Balin pursued videography full time. Not wanting to make corporate videos, he started making a documentary about his dad’s work.

“He was a leadership development coach working mostly with heads of NGOs and social enterprises,” explained Balin. “I lined up a plan to travel to different countries, mostly in East Africa and India, to ﬁlm these organizations and their leaders. I started shooting, but I didn’t have a clear direction. Eventually, I lost the passion for the project – and for ﬁlmmaking altogether. I just wanted to travel.”

It would be almost five years before Balin made another video.

“It took about three months to put My 5 Year Video Project together – I wasn’t working any other job at the time – and we held a small premiere in August 2024 with around 70 people,” he said about the film, which can be seen on YouTube.

“I didn’t expect people to be so moved by what I had created,” he said. “That experience gave me the conﬁdence to pursue my next ﬁlm project. At the time, it was just a rough idea, and I had no clue it would eventually become something so personal – and so deeply centred around my father’s story as well.”

But, for Balin, it’s the personal aspects of art, films and books that draw him in, “even if I can’t directly relate to what the creator is going through,” he said. “I remember hearing years ago, from a few directors I really respect, that you ultimately have to make the ﬁlm for yourself – something you’d enjoy watching a hundred times over, and something that excites you to work on every day.

“For me, that excitement comes from sharing something personal. It’s my life, my questions, my struggles, and I ﬁnd them interesting. So maybe others will too.”

As for what comes next, Balin said, “One side of me just wants to let the river ﬂow, follow life as it comes without getting too attached to any future outcomes. But the other side of me dreams of being a famous, successful ﬁlmmaker making big-budget movies. There’s still something in me that maybe wants to be a rabbi one day as well.”

He added, “I know my relationship with Judaism will continue to evolve, but, for now, I’ve found a sense of peace. I feel like I have a steady relationship with it, and I’m much more secure in who I am as a Jew than I was when I started this ﬁlm.

“These days,” Balin said, “I ﬁnd myself seeking something else: my soulmate. That might even be the focus of my next documentary – exploring the journey to ﬁnd ‘the one’ – if that concept even exists.”

Blue Rodeo wins Audience Award

Blue Rodeo founders Greg Keelor, left, and Jim Cuddy at the Whistler Film Festival. (photo from the festival)

The music documentary Blue Rodeo: Lost Together by director Dale Heslip was named winner of the 2024 Audience Award for a feature-length film at the Whistler Film Festival last week.

“The Audience Awards are a fun, yet important, way for our guests to have their say in the programming we put together at the Whistler Film Festival,” said director of film programming Robin Smith.

The world premiere of Blue Rodeo: Lost Together was attended by band founders Greg Keelor and Jim Cuddy, along with Heslip and producer Corey Russell. Francine Dibacco is also billed as a producer on the project. A Q&A with Keelor, Cuddy and Heslip was moderated by media personality and MuchMusic veteran George Stroumboulopoulos, also featured in the film.

“We were completely thrilled with having our world premiere at the Whistler Film Festival and the magical night we shared with the audience,” said Russell. “This award means so much and we want to thank the fans who took the time to see our film.”

For a review of the film, see jewishindependent.ca/blue-rodeo-is-thriving-at-40. For more on the film festival, visit whistlerfilmfestival.com.

– Courtesy Whistler Film Festival

Rise and fall of a hacktivist

Nobody Wants to Talk About Jacob Appelbaum opens at VIFF Centre June 14.

Jacob Appelbaum was an influential internet freedom, privacy and free speech activist. He collaborated with Julian Assange and WikiLeaks, which Assange founded in 2006 to publish leaked documents and information. He helped the journalists with whom whistleblower Edward Snowden shared documents make the stories public. And he was prominent in the TOR Project (aka “the dark web”). Then, suddenly, Appelbaum took himself out of the spotlight.

Writer, director and producer Jamie Kastner wanted to know why. He also wanted to know more about this well-known yet little-known “hacktivist” and the subculture in which Appelbaum operated. The result is the documentary Nobody Wants to Talk About Jacob Appelbaum, which screens at VIFF Centre June 14-17 and June 20.

“I first saw Appelbaum in another documentary about WikiLeaks, in which he was playing a supporting role,” Kastner told the Independent. “He jumped off the screen both for his charisma and his clear-eyed and apparently fearless political commitment. I learned about the broad strokes of the scandal in which he was later involved, became intrigued not only by what had happened with him, but by this whole activist community about which I had known little.”

After being accused of sexual abuse in 2016, Appelbaum left the United States for Germany. It is there, reads the documentary’s PR material, that Kastner “finds him, adamant that he is the victim of government black ops, ‘canceled’ without legal process or recourse, punished for who he is, and for what he represents.”

“Though I’m sure even he would not claim that all the work he has done has been flawless,” said Kastner, “to me there remains at least an aspect to the work he’s done, regardless of what may or may not have come later, that represents a fearless standing up to authority, taking significant personal risks to expose abuses of power and to help improve people’s lives by making them better informed about governments and surveillance.”

He continued, “As lawyer Margaret Ratner Kunstler explains in the film, in an era in which journalism has shrunk and become ever more controlled by government and/or large corporations, the significance of so-called leakers and hackers has grown to become one of our last sources of unfiltered news and information.”

Kastner gave the examples of WikiLeaks having “released Chelsea Manning’s leaks, including the ‘Collateral Murder’ video of American drones killing civilians and journalists in Iraq in 2007, and a trove of Hillary Clinton’s emails in 2016, among many other controversial releases.”

In 2013, Snowden, “a former contractor for the National Security Agency, America’s cyber-intelligence gathering service … leaked a vast trove of documents revealing the information gathering practices of the US and its ‘Five Eyes’ allies countries, including how data was gathered covertly on their own citizens,” said Kastner.

With Snowden, the filmmaker added, Appelbaum “helped the journalists to whom Snowden leaked his documents both manage the technology involved, and investigate and disseminate stories arising from Snowden’s leaks, including penning a cover story in German newsmagazine Der Speigel revealing that the US was spying on Chancellor Angela Merkel’s cellphone.”

Nobody Wants to Talk About Jacob Appelbaum was about five years in the making.

“It was a slow and wary process, once contact was made, of gaining access to Appelbaum and establishing trust on both sides,” explained Kastner. “I knew he was a controversial, brilliant and at times troubled figure, but I approached the story with an open mind. It struck me as a fascinating story in which one person’s trajectory tracked the rise and fall of a movement that, for a time, was rocking the world.

“I worked with a team of researchers to gain necessary context and try to build relationships within this very wary community. I worked extensively – features, in my experience, take six months or so in editing – with my collaborator Michael Hannan in the edit suite, to try to craft a film that would make the audience experience the real-life spy quality I experienced in entering into Appelbaum’s world, in which things, at times, seem too fantastical to be true – but sufficient evidence is there to suggest they are not false.”

Kastner’s many credits – through his and wife Laura Baron Kastner’s Cave 7 Productions – include The Skyjacker’s Tale (2016), There Are No Fakes (2019) and Charlotte’s Castle (2023). Cave 7 documentaries have not only garnered award recognition but inspired action. There Are No Fakes, for example, helped launch “a criminal investigation into widespread fraudulent production of and distribution of Indigenous art,” leading to “eight arrests, 40 charges laid and 1,000 paintings seized,” notes the company.

As a documentarian, Kastner is especially aware of the evasiveness of “the truth” and its often-subjective nature. While he said, “I still admire the same qualities about Appelbaum that first drew me to the subject, his political spirit and work,” the making of the documentary took him to all sorts of places he hadn’t expected.

“Learning about the community from which he and Assange sprung made me realize the film was about a larger story, larger issues which the narrative of Appelbaum’s life raises,” said Kastner. “You don’t have to like him, the film is not an apologia or a hagiography. I investigate the accusations as extensively as possible. Ultimately, as the title suggests, the film equally became about the people who don’t want to talk about him, and the many reasons for that. I don’t think I had fixed ideas about the ‘truth’ going into this film. I don’t pretend the film leaves with any one conclusion, but rather hopefully, is the jumping-off point for further discussion.”

For tickets to a screening, visit viff.org/whats-on/nobody-talk-jacob-appelbaum. The documentary will start streaming on CBC Gem on June 26.

Art transcends our lives

Little Richard, left, and Jackie Shane. A still from the film Any Other Way: The Jackie Shane Story, which closes the DOXA Documentary Film Festival on May 11. (image from NFB and Banger Films)

An incredible voice, a charismatic performer, a unique human being. Yet, most of us have never heard of Jackie Shane, a rising R&B star in the 1950s and ’60s, who appeared to disappear in 1971.

Michael Mabbott and Lucah Rosenberg-Lee’s feature-length documentary Any Other Way: The Jackie Shane Story closes the DOXA Documentary Film Festival on May 11 at Simon Fraser University’s Djavad Mowafaghian Cinema. In addition to Toronto Jewish community member Rosenberg-Lee, who may attend the festival, Winnipeg Jewish community member Toby Gillies is coming to Vancouver with co-director Natalie Baird for the May 10 screening of their short, Don’t Let the Sun Catch You Crying, which also takes place at SFU’s Djavad Mowafaghian Cinema.

An R&B legend

A Banger Films and National Film Board of Canada co-production, Any Other Way mixes animation and real-life footage, using Shane’s music, recorded phone conversations between Mabbott and Shane, as well as other interviews, photos and the sole recorded performance of Shane to tell the transgender artist’s story. And it’s a fascinating story, from her leaving her home of Nashville, because of safety concerns, as a queer person, to being a musician in a traveling carnival, to leaving the carnival for Montreal, then leaving Montreal for Toronto, where she immediately felt at home.

By 1963, Shane was a sensation. Her recording of “Any Other Way” was a hit, even though radio stations in Toronto at the time generally did not play Black music – people called CHUM Radio so much they had to play the song and it rose to #2. Shane was invited onto The Ed Sullivan Show but turned them down because they wouldn’t let her perform with makeup, dressed as she wanted; she didn’t do American Bandstand, saying it was a racist show. Shane chose not to do other shows or tour. She recorded her one live album in Toronto.

But not being able to be her true self took its toll and Shane walked away from her success in 1971, changed her name and moved. “I chose Los Angeles because I wanted to feel something else,” she says in the film.

For family reasons, she eventually had to return to Nashville, where she became a recluse, only emerging in 2016 for a reissue of her songs. Nominated for a Grammy in 2018, she was ready to tour, but died in 2019, before that could happen.

Among the treasures found in Shane’s storage unit was an autobiography she had handwritten, as well as unreleased recordings.

“Those discoveries … were incredible,” said Mabbott in an interview on the NFB website. “After Jackie passed away, we started working with her family, who didn’t know that Jackie existed, and then inherited her incredible archive. As they were discovering who Jackie was, we were understanding her through her jewelry and tapes. What was also born out of that is the family’s story, which was a slightly unexpected creative approach.

“Hearing the family talk about her, learn about her legacy and describe what it meant to them was obviously very personal but also really universal. This is a family that lived blocks away from her, didn’t know she was there and missed out on having her. I think that a lot of us feel that loss and that translates in all sorts of ways.”

Happy imaginings

image - A still from the short Don’t Let the Sun Catch You Crying, co-directed by Toby Gillies and Natalie Baird, which screens May 10 at SFU’s Djavad Mowafaghian Cinema, as part of this year’s DOXA festival. — A still from the short Don’t Let the Sun Catch You Crying, co-directed by Toby Gillies and Natalie Baird, which screens May 10 at SFU’s Djavad Mowafaghian Cinema, as part of this year’s DOXA festival. *(image from NFB)*

The NFB short film Don’t Let the Sun Catch You Crying also explores loss. The PR material describes the seven-minute work as a “meditation on love, grief and imagination,” which “celebrates life and the transformative ability of art to elevate and transcend us.”

Featuring Edith Almadi, the short uses Almadi’s artwork and words to spur contemplation of the bonds people form, and what it’s like to lose a loved one. In this case, Almadi is recalling her son, who recently died.

“I fly with him,” she says, and she feels happiness. In the animation of Almadi’s artwork, we see her son fly to the moon and beyond, with fairies, butterflies and other creatures. Not only is she with her son in her art, but also with everyone she loves. In her imagination, she is totally free.

“Our initial motivation for interviewing Edith was to save memories for ourselves – we find the way she speaks fascinating and poetic,” write Gillies and Baird in a directors’ statement. “When Edith looks at her drawings, she sees her memories and fantasies. She is able to escape her physical circumstance, through entering her marker and watercolour worlds.”

Gillies and Baird have led an art program at Winnipeg’s Misericordia Health Centre since 2014, and that’s where they met Almadi, a Hungarian immigrant in her late 80s, who uses a wheelchair.

“In our time knowing Edith, she has always loved sharing her outlook publicly,” the directors write. “As we have developed the film, we have shown Edith our progress along the way. She says, ‘That’s me’ and ‘That’s all I have to give’ proudly. Facilitating art-making in this personal care home has allowed us to meaningfully connect with many people in their last stages of life. As directors, this film gives us the opportunity to share this one particular experience of intimacy found through collaborative art-making.”

DOXA runs May 2-12. For tickets and the full festival lineup, visit doxafestival.ca.

Drama & more at film fest

Yoav Brill’s documentary Apples and Oranges, about a moment in the history of the kibbutz movement, is mesmerizing. (photo by Avraham Eilat)

The 2024 Vancouver Jewish Film Festival takes place in person April 4-14 and online April 15-19. As usual, a diversity of offerings is included in this year’s festival and the Independent will review several films in this and upcoming issues. The Vancouver Jewish Film Centre also sponsors events throughout the year and some screenings take place before the annual festival begins. Full festival details will be online at vjff.org as April approaches.

Idealism remembered

Amid the euphoric aftermath of the 1967 war and the enduring popularity of the 1958 Leon Uris book Exodus (and its 1960 film incarnation), thousands of Jews and non-Jews descended on Israel to volunteer on kibbutzim.

They came to experience and emulate “the embodiment of man’s highest ideals – the kibbutznik,” as an apparently promotional film clip declares in Yoav Brill’s mesmerizing documentary Apples and Oranges. In just one particular spurt, 7,000 volunteers arrived in Israel en masse from around the world.

Through the recollections of aging Scandinavians, Brits, South Africans and others, and with nostalgia-inducing archival footage, the documentary shines a light on the socialist idealism and hippie adventurism that motivated these people to travel to the farming communities of rural Israel. Many returned, to Sweden, Denmark, wherever, and formed associations to support the kibbutzim and drum up more volunteers. So successful were they that the supply exceeded the demand. One group chartered a jumbo jet to go from Stockholm to Tel Aviv but the Israelis had to admit they had no use for 340 volunteers.

Generally, the spirit of the overseas visitors was welcomed, though the social impacts were not negligible. The temporary nature of their visits was disrupting. A middle-aged man reflects on his perspective as a kid on a kibbutz, welcoming all the strangers who became like big brothers and sisters, only to have his heart broken every time the groups departed from what he calls “the kibbutz fantasy.”

Strangers from another world – blond, exotic, sophisticated and drinking milk with their meals – descended on a cloistered society where all the teens had been together since kindergarten, introducing predictable social and hormonal disruptions. For their parts, many of the volunteers soon discovered they had no aptitude for the tasks to which they were set, although at least one Brit made use of his talents performing Shakespeare for an audience of cattle.

Many of the overseas youngsters were unabashedly out for sex, drugs and rock ’n’ roll. As one woman interviewed in the documentary says, “If there weren’t female volunteers at [Kibbutz] Mishmar HaSharon, many of our boys would still be virgins.”

In one incident that apparently caused national outrage, a group distributed hashish-laden brownies to an entire community, including at least one 8-year-old child, a crime that is not the least bit funny – but, of course, is hilarious when recounted by octogenarians who experienced it.

With their Cat Stevens and Bob Dylan LPs, the foreigners brought a little bit of Woodstock with them, and took away some Israeli dance routines. But the adventure, as the viewer knows more than do the figures in the old footage, would not end well. Terrorism, including a highly publicized attack in which a volunteer was murdered, would strangle the flow of future volunteers.

The documentary is a masterpiece of the genre, capturing the joy and exuberance of the experience for both Israelis and the visitors, but addressing the serious problems the interactions raised. The clash of cultures introduced existential issues, including around conversion, mixed marriages, secularization and, of course, the collapse of the traditional kibbutz.

The apples and oranges of the title, we are to understand, are the people who came together on the kibbutzim, as much as the produce they harvested.

Critics of the volunteer phenomenon seem to place some of the blame for the collapse of the kibbutz system on the labour underclass they represented, which undermined the egalitarian foundations of the movement.

The kibbutz network has largely petered out, almost entirely in spirit if not completely in form, and some of the Jews and non-Jews who came during the heyday have remained and integrated to varying degrees in the society that Israel has become. In one instance, an aging, bearded former volunteer actualizes his idealism by leading a ukulele orchestra.

The collapse of the idealistic experiment that the end of the film documents is expected but no less depressing for that. The slice of history and the magnificence of the story, so vividly told in the film, will stay with the viewer.

Transcendence of song

photo - In Less than Kosher, the real star is the voice of Shaina Silver-Baird as Viv, an atheist turned cantor — In Less than Kosher, the real star is the voice of Shaina Silver-Baird as Viv, an atheist turned cantor. *(photo from Menemsha Films)*

In Less than Kosher, a number of fairly two-dimensional character sketches come together – but with a redeeming twist.

A feature film that began its life as serialized online videos has the feel of excellent amateurism. Wayward Jewish girl meets rabbi’s bad boy son. Overbearing Jewish mother, well-intentioned buffoonish rabbi, go-along-to-get-along intermarried stepdad and hyper-chatty high school friend flesh out the cast.

Sitcom-like circumstances turn the atheist young woman into unlikely cantor. But the outstanding component of the film, the real star, is the voice of Shaina Silver-Baird, the lead actor and co-producer (with Michael Goldlist) of this cute confection.

The unlikely cantor Viv, whose once-promising pop music career is on the skids, has the voice of an angel and the story is less about her family or her romance with the (married) rabbi’s son than about the transcendent power of song. When she opens her lungs, Viv ushers in a changed world – and Silver-Baird’s voice invites the viewer into it. Music video-style segments, which Viv is dismayed to have dubbed “Judeopop,” raise the film to a different level. Liturgical music goes Broadway. Amy Winehouse does “Shalom Aleichem.”

A tiki-themed shiva is truly the icing on the sheet cake.

Mysterious case

photo - The Goldman Case is a dramatic reenactment of the case of Pierre Goldman — The Goldman Case is a dramatic reenactment of the case of Pierre Goldman. *(photo from Menemsha Films)*

He was guilty of much, but was he guilty of murder? Pierre Goldman maintained he was innocent of the latter charges and a based-on-a-true-story film explores not only a man’s possible guilt but the intergenerational impacts of Polish-French Jewish life in the mid-20th century and their potential explanations for some unusual behaviours.

The Goldman Case is a dramatic reenactment of a famous (in France, at least) case of the Jewish son of Polish resistance heroes, whose own life was impacted by an apparent need to fill the giant shoes of his parents. The son wanted to be “a Jewish warrior” and so became a communist revolutionary, traveling to Latin America, Prague and elsewhere in search of opportunities for valour.

Charged with a series of crimes, including the murder during a holdup of two pharmacists, Goldman was convicted in 1974 and sentenced to life imprisonment, though he maintained he was innocent in the two deaths. Following the 1975 publication of his memoirs, the judicial system reconsidered his case and major French voices, including Jean-Paul Sartre, took up his cause. This film is a (massively condensed) court procedural of that retrial.

Goldman’s Jewishness was not on trial but, interestingly, his defence team built their case partly around his family’s experiences.

The case – and the film – end with a new verdict. But the dramatic story would continue. Audiences will no doubt race to Google more about Goldman and his crimes and punishments. Enduring mysteries, though, will make the search necessarily unsatisfying. This cannot be said of the film, though, which is a gripping enactment, enlivened by the extremely animated courtroom drama, which suggests the French judicial system tolerates a great deal more outbursts than we expect in Hollywood depictions of North American judicial proceedings.

The choice to convert

Adam is one of the potential converts interviewed in the documentary Converts: The Journey of Becoming Jewish, directed by Rebecca Shore and Oren Rosenfeld, which is part of this year’s Vancouver Jewish Film Festival. (photo from convertsmovie.com)

A religion that encourages questions, one in which people can speak directly with God. A religion that’s thousands of years old, which so many have attempted to wipe out, yet still flourishes. A religion that’s intellectual and communal, which involves both the head and the heart.

photo - Dana — Danya *(photo from convertsmovie.com)*

These are just some of the aspects of Judaism highlighted in Converts: The Journey of Becoming Jewish, directed by Rebecca Shore and Oren Rosenfeld. The 70-minute documentary is part of this year’s Vancouver Jewish Film Festival, which runs April 4-14 in theatres and April 15-19 online.

Converts follows Adam, Danya and Bianka as they go through the conversion process. Each have their own reasons for wanting to become Jewish.

Adam, a student at York University when we meet him, grew up in a violence-filled neighbourhood in Toronto. His father used the family’s savings – that could have gone into moving the family elsewhere – to establish a church, which failed. Adam was attracted to Judaism because, unlike the Christianity he grew up with, Judaism gave him the space to ask questions and to speak with God directly, though giving up belief in Jesus was hard, he admits.

Danya, a businesswoman from Costa Rica, found out in high school that she has Spanish-Portuguese Jewish roots, that her ancestors were forced to convert to Catholicism from Judaism centuries ago. She feels that ancestral pull and uproots her life, traveling to Israel with her daughter in the hope of converting and living there.

photo - Bianka — Bianka *(photo from convertsmovie.com)*

Bianka, a PhD student in chemistry at the University of Warsaw, lives in Radom, Poland. She immerses herself in a few other religions before finding comfort in what she considers Judaism’s scientific approach, but also in the warmth of the Jewish community, which she discovers by attending synagogue and holiday events.

Well-constructed and well-paced, Converts is a fascinating look at identity, family, community, religion, the search for meaning and the possibilities of change and self-actualization.

For tickets to the film festival, visit vjff.org.

Resistance screens here March 3

A still from the documentary Resistance: They Fought Back. (theyfoughtback.com)

Resistance: They Fought Back screens March 3, 2pm, at Rothstein Theatre. Presented by the Vancouver Jewish Film Centre, special guest at the screening will be director Paula S. Apsell.

The film’s synopsis reads: “We’ve all heard of the Warsaw Ghetto Uprising, but most people have no idea how widespread and prevalent Jewish resistance to Nazi barbarism was. Instead, it’s widely believed ‘Jews went to their deaths like sheep to the slaughter.’ Filmed in Poland, Lithuania, Latvia, Israel and the U.S., Resistance: They Fought Back provides a much-needed corrective to this myth of Jewish passivity. There were uprisings in ghettos large and small, rebellions in death camps, and thousands of Jews fought Nazis in the forests. Everywhere in Eastern Europe, Jews waged campaigns of nonviolent resistance against the Nazis.”

For tickets ($10) to the screening, visit vjff.org.

– from theyfoughtback.com