film festival

Feeling lucky, grateful

Aiden Cumming-Teicher celebrated his bar mitzvah by organizing Our Voices. (photo from Aiden Cumming-Teicher)

Aiden Cumming-Teicher got his start in acting at the age of 9. In the four years since then, he has played leading roles in numerous films and documentaries, receiving several Joey Awards nominations for his acting and winning a Young Entertainer Award in Los Angeles. For Beyond the Sun, he spent two months shooting in Argentina last year. He describes the film as “a religious adventure movie for kids.” The film – which features Pope Francis – was a highlight of his career so far, he said.

This year, Aiden celebrated his bar mitzvah in a novel way: by organizing Our Voices, a film festival that put child and youth filmmakers in the spotlight. Said Aiden of his unusual choice, “I wanted something that wasn’t all about me, something that gave back to other people, gave them the chance to express themselves and the opportunity to be heard and celebrated.”

Our Voices received more than 200 submissions from around the world and the contest culminated in a screening at Hollywood 3 Cinema in Pitt Meadows on Nov. 4. The entries represented a wide range of

genres and narrative styles: documentaries, films about relationships, films about giving kids the tools to deal with anxiety, music videos, comedies. The selections were judged by a panel that included professionals in the movie industry, with Aiden having the final say on the winners. His favourite movie was A Pencil, a satire on Apple. “It didn’t really fit in the categories so we created a Wildcard Award,” said Aiden. “We also made a Tikkun Olam Award for another wonderful film from Australia, Today?, which was about giving kids the tools to express themselves, finding solidarity against bullying.”

Admission for the screening of the 60-plus films was by donation, with the proceeds being donated to B.C. Children’s Hospital. Aiden presented a cheque for $610 to the hospital on Nov. 7, to show his gratitude for the care they have provided him, his friends and family.

“A big part of my life is finding ways to give back, because I know that I have been blessed,” said Aiden. “My family has faced difficult times – such as my mom’s cancer diagnosis a few years back – but we have always found ways to make it through.”

With his parents, Chris and Apis, Aiden helps others, despite whatever adversity he might be facing. “When my mom was sick, we made a kids book to help others going through the same thing. It’s available as a free PDF to anyone that needs it, and some printed copies have been given away too.”

Regarding his approach to tzedakah, he said, “A big part of this is feeling that we are helping to heal the world, even a little. I can’t fix everything, but being a kid doesn’t mean I’m helpless. I can still make a difference, even if it’s a small one.”

He credited his family for his sense of agency. “I am really thankful that I have a very strong, loving family, and that we tackle all challenges together, perform mitzvot together.”

This was certainly the case with a documentary he made on Vancouver Island, about saving at-risk salmon fry during a brutal drought.

Some of Aiden’s philanthropic work has brought him into contact with the harsh potential realities of life as a young adult. In 2016, he received an award at the Wall of Stars, an annual event that celebrates excellence in entertainment, with an emphasis on mutual support among artists. “The best part was that it was presented by Ms. Carol Todd, mother of Amanda Todd,” he said, referring to the teen who committed suicide in 2012 after relentless bullying. “My mom was there to see it,” he said.

Reflecting on the personal rewards of his work, Aiden said, “Making this film festival made me very happy. We got to see so many perspectives from around the world and see so many different lives.”

The big picture, though, is the impact of all this on the world around him. “I have been lucky,” he said, “to be in projects that all have a positive message.”

Shula Klinger is an author and journalist living in North Vancouver. Find out more at shulaklinger.com.

Living in hospital limbo

A scene from Muhi: Generally Temporary, which screens Nov. 21 as part of the Victoria International Jewish Film Festival. (photo from Medalia Productions)

Veteran Israeli photojournalistRina Castelnuovo-Hollander wasn’t looking to make a transition to movies when she was introduced to Muhi. In fact, she wasn’t remotely prepared for their chance meeting.

In 2013, she was working on a series of portraits for the New York Times of Israelis and Palestinians who had lost family members in the conflict. Palestinian elder Abu Naim and Israeli activist Buma Inbar arrived for their photo session with Naim’s grandson, a small boy named Muhi, whose limbs had been amputated.

“It was hard for me,” Castelnuovo-Hollander recalled with a bit of embarrassment. “‘How am I going to photograph him?’ The picture I published in the New York Times – I can’t believe it today – nobody can see that Muhi has no legs and no arms. He’s semi-concealed, because I wasn’t sure yet what the story was.”

The story, she soon learned, was that Muhi had been born in Gaza with a life-threatening immune disease. As a baby, he was brought to an Israeli hospital where the doctors deemed it necessary to amputate Muhi’s arms and legs to save his life.

Castelnuovo-Hollander and Tamir Elterman’s profoundly moving documentary, Muhi: Generally Temporary, screened at the Vancouver Jewish Film Festival (which is on until Nov. 12) and is also part of the Victoria International Jewish Film Festival, which runs Nov. 18-21. The film depicts the complicated, absurdist existence of the boy and his grandfather – who continue to live at the hospital. If they go home to Gaza, Muhi will likely die without adequate care and facilities. So they stay, but Naim is unable to obtain a visa or work permit.

The poignancy of Muhi’s situation is exacerbated by the extraordinary difficulty that his mother encounters obtaining documents and navigating the checkpoints. This political backdrop informs Muhi, and Inbar plays a key supporting role in the film by reaching out to and negotiating with Israeli authorities in ways that neither Naim nor Muhi’s mother can.

The core of the film, however, is the strong-willed, funny and occasionally rebellious boy for whom it is named.

“I was around Abu Naim and Muhi for almost a year before I came up with the idea that we want to do a film,” Castelnuovo-Hollander said during an interview this spring when the film had its world première at the San Francisco International Film Festival. “First, I did stills, then interviews just to research, then I started filming with an iPhone, and then with a camera. Then I joined forces with Tamir, and we said, ‘Let’s try and do a film.’ So there were a few stages and, by then, Abu Naim trusted me that I didn’t come to destroy his world or expose something.”

Castelnuovo-Hollander had long stopped seeing Muhi as a boy with a disability by that point, and related to him as she would anyone else. She also realized that a film was necessary to convey Muhi’s personality and character, along with his bizarre state of limbo.

“When we started speaking about this,” said Elterman, “Rina told me, ‘I’m taking photographs and this kid’s amazing and there are extraordinary relationships, but these people need to speak. People need to hear Muhi, and see him in action.’ He sees himself like anyone else and, when you interact with him, after five minutes, you see him as everyone else. But that’s a function of meeting him and getting to know him in a way that still photos don’t allow you to do.”

Elterman, who was born in Berkeley, Calif., to Mexican parents and moved to Israel after college – and then returned to New York to earn his master’s before returning to Tel Aviv for good – met Rina when he was making two- and three-minute films for the New York Times’ website.

“I’ve always been interested in the mixing of worlds coming together and what happens at that intersection,” Elterman explained. “It might have been serendipitous, but this story and this setting was perfect for what I’m interested in exploring.”

For her part, Castelnuovo-Hollander preferred a novice filmmaker to a veteran.

“He came without preconceived ideas, and that was a very important thing for me,” she said. “Tamir reacted enthusiastically to this story, so I knew he was going to be the right person to spend long hours with no pay. You can laugh, but that’s how it is. We did it for passion, basically.”

Muhi is at the Roxy Theatre in Victoria on Nov. 21, 6:30 p.m. For the full Victoria film festival schedule, visit vijff.ca. For the remaining screenings of the Vancouver festival, visit vjff.org.

Michael Fox is a writer and film critic living in San Francisco.

Becoming who we are

One of the best parts of Moos, which screens Nov. 10 as part of the Vancouver Jewish Film Festival, is the friendship between Moos (Jip Smit) and Roel (Jim Deddes). (photo by Greetje Mulder)

Moos is a delightful and unpretentious film. The title character is a truly nice person, so busy taking care of others that, not only do her dreams fade into the background, but she does. When a close family friend toasts everyone at the Chanukah dinner table but forgets Moos, she drops her news – she’s going to audition for theatre school.

In this light and uplifting Dutch contribution to the Vancouver Jewish Film Festival, which runs to Nov. 13, no one believes that Moos has the talent or confidence to pass the auditions and, well, she doesn’t, but her attempt starts her on a path of self-discovery and self-assertion. On their own personal journeys are Moos’ father, who must also become more independent and move through the loss of his wife, and Sam, a childhood friend of Moos who returns from 15 years in Israel for a visit and discovers that maybe he belongs in Amsterdam.

“I wanted to make a film about ordinary people in a world where beauty and appearance are everything,” writes director Job Gosschalk. “Not a glamorous romantic comedy but a film about two people who were not first in line when they were handing out good looks. There are enough stories about heroes. This would be a small story about daily troubles. I wanted to give the audience characters they could easily identify with.”

Sam, Moos and the other characters do seem like people viewers might actually know. And, while as predictable as most rom-coms, Moos has its own sense of humor and style. In addition to telling a good story, the film reinforces the importance of trying something (more than once) and of supporting (and being supported by) your family and friends – one of the best parts of the film is the friendship between Moos and Roel, who does get into theatre school. The value of tradition and ritual also play a large part in the film, which starts on Chanukah and features a bris and a bar mitzvah – for different boys. Moos is a really enjoyable hour and a half.

In the documentary realm, Mr. Gaga is a joy to watch if you’re a fan of contemporary dance. Full of excerpts from his masterful choreographic creations, the film also features many video clips of Ohad Naharin – as a boy dancing, as a young man trying out moves in his apartment, as a student, as a performer and as a teacher.

Naharin has been artistic director of Israel’s Batsheva Dance Company since 1990 and is the founder of his own language of movement, Gaga. His brilliance is evident from his work and, while Mr. Gaga, oddly enough, doesn’t tell viewers much about Gaga, it does offer a meaningful introduction to Naharin, his career path, relationships, method of work, love of dance.

“Dance started in my life as long as I remember myself,” he says. But, when asked by a reporter why he dances, instead of simply saying, there is “no one clear answer,” as he does in the documentary, he makes up a fantastical story about a tragedy involving a fictional twin brother and a grandmother dying in a car accident. It would be an understatement to say that Naharin has an active imagination and the courage to use it.

Naharin only started formal dance training at 22, and he credits his late start as a reason for his success: “… I was a lot more connected to the animal that I am.” A dance teacher notes, “what he did was different.” It certainly was – and is. Mr. Gaga shows just how creative and exacting a person Naharin is, some of the challenges he has faced, the losses he has mourned, the temper he has tried to quell, and his efforts to become a better communicator and teacher. As we all are, Naharin is a work in progress.

Another documentary in the festival is a local community project: A Life Sung Yiddishly about singer Claire Klein Osipov, made by Haya Newman. For viewers unfamiliar with Osipov and her accomplished lifetime career performing Yiddish folksongs – for the most part with pianist and composer/arranger Wendy Bross Stuart – the film touches on some highlights and serves as an important video record.

For the full festival lineup, visit vjff.org.

Embarking on career

Rami Katz (photo from Rami Katz)

Fish Soup, a 10-minute documentary by Vancouver-based filmmaker Rami Katz, screened at the Toronto Jewish Film Festival last month.

The film is an exploration of Katz’s family and their cultural traditions through the making of a fish soup. He has also submitted the documentary to the Vancouver Jewish Film Centre for consideration in its annual festival, which takes place in November.

“It was this program that motivated me to go on to film school at Simon Fraser University,” Katz told the Independent. “At the time, there were no documentary courses being offered, so my undergraduate film school experience was mostly in narrative filmmaking. But, in my third year, I interned for John Zaritsky, a veteran documentary filmmaker, and he ended up hiring me after I graduated. He has kept in touch as a friend and a mentor ever since, and has definitely been a huge inspiration to me.”

In addition to the industry itself, Katz has been influenced by professors, peers and his studies at the University of British Columbia.

“It has been an enriching experience to spend time with like-minded individuals who share similar passions for documentary film,” he said. “In 2014, I decided to go back to school to pursue an MFA in film production at UBC, which would allow me to grow and develop as a filmmaker, creatively and intellectually, and dedicate myself more fully to my own personal work. I made Fish Soup in a documentary class at UBC, taught by Cari Green and Bruce Spangler, both nurturing and supportive teachers.”

Fish Soup was developed after Katz told his partner, Sarah Sheridan, a humorous story about his father. After hearing the anecdote, Sheridan suggested that Katz make a film about it. He liked the idea of working on a personal project, as he had never before even considered making a documentary about his own life.

“I think everybody has a family recipe and everyone has a family story, so this film kind of taps into that and, hopefully, gets people thinking about their own stories they want to share. For me, this was also a way for me to connect to my own grandfather, whom I was named after but never got a chance to meet because he died before I was born.”

At the Toronto Jewish Film Festival screening of Fish Soup, Katz was able to include both Sheridan and his brother Raphael in the event. After the screening at the Royal Ontario Museum, Katz and his family were treated to a Shabbat dinner at the Free Times Café.

Though highly inclusive of both his family and his colleagues, Katz said creative control was paramount to successfully completing the documentary.

“I think, for a personal film, creative control is hugely important. It’s especially important if it’s a passion project, if you’re not getting paid to make it. It’s important to note here that my crew wasn’t getting paid as well, and they are putting in a lot of hours and energy and were hugely influential in the creation of the film. Sarah helped a lot with the initial concept and project logistics. She truly was a driving force behind the film and I couldn’t have made it without her help and support.”

Katz also expressed his gratitude to Ben Leyland, William Drobetsky and Felix Oltean.

When asked how Fish Soup touches on the importance of upholding familial traditions and values within the larger Jewish culture, Katz said, “I’m not very religious, but a lot of the cultural aspects of Judaism and some of the traditions are important for me. I like to celebrate the holidays and, for the past eight months or so, I’ve been observing Shabbat in my own way. Sarah and I recently hosted our first Passover seder, and we’re starting to do Shabbat dinners every now and then with friends. I think this film helped me to connect with my cultural roots and observe aspects of Judaism that are most meaningful to me.”

Katz is currently filming his master of fine arts thesis film at UBC – a documentary on the life and work of Vancouverite Jack O’Dell, 93, who was an influential figure within the African-American civil rights movement.

Jonathan Dick is a freelance writer living in Toronto. His writing has appeared in the Canadian Jewish News, and various other publications in Canada and the United States.