Category: Arts

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Highlights from the Festival du nouveau cinéma

The Student, a Russian film based on a German play, takes a look at religion and atheism in Russia.

Here’s a look at a few of the festival’s films that have stood out so far for their remarkable storytelling

In this second week of the Festival du nouveau cinéma, let’s take a look back at some of the best films screened so far—some of these will be screened again, and all are expected to play in theatres.

American Honey

Undoubtedly one of the best films of the year, American Honey is the worthy winner of the Jury Prize at Cannes—the third such win for English director Andrea Arnold. It is a wild and memorable alcohol-fueled road trip through an invisible America, one of social outcasts and abandoned youth. Don’t let the 162-minute running time scare you away—this is an experience that deserves to be stretched out. For its startling authenticity and social realism, it demands comparison to the Dardenne Brothers’ best work. While it presents characters and situations that often feel all but hopeless, it never loses sight of the light at the end of the tunnel—one that is sometimes just a flicker, but can grow into a camp fire. Also, this film should end the debate on whether or not Shia Laboeuf can act. Spoiler alert: he can.

The Student

This is a rare and important look at religion in Russia—a once atheist country that is no longer averse to embracing fundamentalism when it suits a political purpose. It is odd to realize the film is based on a German play, when everything in it feels topical and adapted to the reality it depicts. A high school student suddenly and inexplicably becomes a Christian fanatic, interpreting the Bible as a call to arms in this tense and staggering story. If the film is somewhat didactic in its approach, it feels not preachy, but well-measured—in fact, much of the dialogue is lifted straight from the Bible—with the sources, such as book and chapter numbers appearing on the screen, and the structure seems to reference the great anticlerical texts of the Age of Enlightenment, something out of Voltaire.

Neruda

Nowhere near an ordinary biopic—or even, perhaps, an ordinary film—this is a fittingly poetic exploration of Nobel Prize winner Pablo Neruda’s persona and art, depicting an episode of Chilean history through playful, contemplative experimentation with form and content. Luis Gnecco, as Neruda, on the run when Chile outlaws the Communist Party to which he belongs, and Gael García Bernal, as the inspector on his trail, are exquisite in ways that transcend the conventional cat-and-mouse relationship you would expect. The unnatural colours and dreamlike editing create a distinct environment in which truth and fiction overlap in tribute to a larger-than-life character.

Aquarius

Controversial in Brazil, its country of origin, for political reasons that have more to do with the filmmakers than with the film itself, this is a sensitive character study elevated by a career-defining role for aging legend Sonia Braga. A woman refuses to give up her apartment when the building is being bought up by a conglomerate that plans to destroy it. She hangs on to the apartment as a piece of the disappearing world she was once a part of. She knows she will die, and she knows the building will eventually be gone, but she will not allow it to happen on her watch. The accumulation of subtle details and elements of the woman’s life creates a portrait that conjures up feeling and respect for her.

American Honey will be released on Oct. 14. Neruda will be released on Dec. 16. Aquarius will screen again Oct. 15 at 6 p.m. at Cinéplex Odéon Quartier Latin (with French subtitles). Release dates for Aquarius and The Student have not yet been announced.

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Migrant workers in Canada: the new second-class citizens

Migrant Dreams looks at the inhumane way workers from abroad are treated in Canada

On Oct. 17, Cinema Politica will be screening Migrant Dreams, a documentary exploring the situation of migrant workers in Canada. The topic of immigration has been discussed at length in Canada due to the large number of immigrants accepted into the country. However, there is a difference between immigrants and migrant workers. Immigrants come here for permanent residence, whereas migrant workers come to Canada for seasonal employment. The topic of migrant workers is studied in Migrant Dreams (2016), a documentary directed by Min Sook Lee.

The documentary is set in Leamington, Ont., a common destination for migrant workers as there are several farming companies located in the area. The process begins with so-called agents, individuals hired as middlemen who look for workers to bring to Canada, recruiting foreign workers and having them sign a contract to work as seasonal farmers. These contracts are written in English, a language spoken by only a select few of the applicants who hail from countries like Indonesia, Guatemala and Jamaica.

In Leamington, Ont., migrant workers are threatened with deportation if they do not comply with the demands of their supervisors.

Once the workers arrive in Leamington, they are faced with the harsh reality of life as a migrant worker. They are bullied by their recruiters who demand up to 30 per cent of their weekly paycheck to cover their transportation and rent fees—unaware that these requests are illegal.

The documentary showcases the workers’ abysmal living conditions, including footage of 26 people sharing what seems to be a garage equipped with only three bathrooms. Some of the dorms are infested with cockroaches, and the employees are under constant surveillance by their employers.

However, not all the workers remain silent as their employers benefit from the workers’ naivety and desperation. In the documentary, Umi, a migrant worker from Indonesia, explains how she stood up to her boss and recruiter by renting her own apartment. Although she is now living in better conditions, she is still a victim of extortion. Her hours were reduced to discourage other workers from undertaking similar actions, and her employer still holds the threat of deportation over her head. Her apartment was even been raided by people who were looking for her passport.  Regardless, Umi is forced to continue working for this company, because Canadian law prevents migrant workers from seeking other employment once they’re in the country. Sadly, Umi is just one among thousands of migrant workers being exploited.

This documentary seeks to educate viewers and raise awareness about the extortion of migrant workers. Organizations, such as  Justice for Migrant Workers, promote farm workers’ rights and freedoms, but documentaries like Migrant Dreams are crucial for inciting political and social change as they discuss a topic too often overlooked by mainstream media.

Migrant Dreams will screen at Cinema Politica on Oct. 17 at  7 p.m.

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Puzzling play comes to Montreal’s English theatre

Zachary Creatchman, who plays Jerome, is the only actor who did not play multiple roles.

Jerome of Sandy Cove crawls from a Nova Scotia bay to Mainline Theatre

Persephone Productions is bringing its brand new play, Jerome of Sandy Cove, to the Mainline Theatre from Oct. 6 to 16. Based on the true Canadian story of a man named Jerome, who mysteriously washed up on the shores of a Nova Scotia town back in the 1800s, the play examines the man’s life and origins.

Written and directed by Persephone Productions’ artistic director, Christopher Moore, the play features many talented actors including Concordia graduate Natasha Perry-Fagant.

While the performance was engaging, figuring out the plotline without a synopsis is not an easy task. I spent most of the play wondering, “Who was that person supposed to be?” and “Why is this happening?”

The play alternated between a chronological story about Jerome’s life after washing up on shore and various short scenes that depicted his possible life before the incident. The play begins with multiple scenes where the dialogue is solely in Italian. At times, it was easy to follow along, however, I feel like I missed many important pieces of information altogether.

Spoiler alert: the Italian man who I presumed to be Jerome is quite suddenly, and I really mean suddenly, being chased by a police officer and must flee on a ship. While the officers did seem to be explaining his crime, it was in Italian and I was left utterly confused. There were scenes with pirates, confederate soldiers and a random cowboy, all of whom seemed to be random. There was never any solid connection to Jerome in any of the scenes as they were just all speculations. To top it off, almost the entire cast played multiple roles. The plotline wasn’t extremely coherent throughout.

The play did have its upsides though, mostly due to the cast of talented actors. The scenes of Jerome’s life in Nova Scotia featured intriguing interactions between lead actor Zachary Creatchman (Jerome) and the rest of the cast, particularly the female actors. Any scenes with Creatchman and Dawson theatre graduate Dominique Noel were particularly captivating—they drew the audience in with their chemistry. Creatchman is a true artist and, though he did not talk, for Jerome had lost his ability to speak, his eyes and facial expressions captivated the audience with their depth and intrigue.

The music throughout the show was performed live by Sarah Segal-Lazar, and all of the songs and lyrics were written and composed by Segal-Lazar herself. It gave the show a more folksy and intimate feel, and made me feel more at home as an audience member.

While this play featured great acting and did have many heartfelt and humorous moments, it fell short in the plot department, and viewers should definitely read a synopsis before heading into the theatre. The show runs until Oct. 16 at the Mainline Theatre on St Laurent.

Tickets are $20 for students and $25 for the general public. To learn more about the production, visit their website.

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Representing displaced subjects through art

Emma Harake’s works challenge concepts of identity through her cropped photos.

Emma Harake’s artwork offers no background, yet all-the-more backstory

The seven works by Lebanese artist Emma Harake hanging in Théâtre Sainte-Catherine Café-Bar demand speculation.

The Art-UP! IX exhibition, organized by Studio Beluga, features Harake’s female subjects contending with changing concepts of identity and displacement, as they are cropped from their original background. Without any trace of a setting to suggest correct interpretations, viewers must fully engage the drawn female gazes to form their own ideas about these women’s backstories.

Harake, who is currently completing her master’s in fine arts at Concordia, draws the subjects on paper and later traces them with a needle to create depth—like etchings on a zinc plate, in which a sharp tool is used to created a design. She then applies colour to the deep etchings in the paper, what she calls the “scars” of the artworks, before deciding which elements of the background to crop or leave behind.

Her artistic influences, ranging from anime movies to comic books and literature like Arabian Nights and Le Petit Prince, help Harake imagine background stories for the out-of-place subjects hanging in frames. “Whenever I start a new project, I enjoy weaving stories and imagining alternative settings,” she said.

Harake sourced the female subjects from her family photos in a rather unconventional way. “Most of them are paintings of anonymous women found in the background of old family albums,” she said. “They are cropped out of their environments and striped of visual distractions.”

While scanning her collection of family photos, Harake became intrigued and later obsessed with a woman wearing a tight robe and high heels standing in the background of a birthday party scene. Her speculation of the woman’s identity inspired Harake to search for other photographed strangers to generate stories for—eventually leading her to create the series displayed at Théâtre Sainte-Catherine.

In this unique exhibition, the theme of displacement is demonstrated in various ways. The subjects are taken from their already out-of-place setting in the background of Harake’s family photos, and further displaced when the artist crops their drawn backdrops to leave the anonymous women without any context at all.

Although the subjects are anonymous to both the artist and the viewers, their portraits demonstrate relatable experiences of feeling out of place.. One of the larger works, Motherhood (2013), depicts a woman holding a white rabbit wearing a veterinary cone around its neck. Even though the figure is holding the rabbit, she’s not facing the animal or showing it any kind of affection. Her gaze leaves the viewers wondering about her backstory and how ‘motherhood’— of any sort— is significant to her sense of self.

One of the smaller works, titled Bound Together (2013), is relatable to many. “[The piece] investigates the eternal search for home and the modern sense that such a search is an unending gaze towards somewhere else,” Harake said. The woman sits on a pile of suitcases, searching for a comforting place to ease her instability. Although most of the background has been removed, an empty closet rod runs behind the figure’s head. It’s much like when someone moves into a new home and must fill the closets and cupboards with their possessions to make it their own, the piece evokes a sense of displacing oneself to start anew.

Viewers will find themselves engaging with the artworks, questioning the source of the figures’ speculative gazes, and ultimately, becoming just as curious and perhaps as obsessed as Harake was when she first came across that woman in the tight robe who stood frustrated in the background of her family’s photo.

The works will be displayed until Nov. 13, 2016 at Théâtre Sainte-Catherine Café-Bar, 264 Sainte Catherine Street.

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Snap, crackle, chirp: Crickets and the future of food

Although insects are nutritious and viable sources of protein, there is a cultural challenge to serving them for dinner.

Snap, crackle, chirp: Crickets and the future of food

Next time you head to a fancy restaurant for dinner, cricket cavatelli might be one of the menu options, served alongside a hearty mealworm soup and tangy fried tarantula. It might sound revolting at first to picture insects as food rather than annoying creepy-crawlies, but the logic behind it is sound and buzzes with promise.

The idea of eating insects because of their rich source of nutrition and protein is at the heart of Bugs on the Menu (2016), scheduled to air on CBC’s documentary channel in October.

The film explores how insects are currently used as an alternative food source in different cultures in places like Mexico and South Africa.

Produced by Ian Toews and Mark Bradley from 291 Productions, based in Victoria, B.C., the film hops across four continents in an effort to make a case for the human consumption of insects. The film looks at the economical, social and business aspects of bug consumption.

“Ian and I had a meeting, and he suggested insect protein as a possible [film] subject, and I was immediately disgusted,” said Bradley. “When I started looking around and researching, I realized that there were a lot of people in the US and Canada who were working on trying to normalize insect protein.  It really opened my mind to other possibilities for feeding the world.”

According to the film, it is estimated that the world population will swell to over 9 billion people by 2050. Our methods for farming, agriculture and water dispersal are already unsustainable given the current the population size—they will not be able to provide for an even larger global population.

Enter the mighty bug, packing a big nutritional punch in a small package. The dietary wonders of insects are already well-known and touted by the United Nations. The UN Food and Agriculture Association even went so far as to publish a 200-page report in 2013, encouraging restaurants in the food industry to add insects to their menus as a way of reducing pollution, boosting nutrition and curbing world hunger.

The documentary takes an all-encompassing look at the insect industry, bringing in expert opinions as well as anecdotal evidence in support of insect consumption. The film provides statistics and nutritional comparisons between crickets, chicken and beef. The statistics on the feed-to-protein ratio is especially poignant—cows require on average 10 pounds of feed to produce one pound of protein, whereas crickets require only one and a half pounds of feed to produce the same amount of protein.

“Our company and I have always made films about important issues related to environment, human health [and] society,” said Toews. “I’ve always liked the films to show ‘another way’ to do things. Typically that means a ‘better’ way.”

Bradley  hopes the film will engage the audience, and encourage them to think differently about insects. “We want the film to spotlight the issue of food security, and get people thinking about other sources of protein that are not as environmentally harmful as traditional proteins like beef,” Bradley said.

The film is successful in that it normalizes insect consumption through its footage and interviews. The documentary features experts on bug nutrition, the director of the National Institute of Food and Agriculture, and a host of startup, insect-based snack companies, resulting in a solid argument for the implementation of insect-based protein in Western diets.

According to Pat Crowley, an entrepreneur interviewed in the film and the creator of the insect-based protein bar, Chapul, one of out of every 10 people at the Michigan State University annual Bug Buffet were willing to try insects in 2012. Now, only four years later, only one out of 10 people refused at the 27th edition of the festival.

“There is a hurdle in people’s minds that they have to get over,” said Bradley. “But once they do get over their initial apprehension and try their first bite, and once they realize that insects are food just like anything else, people seem very open to the idea.”

In addition to looking at the present situation of raising insects and serving them in different kinds of dishes, the film also looks at the issues on the horizon if and when the mass production and consumption of insects begins. Before insects make the transition from a quirky and adventurous meal choice to an affordable commodity, there must be a modernization to the practice of harvesting bugs.

“We want the film to be part of the movement, part of the solution that is finding other sources of protein for humanity,” Toews said.

Bugs on the Menu airs on Oct. 11 at 9 p.m. ET and Oct. 16 at 9 p.m. ET/10 p.m. PT on CBC documentary channel.

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The Cinéclub Film Society starts the Halloween season early

Get into the spirit of Halloween with two classic horror films

Nosferatu and The Cabinet of Dr. Caligari will be screened and accompanied by live music

For those interested in getting into the spirit of Halloween a little early, the Cinéclub Film Society of Montreal has a solution. On Oct. 7 and 8, the Cinéclub will be screening a double feature of Nosferatu and The Cabinet of Dr. Caligari.

Be warned: this is not a normal vintage screening. While the Cinéclub usually holds screenings at Concordia’s downtown campus, this event will be held at the Gothic-style W. P. United Church in Westmount. Each screening will feature live music, including a cello, piano and theremin. Period costumes will also be on hand for the purists, along with popcorn and drinks. In keeping with the Cinéclub’s tradition, both films will be projected onto a screen.

The silent films being showcased are two hallmarks of German expressionism as well as cornerstones of the horror genre. Nosferatu (1922), directed by the great F. W. Murnau, is the vampire movie. Considered to be the first vampire film ever made, Nosferatu is known for its use of shadows. Count Orlok’s shadow moving up a staircase is one of cinemas most iconic scenes.

The Cabinet of Dr. Caligari (1920), directed by Robert Wiene, tells the story of the psychopathic Dr. Caligari, the director of an insane asylum who hypnotizes sleepwalkers into killing victims. While Nosferatu is known for its vampires and striking shadows, The Cabinet of Dr. Caligari features incredible set design. The film has more of a resemblance to a series of gothic paintings than to a modern-day horror movie. The camera captures the many shadows painted on the sets, creating some of the most memorable expressionistic visuals to come out of the horror genre. Both films will be presented with English intertitles.

The Cinéclub Film Society is dedicated to preserving Montreal’s film culture. The group has been active in the city since 1992 and, in association with the Mel Hoppenheim School of Cinema, they screen classic films throughout the year. The group is one of the last outlets for Montreal cinephiles to experience film on actual film, as colloid projections become increasingly difficult to find. Anyone interested in attending this or any of the Cinéclub Film Society’s events is guaranteed to have a one-of-a-kind experience not found in the average cinema.

The W.P. United Church is located at 4695 de Maisonneuve West, near Vendome metro. Tickets cost $14 ($9 for students) and can be purchased online or at the door. The screenings start at 7:30 p.m. but event organizers recommend arriving early, as the church pews fill up fast. You can visit the Cinéclub Film Society’s website for more information.

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Spike Lee Presents King Of Pop Documentary at Concordia

Kay Art for Michael Jackson's Journey From Motown to Off the Wall. Photo Courtesy of SHOWTIME

Spike Lee brings Motown back to life with his latest documentary

Spectators were full of excitement at the Concordia Hall Theatre on Saturday, as students, families and reporters were graced with the presence of the well-known and occasionally controversial writer and director, Spike Lee.

Presenting his latest documentary Michael Jackson’s Journey from Motown to Off the Wall, Spike Lee was the guest speaker of honour for the second to last day of the 12th annual Montreal International Black Film Festival. Concordia had the honour of hosting both the screening and Spike Lee’s live Q&A with the audience after the show.

Upon his entrance in the theatre, Lee, dressed in his classic baseball hat and hoodie, acknowledged and thanked the audience for their applause. He then, to the spectators’ surprise, walked towards them and took a seat in his “reserved” row with his entourage, and watched his entire documentary film, laughing aloud alongside the audience.

The film itself is a fun, entertaining experience for all Michael Jackson fans. Opening directly with found footage, the audience is able to watch part of the King of Pop’s legacy and contribution to both music and the world. The film begins during Jackson’s childhood with the Jackson 5, and continues throughout the devastation of leaving Motown, to his days on Broadway, and recording Off the Wall. The film is one big party, making it difficult not to dance in your seat as songs like “Shake Your Body” or “Blame it on the Boogie” play.

This is a feel-good movie with many comedic moments. It engages the audience, and has the potential to inspire both long-time fans, and new admirers. Seeing Michael Jackson’s perfectionism and incredible work ethic is what makes this film worth watching.

The film has a large variety of interviews and commentary from people who knew him or who have been influenced by him, such as Stevie Wonder, Valerie Simpson, and The Weeknd. The film is nothing more than an entertaining summary documenting the albums from Motown to Off the Wall, as the title suggests. It rarely delves away from the performances and on-stage content. This performance documentary is not for viewers who wish to learn something new about Michael Jackson, or even the Jackson 5. It’s simply a blast from the past, focusing on the musicianship rather than the personal details of Jackson’s life.

If you’re looking for an informative biographical documentary on the legendary King of Pop, this film is not for you. On the other hand, if you are interested in seeing the transition of Jackson’s performance and music through interview commentaries and found footage, you will definitely enjoy this film.

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Blockbusters 2016: The worst in recent memory

Graphic by Thom Bell

Looking at the economic factor behind the silver screen and this year’s biggest flops

It is officially October, and with the arrival of the cold weather comes the reflection on this summer’s  of the blockbuster season. This year has proven that big-budget movies are not always guaranteed box-office successes. It has been a bitter pill to swallow, but rising ticket prices are driving most people away from the theaters, with movie attendance dropping by 10 per cent this past summer—according to Business Insider.

Over the last decade, Hollywood has been primarily misled by the potential success of sequels, reboots and remakes. Promising movies with bloated budgets that become huge financial disappointments have become the norm in recent years. The most recent of these failures was the Ben-Hur remake, which had an abysmal opening weekend. According to Forbes Magazine the film brought in a mere $11.4 million dollars, while the film had a production budget of $100 million dollars.   One of the reasons these movies fail to meet the production company executive’s profit expectations is they often go over budget. Business Insider reports that some movies are so poorly managed they can exceed estimated production costs by over $100 million. How can this be possible?

According to Anton Shevchenko, professor of operational management at Concordia, a movie is like any other project. It is a set of processes and tasks all undertaken in order to reach a goal. In the case of the movie industry, the goal is to reach an audience and reap enough profits to make the film’s production worthwhile. Studios typically hire a set of financial analysts to determine whether or not the studio should take on a project, and give a tentative budget for production.

If the crew chosen for the production process is unable to work together and drags out the production process, a once-promising movie can become a financial nightmare. For example, according to writer Ryan Lambie, in an article for denofgeek.com, director Michael Cimino went 200 per cent over his budget during the realization of Heaven’s Gate (1980). Cimino built a gigantic set, just to tear it down for no apparent reason without the studio’s approval. The film became one of the most expensive box-office flops of all time.

The Telegraph reported that Michael Mann’s Blackhat, starring Chris Hemsworth, was the biggest flop of 2015. Bringing in only $4.4 million at the box office, the film had a $70 million dollar budget, and only made about a quarter on its budget back after its release.

Box-office failures are worrisome, as they can lead to severe financial pressure placed on studios. According to Business Insider, Warner Brothers fired 10 per cent of its workforce after Man of Steel failed to meet attendance expectations and that the worst part is that the studios don’t seem to realize what they are doing wrong— the majority of movies scheduled for release in summer 2017 have a budget of over a $100 million.

Graphic by Thom Bell

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What’s coming to the Festival du nouveau cinéma

Shia LaBeouf gives a stellar performance as Jake in this fourth feature film by Andrea Arnold.

A host of new and exciting films and the addition of virtual reality awaits

For a festival that is about to have its 45th edition, the Festival du nouveau cinéma (FNC) is stunningly youthful. It all makes sense when you realize its founder, Claude Chamberland, seems to care not for prestige, but for rejuvenation. If the once-glamorous Montreal World Film Festival has crumbled under the weight of ambition, the FNC has only prospered.

“As extensive as [the Toronto International Film Festival], but completely different,” is how Chamberland described the festival during the press conference that unveiled this newest edition. Filmmaking is constantly changing and adapting to the market, technological progress and cultural trends, among other factors. If it wants to remain worthy of its name, the FNC must adapt along with it—if not run ahead.

In this spirit, several new sections have been added to this year’s program—the most noteworthy of which is FNC eXPlore. Its mission is to promote new mediums, including virtual reality, which is becoming a mandatory component at film festivals—not to mention art galleries—around the world.

Installations will be free, with 45,000 visitors expected daily. Another new section, Les nouveaux alchimistes, is a space of expression for the most experimental filmmakers who bring cinema down to its essence as the marriage of sight and sound.

That is not to say that the FNC is oblivious to the past. This edition is dedicated to recently deceased filmmakers André Melançon, Jacques Rivette, Abbas Kiarostami, Andrzej Zulawski, Ronit Elkabetz and Donald Ranvaud. Retrospectives are planned in several sections, most notably decicated to the late Polish master Krzysztof Kieslowski. Several screenings will also mark the 100th anniversary of the Dada movement, an avant garde art movement that took place in Europe in the early 20th century.

As always, the programming is remarkable for the range it offers. It is no exaggeration to say any viewer will find something that will suit their taste—from the short Carte blanche films that precede most screenings, to the long Lav Diaz’ award-winning 4-hour and 8-hour films, and from the most innocent of the P’tits loups section aimed at younger viewers, to the most adult, Temps Ø section, which this year offers several films that explore pornography.

Even if you couldn’t make it to the Cannes festival this year, you’ll soon have an opportunity to see arthouse films such as American Honey, Sieranevada, Aquarius, Toni Erdmann, The Handmaiden (with French subtitles), After the Storm and Gimme Danger. Other festival successes to be featured at the FNC are Kirill Serebrennikov’s The Student and Ivan I. Tverdovsky’s Zoology from Russia and Studio Ghibli’s co-production The Red Turtle from Belgium—a sure-fire future Oscar nominee. In other news, notorious Austrian filmmaker Ulrich Seidl will make a rare overseas appearance to present his new film, Safari, and deliver a masterclass about the film.

The festival runs from Oct. 5 to 16, with screenings in many venues across the city. Stay tuned for The Concordian’s coverage. For information on prices and programming, visit nouveaucinema.ca.

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The Occupation of the American Mind

The film examines the brutal conflict and devastation that has affected the citizens of Gaza.

Cinema Politica’s latest screening focuses on the public relations of the Gaza-Israel conflict

There are two sides to every story and conflict. The Occupation of the American Mind explores the other side of the Gaza-Israel conflict—the side that pro-Israel North America doesn’t get to see. This visually-packed documentary, screened at Concordia’s Cinema Politica on Oct. 3, examines the pro-Israel public relations mandate within the United States.

Directed by Loretta Alper and Jeremy Earp, The Occupation of the American Mind analyzes the backlash against Israel’s invasion of Gaza from the majority of the world, and the pro-Israel political stance within American politics.

As if there were a public relations agreement between the U.S and Israel, the film claims the American media is only showing one side of the story. It opens with a jarring quote from former Israeli president Benjamin Netanyahu that perfectly sums up the purpose of the film: “It doesn’t matter if justice is on your side. You have to depict your position as just.”

The film begins with an explanation of the various treaties and wars that have led to the current Gaza-Israel conflict. Although heavy with political jargon, this summary is beneficial for anyone going into the film with very little knowledge of the conflict’s origins.

The film focuses on the unilateral conflict between Israel and Gaza, and, specifically, how American media is both manipulating the American public and being manipulated by the American and Israeli governments. With interviews from political activists like Yousef Munayyer and Noam Chomsky, the filmmakers sought to give a voice to activists who feel the media is demonizing their point of view. Munayyer references an interview in which he was verbally accosted by the news anchor for not giving the answer they were looking for.

The sights and sounds of the film may be graphic or triggering to some viewers. The film opens with a heartbreaking shot of an apartment building being destroyed by a bomb. The sounds of the ambulance sirens mix with the desperate cries of the injured and mourning. The filmmakers did not shy away from showing desolated homes and gut-wrenching images of those most affected by the conflict—the innocent civilians.

Monday’s screening was followed by a Q&A session with Sut Jhally, a professor of communication at the University of Massachusetts. He is the founder and executive director of the Media Education Fund, which was involved in the creation of the film. He also directed the 2004 documentary Peace, Propaganda & the Promised Land: U.S. Media and the Israeli/Palestinian Conflict.

Cinema Politica will be screening a second film this week titled The Last Omelette: The making of “The Land of the Enlightened” on Friday, Oct. 7.  For their full line-up, check out their website www.cinemapolitica.org.

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Maya Angelou rises again in first documentary

The documentary examines the life of Dr. Maya Angelou, with interviews from friends and colleagues.

The award winning documentary comes to Montreal’s International Black Film Festival

Co-directed by Rita Coburn Whack and Bob Hercules, Maya Angelou And Still I Rise opened the 12th annual Montreal International Black Film Festival. A great success, the film has won nine awards from multiple countries including the Best International Feature Documentary award from the Galway Film Fleadh. It is the first biographical documentary about Angelou, which is surprising, considering her many accomplishments, including being the writer of 36 published books, a poet, dancer and activist. From the opening frame to the end credits, the film creates a strong sense of community that brings together its viewers to honour a woman who has touched so many hearts.

The film covers many lesser-known aspects of Angelou’s life, beginning with her childhood in Stamp, Arkansas. Her journey continues on—from place to place, job to job, man to man. The film takes a look at the countless struggles she faced throughout her life, including racism and rejection. The film exudes courage and class, and leaves viewers feeling empowered and inspired.

Maya Angelou And Still I Rise includes interviews with many actors and friends of Angelou, including Cicely Tyson, Oprah Winfrey, Quincy Jones and Angelou’s son, Guy Johnson. The film uses a significant amount of found footage. The found footage and brought the film to life, as it showed so many memorable moments in Angelou’s life. The footage is not necessarily shown in chronological order, although it ties in nicely with the large range of interviews.

From beginning to end, the score rises and falls with the emotions of the story, evoking sadness as it slows down, and inspiration when the music becomes upbeat. Nevertheless, the story itself brings out all kinds of emotions, from beginning to end.

Although this documentary had moments of sadness and some elements of shock and anger, it was predominantly filled with moments of laughter and joy that permeate through the audience. Watching Angelou rise from her past with the help of her family and friends reminds us of the importance of courage and community. The film allows us to look beneath the surface of Angelou’s fame, and discover the stories we may have never otherwise known about her. This film is a must-see for those who are less familiar with her story, and a special treat for those who praise and admire this monumental woman. Maya Angelou And Still I Rise promotes love, diversity and courage, and is representative of what inspirational cinema should be.

Concordia is a private partner of the Montreal International Black Film Festival, which runs from Sept. 28 to Oct. 2.

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A more humanist look at the Syrian conflict

More than just a war, the Syrian Eyes of the World exhibition takes a look at the people who are affected

The Syrian Eyes of the World exhibition, featuring portraits of Syrians accompanied by a caption that shares the image’s story, opened on Sept. 20 at the Bibliothèque du Boisé. Its goal is to shed light on the Syrian people and their diaspora, from a perspective unique from that of the Western media which focuses primarily on the ongoing conflict in the country.

It is a worldwide project involving Syrian photographers from around the world, including Canada, Syria, parts of Europe and in the Middle East. The project was launched in partnership with La Maison de la Syrie, a non-governmental organization promoting Syrian culture in Quebec.

“The project came from the urge of saying something about Syria and Syrians other than the war,” said visual artist and Concordia alumna, Madonna Adib, who is one of twelve photographers involved in the project. “For the past five, six years, we only hear about the war in Syria, but we never hear about the human side,” she said. The exhibition does not speak of war, of chemical weapons or the number of casualties—it speaks of individuals, their stories and what they have to say to the world.

“We asked people questions, apart from politics or religion, as this is the main thing that people are fighting about in Syria,” said Adib. “[The subjects] just talked about themselves, their stories, about anything they would like to share with the world. Anyway, people don’t talk about politics or religion, because they’re just fed up with that.”

According to Adib, some people were wary about taking part in the project—for fear of taking a side in the ongoing conflict. “It was an essential point for this project to be neutral, and it doesn’t take any side in anything. It’s just a space to talk about yourself, and to tell the world things that the news doesn’t,” she said. “Basically, we just want to show the individual side of Syrians, to let them express themselves as individuals—not groups of people who are getting bombed, or risk getting bombed or dying.”

A native of Damascus, Syria, Adib also has a personal take on the project. She said photographing her mother particularly moved her. “I really loved what she said. It really touches me, because I know how their life was in Syria before the war and the change that happened after the war,” she said. “I asked her, ‘What would you like to say to life?’ She answered, ‘You did us wrong.’”

This is a portrait that Syrian photographer Madonna Adib took of her mother. The exhibition tries to shed light on Syrians from a perspective other than war and conflict. Photo by Madonna Adib

The power of the subjects’ words, paired with their black and white portraits, constitute the greatest quality of the exhibition. Each picture tells a different tale about a different person, even though they all relate to the same topic: migration. “There’s no one that can connect to migration unless they’ve lived it. You try to connect, you try to feel the other’s feelings, but it never works,” said Adib. “At least, through this project, we’re trying to put a spotlight on something that people in Western countries don’t know about, which is good for them.”

“Everyone is special,” Adib said, when asked which of her subjects stood out the most. “When you start making conversation with a person, you hear their story. It becomes special because every story is unique, everyone has their own story, and you connect with those stories in a different way.”

Syrian Eyes of the World is an ever-growing project, and has major plans for expansion. “We’re now working on a documentary with Parabola Films [based] in Montreal, in which we’re following six characters in their daily life,” Adib said. “I don’t think it’s going to be done before three years, or four years, maybe, but we’re working hard on it.”

The exhibition is open until Oct. 14 at the Bibliothèque du Boisé, as well as the Bibliothèque du Vieux-Saint-Laurent. Admission is free. Afterwards, the exhibition will be touring seven libraries within the city of Montreal, until summer 2017.

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