Screenshot from Jordan Amit’s video on the former Jewish settlement of Edenbridge, Sask. The synagogue and the Jewish cemetery are cared for by the Saskatchewan Wildlife Federation.
Almost 120 years ago, 56 Jews fled Lithuania and ended up in a remote Saskatchewan prairie that would become the community of Edenbridge. The town and its people have scattered to the winds – but the spirit of the place comes to life again in a short video by North Vancouver filmmaker Jordan Amit.
In addition to filmmaking – which he hopes to turn into his main gig – Amit has a window-washing business and, for years, traveled to Alberta and Saskatchewan for seasonal work. Through the Chabad rabbi in Saskatoon, he learned about the abandoned Jewish settlement, which lies about two-and-a-half hours northeast of Saskatoon – the last leg on a dirt road.
The shul is beautifully maintained – or it was when Amit took his camera there – and the small synagogue is open to the public. Said to be the oldest shul in the province, the site, which includes the Jewish cemetery, is cared for by the Saskatchewan Wildlife Federation, which was granted a 40-acre plot in 1987, when the rest of the Jewish settlement’s land was sold.
The Jewish cemetery at the former Jewish settlement of Edenbridge, Sask. (photo by Jordan Amit)
The Litvaks, Lithuanian Jews, who came here did not set out for one of the coldest, most unforgiving places on earth. They traveled first to South Africa, where one of their party, Sam Vickar, saw an ad for cheap land in the Canadian West. They uprooted again, arriving in 1906 at what they would call Edenbridge.
Originally, they wanted to call it Jewtown, but the government balked. They chose Edenbridge as a sort of Anglicization of “yidden bridge,” reflecting the bridge that traversed the small Carrot River nearby.
On their initial 160 acres, bought for $10, they built Beth Israel Synagogue. Expanding out into other fields, three schools, a Jewish community hall and numerous houses would eventually form the structures of a community that, at its peak in the 1920s, was home to 170 people.
Indigenous neighbours helped teach them how to survive the first winter with sod-roofed dugouts.
While other Jewish settlements in Saskatchewan were funded by Baron Maurice de Hirsch, Edenbridge does not appear to have received such support, Amit said, though he doesn’t know that for sure.
The Depression and the general trend toward urbanization started a decline in the town and, by 1964, the synagogue ceased operation. The exact date of Edenbridge’s transition into ghost town status is vague, in part because local farmers moved to Saskatoon and returned seasonally to farm.
At the cemetery, the last gravestone is dated 2000, a departed resident who chose to be interred in the cemetery of the abandoned village. The last bar mitzvah at the shul was more recent – the child of one of the community’s descendants, in 2021. Amit had his own bar there, too. Born in Israel, he came with his family to Vancouver as a child and never became bar mitzvah. So, his friend and rabbi in Saskatoon suggested he have a belated ceremony at the historical site, and it was the first since 1976.
As more people have seen the video online, descendants of the settlers have reached out to him. He is piecing more history of Edenbridge together, and also is on the lookout for additional off-the-beaten-path Jewish (and non-Jewish) sites to explore for his growing online video explorations.
Jordan Amit (photo from Jordan Amit)
“I always have this feeling when I see Jewish sites that are kind of in the middle of nowhere, there’s something so fascinating about it,” he said, recalling a trip to the Indian province of Kerala, where he explored three abandoned synagogues. “When you go into the synagogue, it’s a special experience. You go in and you just feel this presence of the building and the silence.”
Amit invites anyone with knowledge of Edenbridge, or ideas for future videos, to contact him at [email protected]. He also recommends road-trippers make the diversion to the remote location to see the place themselves.
“It’s fully open to the public,” he said. “You just open the latch and walk inside. You only see that in Saskatchewan, that kind of trust. They just trust that it’s going to get taken care of and respected.”
In the story of Edenbridge, Amit contemplates the settlers’ tenacity and the opportunities, sometimes hard won, of newcomers to a land.
“[It is] something we could learn from, that despite difficulties of life and all the odds against us in realizing our dreams, really, if we put our mind to it, we can do whatever we want,” he said. “We can self-realize and create the life that we want, just like they did.”
Pets & Pickers producer Tyson Hepburn confers with Regional Animal Protection Society chief executive officer Eyal Lichtmann during the film shoot.
The Regional Animal Protection Society (RAPS) in Richmond operates a cat sanctuary, a fostering network, thrift stores and a full-service animal hospital, along with an adoption and education centre. RAPS has grown into one of Canada’s largest and most innovative nonprofit animal-serving organizations – and it will be featured in the TV show Pets & Pickers, the second season of which airs Saturdays at 5 p.m. Pacific on Animal Planet.
RAPS began in the 1980s as the Richmond Homeless Cats Society. Driven by a small team of volunteers, it housed countless feral, abandoned and surrendered cats. In 2005, the organization pivoted to become the Richmond Animal Protection Society, extending its standard of care and no-kill animal policy to all of Richmond’s animals. In 2017, it became the Regional Animal Protection Society to better reflect the geographic diversity of its patient base.
For Jewish community member Eyal Lichtmann, executive director and chief executive officer of RAPS, “pets are part of the family.”
Lichtmann joined RAPS in 2016. His resumé before RAPS included a stint as executive director of the Vancouver Hillel Foundation, where he helped raise $10 million to build the University of British Columbia’s current Hillel House. With proven capabilities in fundraising, he was asked to lead a fundraiser with RAPS, and eventually became their CEO.
Lichtmann is passionate about “taking nonprofit organizations to the next level.” At RAPS, he created a new mission and vision for the organization, centred around helping both animals and their owners. He contends that saving more animal lives can be accomplished by helping individuals overcome any financial obstacles they may encounter in caring for their pets.
Recognizing that many pet owners cannot afford quality animal care, Lichtmann has made affordability a core focus of RAPS: “we are the only clinic we know of that offers interest-free payment plans based on the person’s ability to pay,” he said. In addition to giving annual community subsidies amounting to $1 million, he said, RAPS still generates profits, directing them towards the cat sanctuary, which houses more than 500 cats at the moment.
“Everyone is entitled to have a pet as part of the family,” said Dr. Joseph Martinez, one of RAPS’s veterinary staff. Martinez has been with RAPS since Lichtmann joined in 2016. His passion lies in treating exotic animals, such as reptiles and small mammals, an area not many veterinarians are knowledgeable about.
Having grown up on a farm in the Negev Desert in Israel and being the son of a farmer from Sicily, Martinez developed a deep love for animals. He even became a vegetarian at the age of 10, despite his family’s meat-loving Italian culture. Animal care is second nature to him, he said, noting that “animal welfare started in the Bible,” and has only been enhanced by modern-day science and technology. When he moved to Vancouver 30 years ago, Martinez was drawn to RAPS by a drive to help the less fortunate – “the idea is to not leave anybody behind in terms of funding,” he said.
“Jewish values are definitely ingrained in all of us,” said Lichtmann about his staff, many of whom followed his transition from Hillel to RAPS. Lichtmann said he is “programmed” by tikkun olam and views himself as part of a “Jewish family” at RAPS – even though not all the staff are Jewish, they are growing familiar with Jewish values and culture, he said. Last year, for example, 60 staff members attended a Passover seder with the organization. Lichtmann added, “my mother is cooking for the staff all the time,” treating the team to home-made matzah ball soup, hamantashen, challah and more.
Ayala Dafni is assistant manager at RAPS. (photo from RAPS)
In addition to its subsidy programs, RAPS partners with organizations such as Jewish Family Services Vancouver, Tikva Housing Society, women’s shelters, homeless shelters, and senior care facilities. Martinez said veterinarians “should be open to different cultures,” to build positive relationships with pet-owning families.
Ayala Dafni, an Israeli animal technician and assistant manager at RAPS, has been “working with animals since forever,” aspiring to be a vet since the age of 4 – “everything that was legal to keep as a pet, I had growing up.” After getting her bachelor in animal science at Hebrew University, she went on to study animal assistant therapy, and manage a chain of pet stores in Israel.
Dafni is driven by “mitzvot,” she said, especially helping the community and donating to certain causes. At RAPS, she said, this translates to being compassionate and committed to understanding different perspectives. Dafni emphasized that “empathy is most important in this job” and, despite years of experience in the veterinary field, she still finds herself emotionally invested in difficult cases.
Lichtmann attributed RAPS’s corporate culture as part of the reason that Pets & Pickers was attracted to feature them. The unscripted series follows animals, their owners and the veterinarians who care for them.
To learn more about RAPS, visit rapsbc.com and tune into Season 2 of Pets & Pickers, which is also on Animal Planet in the United States. Season 1 can be streamed on Crave.
Alisa Bressler is a fourth-year student at Queen’s University in Kingston, Ont. She is an avid reader and writer, and the online director of the arts and culture publication MUSE Magazine. Bressler is a member of the Vancouver Jewish community, and the inaugural Baila Lazarus Jewish Journalism Intern.
Laura Leibow is one of the 14 comics featured on The New Wave of Standup, now streaming on CBC Gem. (photo by Emily Cooper)
The whole thing was a highlight really! I still kind of had that post-COVID ‘I can’t believe I get to take the stage again’ sense of wonder in me at that time,” comedian Laura Leibow told the Independent. “Combine that with getting to see comics I respect and love do their thing made the whole experience very cool. Plus, I love staying in hotels.”
Leibow was speaking about the taping of the latest season of The New Wave of Standup, a Just For Laughs Vancouver and CBC original series, which is now streaming on CBC Gem. Leibow and fellow Jewish community member Jacob Balshin are two of the 14 comics featured on the show.
“I try really hard to approach taped sets in the same way I’d approach ones that are not being taped because, ultimately, it’s just about that live experience between you and the crowd and, hopefully, the tape will capture that,” said Leibow. “The only major difference is I mind the subject matter I cover a little more when I’m being filmed, so my mommy and daddy don’t get mad at me!”
Balshin went into the New Wave set having worked out more of what he was going to say than he usually does. “I love writing and try and work every day on my comedy. I do not like repeating the same set over and over again though,” he said. “It can make me depressed. Leading into the taping, I only ran the set a few times. I was just getting back into comedy after the last COVID lockdown in Ontario and did not want to take a break from having fun to repeat the same jokes over and over. I try not to overthink things. Comedy is the easy part of my life. The rest is the struggle.
“After I got off stage that night, I went to another show,” he said. “It was next door to where we were shooting and was actually part of a tour I was on…. I was able to make it in time to do my spot. I bombed trying new stuff. No one in the audience knew I had just filmed for TV 20 minutes earlier. Both sets held the same weight to me – I just want to make people laugh, and get better. I do not think any one set matters that much. And, if it does, I will be prepared because I know I have put in the work.”
It took Balshin time to find his comedic voice. “I did not know my own voice when I started comedy, so I would speak like other people who I was a fan of,” he said. “Now, it is not something I think about. Everything I do is naturally me. And that feels like a really good place to be – and something I always wanted. To me, the goal is to be yourself. Anyone can be funny, but only you can be yourself. So, over the years, it has been more about actually living a life and less about what happens on stage.”
While Leibow seems to have experienced a less drastic evolution, she, too, has reached the point where, she said, “I’m far less concerned now with trying to impress certain people than I am with just talking about what I think is funny.”
Leibow said, “My comedic voice is driven largely by my ADHD [attention-deficit / hyperactivity disorder], friendship, laughter, feminism, silliness, clay, and Jews. No, I don’t know if I can really nail down my comedic voice other than saying that it really is largely driven by my scattered brain and throwing spaghetti at the wall. If something really tickles me, and it seems to be making other people laugh, then that’s great!”
Both Leibow and Balshin have topics they won’t cover in their acts.
“I won’t tell a joke that denigrates or harms a marginalized group and I prefer to stay in my lane when it comes to certain issues,” said Leibow. “I’m not going to boldly speak out of turn on a topic about which I’m not well informed. I also try not to violate the privacy of my family members. Unless I think of a good joke that would require me to do so.”
Balshin only writes material that is about him. “I only have my own story to tell,” he said. “I hope my comedy makes you feel good when you watch it. And I always feel bad when someone has a bad night. If any joke I ever tell hurts someone, I am interested to know why and am willing to listen.”
On stage, Balshin interacts with the audience quite a lot.
“It is a part of my comedy that naturally developed from doing comedy in rooms in Toronto, where the audience … [wants] you to feel present and talk to them,” he said. “I struggle with social anxiety off stage and rarely talk to people. It is pretty fun to have a space where that seems to not exist for me at all. And I love when the audience opens up to me. It feels like the reward I get for being so open with them. And to know they trust me sometimes is really special.”
Jacob Balshin (photo by Emily Cooper)
Balshin tours the country regularly. “I’ve performed in places with populations in the hundreds many times in my career. For many, I am the first Jewish person they have ever met,” he said. “From my own experience, I would say there is a big difference between hate and ignorance. I would say the vast majority of what I have encountered firsthand is ignorance. Most people though do not care that I am Jewish. We are all just people.
“I hope to be funny and genuine enough on stage so that anyone who came in with any misconceptions or hate towards Jewish people can recognize someone who has nothing but love to give. Even though we are different, we can all relate to the weird experience that is living.”
In addition to being part of The New Wave of Standup, Balshin’s debut standup comedy special will be airing on his YouTube channel in the next few months. “It’s called 30 and Breathing Funny,” he said. “It was recorded on my 30th birthday and it would mean a lot if you gave it a watch. It better showcases my style of comedy and includes some material about being Jewish that is not in the CBC taping.”
Balshin moved to Vancouver last year, after a breakup. “When I arrived at the airport, friends Bobby Warrener and Malik Ellassal [also on New Wave this season] picked me up and immediately helped the move feel far less lonely. Getting to do my first TV taping with both them a few months later helped relieve me of that same feeling of loneliness,” he said. “And getting to watch them both kill, knowing how hard they both work and how much they deserve it, was definitely a highlight. Go watch their episodes! They are two of the funniest young comics in Canada.”
Rounding out The New Wave of Standup lineup are Brendan D’Souza, Travis Lindsay, Rachel Schaefer, Courtney Gilmour, Charles Haycock, Seán Devlin, Dino Archie, Heidi Brander, Jackie Pirico and Mike Green. To watch, go to gem.cbc.ca/the-new-wave-of-standup.
Igal Hecht filming Secrets of the Land. (photo from Chutzpa Productions Inc.)
The Western Wall area, with thousands of metres of subterranean space, contains much that is yet to be discovered. The latest find in this space is a market. While not open to the public, people can get a glimpse of the ancient market on the new Yes TV documentary series Secrets of the Land, directed, produced and written by Israeli-Canadian filmmaker Igal Hecht.
Each episode of Secrets of the Land, which is presented by Chutzpa Productions Inc., takes viewers behind the scenes of substantial excavations in Israel, and features some of the region’s top archeologists and most historically significant sites. The series debuted March 15, and runs each week for 13 episodes.
In addition to on-site discoveries, Hecht visits the labs that explore the meanings of each artifact.
“I realized that the way archaeology is explored today is very CSI,” said Hecht, referring to the popular television series. “The excavations themselves might be low-tech, but everything that comes after, such as carbon dating and things along those lines are very high-tech.”
One of many examples is when archeologists found grape seeds in 2,000-year-old donkey feces and, through that, determined the types of people who lived in the area.
Prof. Erez Ben-Yosef speaking with colleagues in the archeology lab at Tel Aviv University. (photo from Tel Aviv University / Chutzpa Productions Inc.)
Hecht and his crew – which included Lior Cohen, Gabriel Volcovich, Nikki Greenspan and Julian Hoffman – take viewers on a journey through various parts of the Holy Land. Hecht said he learned something every step of the way.
“I had very little knowledge [of archeology],” Hecht told the Independent. “In fact, in the show, I don’t pretend that I do. That makes the show work. I am there experiencing the discoveries in the same manner that the audience does, as they watch at home.”
Among many sites, the crew visited Timna, the location of Solomon’s Mines, where Hecht was awed by the landscape. “The rock formation is something you’d see in Petra in Jordan or the Grand Canyon,” he said. “There’s so much beauty and history to explore there.”
Other locales included Tower of David, also known as the Citadel, located near the Jaffa Gate entrance to the Old City of Jerusalem. There’s also an episode about Shiloh, in Samaria, or the West Bank, where the Israelites, prior to King David’s time, set up a sanctuary and city, and where the Ark of the Covenant was housed for hundreds of years. Meanwhile, Magdala is home to an ancient city from the first century, where recent excavations revealed the Migdal Synagogue, dating from the Second Temple.
Over the past quarter-century, Hecht has been involved in the production of more than 50 documentary films and more than 20 television series. His projects have appeared on Netflix, BBC, Documentary Channel, CBC, HBO Europe, and others. Secrets of the Land is the latest in a string of Jewish-themed films, such as A Universal Language, which taped six comedians performing in Israel. An upcoming project includes The Jewish Shadow, a documentary that explores the lives of Soviet Jews in 1970s Ukraine.
For Hecht, Secrets of the Land wasn’t merely a project, but very much a passion to do his part to help the Jewish people.
“I think the biggest takeaway for Jewish audiences is the historical and unbreakable connection of the Jewish people to that land,” he said. “That archeology truly proves that the Jews were, in fact, living in Judea and Samaria, Jerusalem and all over the Fertile Crescent thousands of years ago.”
Dave Gordon is a Toronto-based freelance writer whose work has appeared in more than 100 publications around the world. His website is davegordonwrites.com.
Just For Laughs Vancouver and CBC have announced that original series The New Wave of Standup is returning for Season 3 beginning March 24 on the free CBC Gem streaming service.
The third season showcases 14 Canadian comedians with diverse backgrounds and unique comedy styles who perform standup sets that explore topics including dating, workplace politics, family dynamics and overall observations about life and finding the humour in it. Among the rising stars are Jewish community members Jacob Balshin and Laura Leibow.
Balshin was the winner of I Heart Jokes Awards Newcomer of the Year in Toronto and was later nominated for Breakout Comic of the Year. He has recorded sets for CBC’s Laugh Out Loud and Sirius XM. He is currently fresh off a month-long run of shows at the Edinburgh Fringe Festival in Scotland. His standup clips on TikTok have amassed millions of likes and a loyal group of fans who enjoy his personal, loose and free style of joke-telling.
In 2022, Leibow was chosen to be a part of New Faces at Just For Laughs at the Montreal and Toronto festivals and also did a taping for CBC Gem’s New Wave of Standup. She has a witty and laid-back comedic style, performing on the club circuit, in alternative rooms and in theatres. She has performed in clubs like the Improv and Micky’s in Los Angeles, and Gotham and Broadway Comedy Club in New York City. She is the editor of the comedy website Unoriginal and hosts two podcasts for the Canadian Jewish News. She can be heard frequently on SiriusXM and on 604 Records’ comedy compilation album The Great Canadian Comedy Rumble.
Laura Leibow is one of 14 comics on the third season of The New Wave of Standup. (photo by Emily Cooper)
The new season also features comedian Brendan D’Souza, a fast-talking non-binary comedian and podcaster. Travis Lindsay – an on-air correspondent and writer for CBC’s This Hour Has 22 Minutes – brings a mix of jokes and storytelling. Rachel Schaefer has been featured on CBC Radio’s Laugh Out Loud, and appears on the JFL Original’s comedy album Stand-Up BC: Yee-Haw Hell Yeah.
Courtney Gilmour has written for and made appearances on CBC’s The Debaters and Humour Resources. Using a rapid-fire joke style and laid-back demeanour, Bobby Warrener has performed standup at multiple festivals, on TV and on tours across Canada. Charles Haycock has performed at many festivals, as well.
Seán Devlin was a 2022 Juno nominee for his comedy album Airports, Animals, and was a consulting producer on Borat: The Subsequent Movie Film, as well as writer and director of the satirical feature film When the Storm Fades. Dino Archie made his network late-night debut on Jimmy Kimmel Live!, while Heidi Brander is a writer for CBC’s Son of a Critch, Baroness Von Sketch Show and Still Standing, who has served for three seasons as head writer of This Hour Has 22 Minutes.
Jackie Pirico has multiple Just For Laughs television tapings under her belt and a feature film (Sundowners); she also has made appearances on Viceland TV and Crave’s new mockumentary series New Eden. Malik Elassal is a stand-up comedian, actor and writer, performing in clubs across Canada and appearing on various TV shows, while Mike Green produces shows Secret Standup Series and Comedy At the Handsome Daughter, which is one of the longest running weekly shows in the country.
Alegría screens at the Rothstein Theatre March 19, and online March 19-26. (photo from vjff.org)
You can pick your friends, the old saying goes, but you can’t pick your family. For Alegría, a prerequisite of adulthood is distancing from relatives and interacting with them on her terms.
The vital 40-something protagonist of Alegría, screening in the Vancouver Jewish Film Festival (vjff.org), has deliberately carved out a self-centred existence in her quiet hometown of Melilla, a small Spanish city on the northern coast of Africa. Alegría (Cecilia Suárez) Facetimes with her kibbutznik daughter and directs the young Muslim woman who cooks and cleans for her, relishing her independence.
Warm colours and inviting interiors, however, signal from the outset that Alegría is going to be a story of connection rather than isolation, of love supplanting loneliness and redemption trumping regret. In her satisfying and touching feature debut, Spanish director and co-writer Violeta Salama’s generosity extends well beyond Alegría to the young women who enter her orbit.
But none of that is on the table when Alegría gets a call that her Orthodox brother, sister-in-law and niece are coming to Melilla for the latter’s wedding to a local guy. They plan to stay at Alegría’s place – the house where she and her brother grew up – invading her space and brushing the cobwebs from her dormant Sephardi Jewish identity.
Alegría has literally sealed off the past – mezuzot, photos, furniture and menorot behind a locked door. Secular to the point of caustic irreverence, Alegría views her assimilation as an emblem of freedom and enlightened coexistence. Bit by bit, though, she will realize that she has denied a core component of her character.
Alegría doesn’t define herself in terms of or in reaction to men, and hasn’t for a long time. Yet the tough love, bordering on lack of empathy, that this stalwart feminist evinces for Yael, the bride, and Dunia, her part-time housekeeper, is shocking.
Yael is used to obeying her father but is beginning to doubt the merits of transferring that acquiescence to her soon-to-be husband. Dunia’s brother, the head of that household, stands in the way of her dream of studying drawing in Paris.
Women escaping the constraints, and embracing the ties, of family has long been the stuff of melodrama. But the filmmaker adopts a lighter tone with humorous bits that undercut the seriousness with which the characters take their respective situations.
“I’d cut my foot off before stepping into a synagogue,” Alegría proclaims in a seemingly unambiguous rejection of ritual, tradition and faith. But when she visits the rabbi to reserve the mikvah for the bride and Yael’s mother, their banter suggests that he and Alegría had a youthful romance (while opening the window to a potential future relationship). The synagogue, therefore, doesn’t represent a religious institution or unhappy family memories to Alegría. It’s just a reminder of who she used to be – or, more accurately, who she is.
One of the pleasures of Alegría is that it unfolds in a calm, civilized setting that feels like an oasis. No sirens or boom boxes jangle our nerves, and the family feudings rarely require the raising of voices.
Salama told an interviewer when she was completing the film in 2021: “To create Alegría’s world, I wanted to steer away from the realism of life in a border town, a major port, instead setting her down in the world of my childhood. I want to share the city as I see it, the city I carry inside me, and so I recreated certain moments where the focus is entirely on these seemingly very different women who share the same problems and contradictions.”
To that end, the centrepiece of the film is an overnight outing to Dunia’s grandmother’s house, just over the border in Morocco, where the women cook, dance and toss an impromptu bachelorette party for Yael. They are free to live on their terms, fully self-sufficient, with no men in sight.
Alegría offers some passing yet pointed critiques of patriarchal autocracy, and the male characters are relegated to the edges of the frame. This is what used to be disparagingly called a “woman’s picture,” because it centres women’s demands – to be who they want to be – and desires – to avail themselves of every opportunity. The most gratifying aspect, however, is that the movie’s spirit of cooperation and, yes, coexistence ultimately touches every character.
Michael Foxis a writer and film critic living in San Francisco.
In March ’68, the shocking events of the Polish political and social crisis of that time are dramatized through the eyes of two families. Hania, a young woman who is Jewish, is in love with Janek, a boy whose father is a member of the nomenklatura, a senior official whose career is endangered by the political activism his son is dabbling in.
But careers are only one of the concerns for Jewish Poles, whose very identities as citizens of the country are in jeopardy, as the society spirals with a chilling and apparent suddenness into antisemitic frenzy. The blatant antisemitism is masqueraded as an “anti-Zionist” campaign and a defence against “non-Polish” elements.
Poland was in a financial panic, with wage reductions and assorted economic turmoil. Events spiraled after the expulsion from the university of political dissidents and the closure of a theatre presentation deemed anti-government. No prerequisites are required. The film, from director Krzysztof Lang, tells the viewer all they need to know about the history – and the petty and not-so-petty indignities of living under a repressive regime.
Through the braying voices of the country’s communist leaders and parallel street-level Jew-baiting, the status of Jewish Poles deteriorates rapidly and Hania’s family is faced with a choice for their future.
This Romeo and Juliet story is endearingly told against the heartbreaking backdrop of generational divisions that were tearing at families all over the world in 1968, a microcosm of the larger tumult. In Poland, these divisions were exacerbated by a social contagion that forced an exodus of much of the tiny remnant of post-Shoah Polish Jews, a disappearance that is emotionally depicted in black-and-white at the end of the film.
* * *
Lost Transport opens like a war-era cinematic news short, an elementary map of Europe being encroached by Allied forces from the West and Red Army movements from the east.
As the Soviets advanced, the Nazis selected from among the prisoners at Bergen-Belsen a few thousand of what they called Austauschjuden, “exchange Jews,” who they imagined to be of particular value to the Allies and who, as a result, the Nazis intended to barter for German prisoners of war or money. Almost 7,000 inmates, in three train transports, were being moved from the advancing front. A train bound for Theresienstadt (now in Czechia) encountered a blown-up bridge and was stranded near the German town of Tröbitz. Within days, the incarcerated passengers were liberated by the Red Army (and, later, by Americans).
Lost Transport demonstrates the chaos and confusion of liberation for the Jewish passengers and defeat for the German residents.
It seems a tactless quibble with these sorts of dramatizations to note that healthy actors are obligated to believably depict the victims of atrocities, but in this instance the task seems particularly stark, with almost all of the liberated people well-clothed, clean, remarkably well-groomed and bright-eyed.
The story is viewed primarily through the eyes of Isaac and Simone, a Dutch couple liberated from the train; Vera, a Russian sniper; and Winnie, a young German woman who sees her mother shot by the Red Army and her home taken over by the other main figures in the film. The characterizations are often cardboard – the individuals are rough stand-ins for their respective peoples – and the script ham-fisted. The three women eventually see one another’s humanity (even if the viewer struggles to do so) and the resolution is almost painfully perfect.
March ’68 and Lost Transport screen as part of this year’s Vancouver Jewish Film Festival. For tickets and the full festival lineup, visit vjff.org.
A 1923 studio portrait of the In zikh (Introspectivist) poetry group. Celia Dropkin is surrounded by (clockwise from bottom left): Jacob Stodolsky, Aaron Glanz-Leyeles, B. Alquit, Mikhl Likht, N.B. Minkoff and Jacob Glatstein. (photo from Yiddishkayt)
The Vancouver Jewish Film Festival is welcoming audiences back to the theatre this year. Screenings take place at Fifth Avenue Cinemas March 9-16 and the Rothstein Theatre March 17-19, with some films streaming online March 19-26. Here is but a sampling of the many festival offerings. For the full lineup and tickets, visit vjff.org.
Poetry that burns
As much as the world has progressed in the last century, Celia Dropkin’s unabashedly sexual, emotionally raw, intense, even violent, poems would cause a stir today. Most of her poems are short but powerful, saying things that still would not be said in polite company. A new film, a work-in-progress, offers insight into Dropkin’s life and the circumstances that fueled her creativity, love, anger, imagination.
Burning Off The Page: The Life and Art of Celia Dropkin, an Erotic Yiddish Poet will make its public debut at the Vancouver Jewish Film Festival. Scheduled to be at the screening are local film director and co-producer Eli Gorn and author Faith Jones, who is featured in the film, which includes comments from several writers/scholars and musicians, as well as from some of Dropkin’s relatives. Bracha (Bee) Feldman is the writer and co-producer of the documentary.
Dropkin was born in Belarus in 1887. Her father died when she was little, leaving her mom, a young woman, with two small kids to raise, “mostly resolved to become No One’s wife.… So my mother’s concealed, hot ache / rushed, as from an underground spring / freely in me. And now her holy / latent lust, spurts frankly from me,” writes Dropkin in her poem “My Mother.”
Unconventional views of motherhood were among the many unique aspects of Dropkin’s writings – she had six children herself, one dying in infancy. She was also greatly influenced by a dead-end love affair with Hebrew writer Uri Nissan Gnessin, who she met in her late teens. In 1909, she ended up marrying Samuel (Shmaye) Dropkin, who, because of his political activities, had to flee Russia to the United States a year later; she and their first son joined him in New York in 1912.
In New York, Dropkin was part of the burgeoning Yiddish cultural scene in the 1920s and ’30s. Despite the acclaim she received for her avant-garde work, she never garnered the respect her male counterparts did, and was criticized for depicting women as sexual beings. She struggled with depression, and wrote about it and the dark sides of love. Dropkin died in 1956, having spent the last years of her life painting – a talent for which she also had.
Burning Off the Page is a captivating mix of Dropkin’s poetry, talking heads, music, illustrations, archival photos and videos. (CR)
Life in the “new world”
In iMordecai, Fela (Carol Kane) and Judd Hirsch (Mordecai) are an adorable old couple living the retiree life in south Florida. Their son, Marvin, may or may not be a complete schlemiel (as Mordecai puts it) but each member of the family is dealing with their own stuff.
In a charming opening, Mordecai’s birth in a Polish shtetl is recounted and his memories of the past – including the chasm created in his family by the invasion of Poland and the Holocaust – are cast in striking animation. The family’s real life is also a bit cartoonish – as are the characterizations. Kane, who in this film and elsewhere seems incapable of not being hilarious, is a sweet old bubbe always with a side-eye for any of the other women in town who might be trying to steal her man – after 50 years of apparent devotion. Mordecai is struggling to remember the past while adapting to new technologies – thus the ironic title – and in the process makes friends with a young woman, Nina (played by Azia Dinea Hale), whose own family has its very specific issues.
Although the subjects are sometimes bleak, the film is a breezy dramedy. When Marvin (Sean Astin) explains to his father that Fela is experiencing dementia, the response is subdued brilliance.
“It means that her mind isn’t working like it used to,” says Marvin.
“So, whose is?” the father replies.
There are themes of split personalities, of apples falling not far from trees, and of intriguing coincidences – including running into an old neighbour from Canarsie in the “new world” of Florida. This forces Mordecai to kill off the imaginary brother he invented (it makes sense in the film) for comedic gold.
iMordecai isn’t going to win best picture, but it is a fun and sometimes poignant confection that veers from cheezy to charming to slapstick. When it gets serious, it gets a bit shlocky but damned if the final scene doesn’t get you in the throat. (PJ)
Maintaining a legacy
The stress and anxiety are palpable as Greg Laemmle is forced to consider selling his business, which has been in the family more than 80 years and which is an L.A. institution. But director/producer Raphael Sbarge didn’t start out to make a documentary of this crucial moment in 2019 – and what came after. He was simply interested in the history of the Laemmle family, which goes back to Hollywood’s beginnings.
“Though we had no idea where this film was headed, Only In Theatres took on a life of its own through changing markets and slipping sales,” writes Sbarge on the film’s website. “Then, the pandemic hit and the Laemmle story became the microcosm of the macrocosm – theatres were forced to ask big questions about resilience and viability. The entire Laemmle Theatre chain closed for more than 16 months, and many never reopened. We were able to witness the Laemmles’ extraordinary challenges and triumphs during what was the most tumultuous and emotional 24-month period in the theatre’s history.”
Laemmle Theatres was established in 1938 by brothers Kurt and Max Laemmle, who were nephews of Carl Laemmle, founder of Universal Pictures. The next generations to run the theatres were Max’s son, Robert, and Robert’s son, Greg, who has three sons. The cinemas were apparently groundbreaking in Los Angeles for screening independent and foreign films, and Only In Theatres sets Laemmle’s in the context of the importance of film in general, and arthouse cinemas specifically. He interviews many filmmakers, who talk about the movies that inspired them and the value of seeing a movie in a theatre, of having that collective experience.
Only In Theatres begins with how Greg and his wife Tish met, and gets into the family’s history. Among the interviewees is Greg’s (at the time) 103-year-old great-aunt Alyse, who was married to Kurt and was there when the legacy began.
In July 2019, after a bad year, Greg Laemmle must decide whether to sell that legacy. It is a gut-wrenching choice on many levels and, after months of agonizing over it, considering various purchase offers, he decides he can’t let go. Less than three months later, COVID hits.
Only In Theatres is both a love letter to arthouse cinemas, and an insight into the burden of legacy and how all the accolades in the world don’t pay the bills. If you truly want a business you love to succeed, then show ’em the money. That’s the support that ultimately matters. (CR)
Tradition vs. modernity
Against the magnificent backdrop of the Italian countryside, a family of French Orthodox Jews arrives on an annual two-week sojourn to inspect citrons to be packaged and distributed as etrogs for Sukkot.
Where Life Begins picks up the story of two families – the Italian Catholic farmers and the French Jews – who go back a long way. This year, though, Esther (played by Lou de Laâge), the 26-year-old and still unmarried (!) daughter of the French Zelnik family, is engaged in a profound internal struggle with her faith. She is bridling against the constraints of her religious obligations. At the same time, Elio (Riccardo Scamarcio), one of the sons of the original farm family and now in charge of orchard operations, is questioning the obligations to the land that have befallen him.
Lou de Laâge (Esther) and Riccardo Scamarcio (Elio) in Where Life Begins. (photo from Menemsha Films)
The French/Italian, Catholic/Jewish dichotomies are gently juxtaposed but the more powerful contradictions and stressors have to do with separation from family – literal in Elio’s case, figurative but no less wrenching in Esther’s. More immediately, both are confronting their lives in terms of the footprints of the past and the futures they envision for themselves. Each aches for a different path but to embark on it would require a massive break with expectations and everything they have known.
This annual pilgrimage is a tradition made extra festive by the singing and dancing of Georgian migrant farm workers. The joyfulness of the foreigners from the east may not prove that happiness is something one has to travel to find, but it suggests that uprooting from familiar surroundings need not be all grief and loneliness either.
The narrative of Where Life Begins is not an original storyline. Tradition and modernity in conflict; family obligations versus self-actualization; the possibility of forbidden love: these are among the oldest themes in literature and film. Handling these topics with originality and artfulness is what makes or breaks a film like this. This movie does it with nuance and absent simplistic tropes. The southern Italian landscape makes the whole thing easy on the eyes. (PJ)
Ofir Raul Graizer’s America features a love triangle of sorts, between Iris (Oshrat Ingadashet) and Eli (Michael Moshonov), above, who meet at her and Yotam’s flower shop, and Yotam (Ofri Biterman) and Eli, whose afternoon swim turns tragic. (screenshots courtesy Beta Cinema)
On Feb. 23 at Fifth Avenue Cinemas, the Vancouver Jewish Film Festival offers an award-winning teaser to next month’s festival. Ofir Raul Graizer’s America is an emotionally packed film that says as much with dialogue as it does visually.
We meet Ilai Cross in Chicago, where he is a beloved swimming teacher. With gentle sensitivity and patience, he helps kids overcome their fears and become comfortable in the water. He is great at his job, and seems happy, if solitary.
A phone call from a lawyer informing him that his father has died sends Ilai – whose real name, it turns out, is Eli Greenberg – back to Israel. He’s obviously uncomfortable being “home,” his policeman father’s retirement plaques and guns everywhere. There are reasons Eli left Israel for the (mythical) land of opportunity, America, which we eventually find out.
In contrast to his father’s stark, rundown, predominantly beige house and untended yard is the vibrant, life-filled flower shop of his childhood friend Yotam and fiancée Iris, and their brightly coloured living space, where they welcome Eli for dinner. Between some too-long hugs and what seem like yearning looks, one wonders just how close were friends Eli and Yotam, but the film gives nothing away.
(screenshot courtesy Beta Cinema)
When the two friends go swimming at an old haunt, an accident leaves Yotam in an extended coma. At first blaming Eli for the incident, Iris eventually bonds with him, in part because of their shared loss. When, 18 months later, Yotam wakes up, life changes again for Eli and for Iris, both of whom must make their own decisions as to what they consider the morally responsible way forward.
The acting is excellent. While Oshrat Ingadashet was awarded for her performance at the Jerusalem Film Festival last year, both Michael Moshonov, as Eli, and Ofri Biterman, as Yotam, deserve kudos, as well. All three actors play their roles with quiet force, emoting as much in a gesture as in words. The relatively sparse dialogue invites viewers to focus on what else is pictured in each scene, and Graizer lets shots of newspaper articles, an actor’s face or the landscape help tell the story. He respects viewers’ ability to handle ambiguity, answering enough questions to satisfy, but leaving much to discuss afterward. Cinematographer Omri Aloni’s work adds beauty and depth to the production.
America screens at the Rothstein Theatre on Feb. 23, at 7 p.m. To see the trailer and buy tickets to see the movie, visit vjff.org.
The Vancouver Jewish Film Festival opens March 9 and runs to March 16 at Fifth Avenue. There will be more in-person screenings March 17-19 at the Rothstein Theatre and select films will be available online March 19-26.
Last Flight Home follows Air Florida founder Eli Timoner’s last weeks of life. (still from film)
The Vancouver International Film Festival opens Sept. 29, and this year’s festival will be impressive, if the releases reviewed by the Independent are any indication.
Last Flight Home, a very personal and moving documentary written and directed by Ondi Timoner, will have viewers in tears. It will also have viewers contemplating mortality, family and what makes life full and worth living.
The film follows the last weeks of Timoner’s father Eli’s life. No stranger to hardship – he had been paralyzed on his left side since a stroke almost 40 years earlier – a bedridden 92-year-old Eli tells his family he wants to die. Immediately. Living in California, he could make that choice, and does make that choice. Once he passes the state assessment, the required 50-day waiting period begins.
During this time, Eli says his goodbyes to his wife, kids, grandkids and other relatives, to friends and to former employees. He offers advice and, with the help of those whose lives have been made better by his existence, he comes to love himself, finally shedding, after decades, the shame he felt at not being what he considered a good provider for his family. Before his stroke, he had been a wealthy businessman – founder and head of Air Florida – but, afterward, he and his wife had to declare bankruptcy and money was tight from then on.
Thankfully, Eli had those 50 days. While it was sad that he didn’t know how successful he really was in life until he chose to die, at least he did die knowing that he had loved and that he was loved.
* * *
In Karaoke, married couple Meir and Tova rediscover their love for each other. (still from film)
The Israeli film Karaoke, written and directed by Moshe Rosenthal, also deals with mortality and late-in-life realizations. Long-married couple Meir and Tova have long lost their passion for each other and, really, for living. It takes the arrival of a new neighbour, Itsik, to bring out both the best and worst in them and in their relationship.
Itsik is rich and confident, a player in every sense of the word. While his loud karaoke parties annoy most everyone in the building, the residents who gain the privilege of an invitation feel not only special, but a little superior, more worldly, as they open themselves up to the possibilities that Itsik embodies.
Billed as a comedy, Karaoke is more cringey than funny, and the musical score even makes it seem creepy at times, as does the pacing and lighting. That said, the acting is excellent and it does have some funny moments. As well, the messages are refreshing: love can be reignited and you can have adventures at any age.
* * *
To make Killing Ourselves, Maya Yadlin got her parents and sister to come out to the desert to film. (still from film)
To make the 15-minute short Killing Ourselves, Israeli filmmaker Maya Yadlin took her parents and sister to the desert. According to her bio, this is something Yadlin often does – make movies about and starring her family. The result in this case is a delightful, amusing peek into their relationships. Most viewers will appreciate the interactions, with her parents both begrudgingly and proudly helping “film student” Yadlin with her homework and her sister, an actress, coming along for the ride – and the work.
