TV & Film – Page 6

Jewish take on bomb

Philippe Tlokinski stars in Adventures of a Mathematician. (photo from Samuel Goldwyn Films)

Forgotten your calculus? Simple geometry is more than sufficient to follow the triangular saga of Polish-Jewish brainiac Stanislaw Ulam from the cloistered classrooms of Harvard to Robert Oppenheimer’s atomic-bomb “startup” in dusty New Mexico.

The third point on Ulam’s map is Lvov, Poland, where his parents, sister and niece live in tenuous safety. Until the Nazis blast across the border and blow down the doors of every Jewish home.

Adventures of a Mathematician opens in Cambridge on the eve of the Second World War, where Stan (Philippe Tlokinski) lives with his younger brother Adam. The news trickling out of Poland gets objectively worse, but going back to Europe is out of the question. So Stan Ulam embraces another way of combating the Nazis, proffered by his best friend and fellow emigré scientist, Johnny von Neumann (Fabian Kocieki) – join a bunch of other geniuses on the top-secret Manhattan Project.

Writer-director Thor Klein’s intelligent, efficient script relies on our knowledge of the war and the Holocaust (and countless movies on those subjects) to concisely convey the gravity of the situation and, importantly, avoid the familiar clichés. At the same time, Klein skilfully involves us in Ulam’s personal life – he’s a witty man with an appreciation for gambling odds, who knows a smart woman when he meets her at a party – without trivializing the larger historical events.

Klein’s other great achievement, because of its U.S.-centred subject matter, is making Adventures of a Mathematician, which he shot in Germany and Poland with local crew, European actors and German, Polish and British financing, totally look and feel like an American film. It’s a masterful trick, which requires dedication and skill at every level of the production.

Klein makes his job easier, admittedly, by depicting Ulam as an acclimated, assimilated American rather than a European fish out of water.

Where Adventures of a Mathematician (which takes its title from Ulam’s memoir) veers from traditional Hollywood filmmaking is in the dramatic conflict. It’s not the war, which is always off-screen. Tension enters Ulam’s marriage later in the film, and we care about that relationship, but that’s not the movie’s motor, either.

Instead, Klein has made a film about philosophical and existential dilemmas, internalized in the person of Ulam – a cerebral, introverted man who largely keeps his emotions to himself, even when he is debating technical solutions with his equally stubborn boss, Edward Teller (Joel Basman).

Not many Hollywood executives would back a film whose protagonist is pitched on the horns of another triangle, namely the conflicting pulls of intellectual satisfaction, personal morality and professional ambition. Stanislaw Ulam, action hero, isn’t the easiest sell to North American audiences.

But, once you get hooked by this utterly accessible film and its remarkable central character, you’re in for a rewarding and thought-provoking experience.

A likable character for much of the film, Ulam becomes more solitary as his doubts grow about devising and building a weapon of mass destruction – especially after the Nazis are defeated.

Tlokinski’s performance, which does incorporate a ridiculous (by modern measures) amount of cigarette smoking, is never less than compelling.

Adventures of a Mathematician trusts the audience enough to omit most of the melodramatic conversations and passages endemic to a Second World War-era scenario. I’m thinking specifically of Ulam’s survivor’s guilt, which is palpable without him needing a speech or a scene to convey it.

A 2020 film whose release was delayed by the pandemic and limited to a handful of festival appearances (including the Toronto and New York Jewish film festivals), Adventures of a Mathematician solves for x with nary a misstep. It can be rented via Apple TV, and possibly other platforms.

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

Creating life in face of death

A still from the feature film Charlotte, about artist Charlotte Salomon.

The creative drive that some people have astounds me. In about a year-and-a-half, as the Holocaust closed in on her – and her family’s history of depression became known to her – Charlotte Salomon painted hundreds of works, telling her life story in images and words, in what is considered by many, apparently, as the first graphic novel.

Somehow, despite the artist having inspired a live action film, a documentary feature, an opera, a novel, a ballet and several plays, I’d never heard of her, or of her masterpiece, Life? Or Theatre? That is, until I watched the animated feature film Charlotte, a Canada-France-Belgium collaboration that was just released. Featured at the Toronto International Film Festival earlier this month, Charlotte has two screenings at the Vancouver International Film Festival: Oct. 3, 3 p.m., and Oct. 6, 9:15 p.m., at Vancouver Playhouse.

Based on the story and the cast, the Jewish Independent chose to be a media sponsor of the local screenings. And, on these points, the film scores high. Led by Oscar nominee Keira Knightley as the voice of Charlotte, the actors do a formidable job with dialogue that is, at times, stilted and animation that is pretty basic, with the exception of the scenes and transitional pieces that depict Salomon’s artwork. These parts of the film are sumptuous and give the most sense of Salomon as a person and artist.

The film begins near the end of Salomon’s life, as she is handing over her paintings to a man, who we find out later is a local doctor and friend, in what we later find out is the south of France. She asks him to guard the paintings for her, as they are her life, almost literally, given their content. The narrative then jumps to Berlin, to a young Charlotte trying to comfort a woman who is ill and sad. The woman turns out to be Charlotte’s mother, who dies, the young girl is told, of influenza.

Jumping ahead, still in Berlin, Charlotte’s father, Albert, has married Paula Lindberg, an opera singer, through whom, incidentally, a teenage Charlotte meets her first love, Alfred Wolfsohn, who is a singing teacher. He is also a veteran of the First World War.

Wolfsohn has a lot of personal issues, to say the least, and he ultimately betrays Charlotte, but he is also strongly supportive of her being an artist. While she gains entrance to Berlin’s art academy, despite being Jewish – it is 1933 and the Nazis are now in power – she is expelled pretty soon thereafter, though whether that’s because of her nonconformity to the artistic norms taught at the school, her Jewishness or both, is not clear.

What is certain is that, after Kristallnacht, the violence against Jews in Berlin has become unavoidable and Charlotte’s parents send her to the south of France to take refuge, and care for her maternal grandparents. Her grandmother is a troubled woman and her grandfather is, in a word, an asshole, but Charlotte finds beauty in her friendship with a wealthy American, Ottilie Moore, who owns a villa in Villefranche, and in her relationship with fellow refugee Alexander Nagler, whom she marries eventually.

image - In a scene from the film, Charlotte stares into the water, thinking about her aunt, who had drowned — In a scene from the film, Charlotte stares into the water, thinking about her aunt, who had drowned.

When Moore returns to the United States, she offers to try and take Charlotte and Alexander with her, but they stay in France – Charlotte because of her sense of duty to her grandparents. It is in caring for them that she witnesses the tragedy of her grandmother’s suicide and finds out from her grandfather that mental illness runs in the family, having claimed the lives of Charlotte’s mother, aunt and several other relatives.

Spurred on by the potential that she, too, will fall ill, as well as by the Nazis’ proximity, Charlotte turns her focus to creating the almost 800 paintings that comprise Life? or Theatre? She manages to give them (and other works, it seems) to Dr. Georges Moridis, who she had consulted about her own health and who had tried to help her grandparents, before she and Alexander are seized by the Nazis. Both Charlotte and Alexander are killed at Auschwitz; Charlotte five months pregnant.

The film, which isn’t shy about showing some of the brutality of the Holocaust, does step back from showing the deaths in Auschwitz, leaving viewers instead with an image of the idyllic setting in which they lived in France, as we hear the noises of their arrest, then silence.

Before the credits, the filmmakers tell us what happened to Charlotte, Alexander and Ottolie, and show us clips of a real-life archival interview with Charlotte’s father and stepmother, who survived the Holocaust, as well as a sampling of Charlotte’s paintings.

As depressing as Charlotte’s story is, it is not a depressing movie. That she anticipated her demise and created an artistic legacy in the face of death is somehow uplifting. As producer Julia Rosenberg states in the film’s production notes, “… hope isn’t rainbows and unicorns. It’s finding the courage to see beauty despite suffering.

“Charlotte Salomon’s ability to do just that is exceptional and inspiring.”

Indeed, it is.

Charlotte is a worthy introduction to a person we all should know.

For the full Vancouver International Film Festival schedule and tickets, visit viff.org. To potentially get free tickets to the Oct. 6 screening of Charlotte, email editor@jewishindependent.ca. Tickets will be available as supplies last (there are 10 to giveaway).

To do or not to do (the Bard)

Bard on the Beach’s Done/Undone, written by Kate Besworth, co-stars Harveen Sandhu and Charlie Gallant. (photo from bardonthebeach.org)

Throughout COVID, Vancouver’s Bard on the Beach has been unable to mount its popular summer festival at Vanier Park. However, it is easing its way back into the hearts and minds of Shakespeare fans with its innovative film production Done/Undone, written by Kate Besworth and starring Bard veterans Charlie Gallant and Harveen Sandhu, who take on multiple and diverse roles. The creative team includes community member Mishelle Cuttler as sound designer.

The film raises many probing questions. Is time up for Shakespeare’s works in the #metoo, woke, cancel culture era? Is there room today for plays written 400 years ago that can be interpreted as misogynist (The Taming of the Shrew), racist (Othello) or antisemitic (The Merchant of Venice)? Are the Bard’s works not just the reflections of a white, privileged male, written for colonial audiences to glorify British mores and culture? Or was English writer Ben Johnson, who died in 1637, right when he said Shakespeare was “not a man of his age, but a man for all times?” Should any form of Bardolatry continue or should Shakespeare and his folios be laid to rest as we move forward with contemporary artists telling contemporary stories?

To answer these questions, the film, set against the backdrop of a working theatre, uses snappy vignettes to showcase the pros and cons of the debate with interesting and perhaps unexpected results.

It opens as the two actors arrive at the theatre to prepare for a production of Hamlet, and the question first arises. Sandhu appears as Shakespeare to state that the purpose of writing is to “hold a mirror to humanity,” as she lists off the myriad subjects that the Bard explored – the sea, star-crossed lovers, a donkey in the arms of a fairy queen, an exiled warrior, an emperor of Rome, a triumphant king, how choices matter, and how governments fail us.

We then are spectators to a battle of wits between dueling professors, explaining and emoting from their respective lecterns. Gallant emphatically argues that Shakespeare is a product of a white, patriarchal society, using words as a tool of cultural imperialism written, originally, for white men to perform (women were not allowed to act in Shakespeare’s times, so male actors would take on the female roles) and that there is no place today for his work. Sandhu counters that Shakespeare’s texts still evoke emotions that resonate within the contemporary world – his topics of love, hate, greed and lust are timeless and embedded in the human character, she argues. She sees Shakespeare as remarkably progressive, with many of his characters in gender-fluid roles and with his portrayals of strong women – Rosalind, Cleopatra and Lady Macbeth, to name a few. His works can provide teaching moments, says Sandhu, giving the examples of Taming of the Shrew to show the harm that misogyny causes, King Lear, the scourge of elder abuse, and Othello and Merchant as vehicles to elicit tolerance and empathy in society.

Other vignettes in the film include a Bard board member – a neurosurgeon – who, during an opening night audience address, poignantly recounts the solace he found in the dark spaces of the theatre during a production of King Lear after the loss of a patient. He says that darkness was the escape from the reality of his grief.

Another scenario depicted is a couple taking in a performance of Romeo and Juliet, where the woman is clearly more into it than her male partner, who finds the Shakespearean language highbrow and difficult to understand.

Then there are the gothic, spectre-like creatures who denounce the Bard’s portrayal of women and Blacks in a macabre pas de deux; a talkback session after a Measure for Measure performance, where the female actor embarks on a scathing indictment of colour-blind casting; and the finale, in French, as the two actors attend an inventive Shakespeare festival in Montreal.

Shakespeare’s influence is global. At any given time, somewhere on the planet, one of his plays is being produced, either in its original form or as an adaptation. Do we judge him with our contemporary lens or should we remember the times in which he wrote and appreciate his genius? Done/Undone is a thoughtful and intelligent production that seamlessly blends the worlds of cinema and theatre, and considers some difficult questions. It leaves you to draw your own conclusions.

Done/Undone, with a run time of 76 minutes, is available for streaming online until Sept. 30. Tickets can be purchased at bardonthebeach.org or from the box office at 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Challenging VIFF Films

Michal Wiets uses her great-grandfather’s diaries as the basis for her film Blue Box. (image courtesy)

At press time, the Vancouver International Film Festival lineup had not yet been announced. But the Independent received the names of some of the movies to be presented, as well as a couple of screeners.

Starting with the more challenging VIFF choices, most Jewish community members will either take a pass – with a roll of the eyes as to what film festivals often consider appropriately provocative fare – or get up the fortitude to watch the disparaging portrayals of Israel, so as to be better prepared to confront the criticisms, and perhaps learn from them. I admit that I have taken both routes in life and it was with great skepticism and high anxiety that I watched Michal Weits’s Blue Box.

Weits is the great-granddaughter of Yosef Weits (aka Weitz), a Russian immigrant to Palestine in the early 1900s who was instrumental in foresting Israel, as well as purchasing land for the Jewish government from the Arabs who owned it at the time (who were mostly absentee landlords and not the people who lived on and worked the land). Depending on one’s point of view, Weits was either a legendary pioneer to be tributed, as “the father of Israel’s forests,” or a notorious pirate of sorts, stealing land from Arabs and expelling them from it, as “the architect of transfer.” His great-granddaughter seems to believe he’s the latter, while he himself was conflicted.

The basis of the documentary is Yosef Weits’s diaries, some 5,000 pages. In them, he expresses his belief in the need for the reestablishment of the Jewish homeland and his fears for Jews’ continued existence (even before the Holocaust). He also details aspects of his work, with whom he negotiated land sales and meetings with David Ben-Gurion and other Israeli leaders. Presciently, he admits to misgivings about the way in which the Arab populations were being treated, predicting that such treatment would end up causing Israel severe problems if not dealt with.

The diary entries are fascinating and reveal some of the complexities of that era and of Yosef Weits’s legacy. The archival footage and photographs are compelling and expertly edited to make clear director Weits’s viewpoint – there is no mention of events that don’t fit her narrative, such as the expulsion of Jews from Arab lands.

Weits interviewed several family members about what she discovered from the diaries and other research. Their reactions are varied, with the generations closer to that of her great-grandfather more defensive and those closer to hers, more questioning, even condemning.

It might be helpful to watch this film with a non-Jew, as I did. In doing so, I found there were a few parts – such as the Israeli government’s relationship with the Jewish National Fund and why Weits named her film after the JNF’s donation box – that could have been better explained to viewers without prior knowledge. As well, a non-Jew is perhaps better able to keep in mind that every country deals with similar issues relating to how they were established, who was displaced, etc., and that Blue Box could be seen not only as a personal tale of one family, but as the beginning of a conversation about nation-building in general rather than as a stifling condemnation of Israel.

The same may or may not be said about The First 54 Years: An Abbreviated Manual for Military Occupation, directed by Avi Mograbi. There was no screener available for this documentary, which is described as “a ‘how-to’ guide to civilian subjugation along ethnic and religious lines, through the example of the Israeli occupation of Palestine. This is jet black, ice-cold political satire. But the harrowing statements of 38 former Israeli military personnel must be taken at face value as eyewitness testimony of decades of state-licensed crimes against humanity.”

Noam Imber plays a pothead teen in Quality Time — Noam Imber plays a pothead teen in *Quality Time. (image courtesy)*

Thankfully, there are at least a couple of more innocuous films in this year’s VIFF. One is the short Quality Time, written and directed by Omer Ben-David. When mom goes on a brief vacation, father (Shalom Korem) and son (Noam Imber) are left on their own together, and the awkwardness of their relationship is highlighted. Imber plays a pot-dealing and -smoking teen who’s just received his draft notice, while Korem is his recently retired – from the defence ministry – father. Both actors are wonderful and the story is quirky and fun, even if it doesn’t hold up logically at the end. While Israel-specific – a gym bag being blown up by the bomb squad is a key element – it has universal meanings.

The JI always sponsors a film at VIFF and, this year, we’ve chosen the animated feature Charlotte, about Charlotte Salomon, a German-Jewish artist who created her masterpiece work – called Life? Or Theatre? (comprising nearly 800 paintings) – between 1940 and 1942. She died in Auschwitz in 1943, at 26 years old. We’ll review that film next issue.

For more on the festival, visit viff.org.

Animatedly tackling issues

In Bayla’s Issues, the title character is plagued by the travails of aging and anxiety, and a desire for acknowledgement in the art world.

Bayla’s Issues, a 2020 animated short based on the comic strip Bayla’s Comics by Vancouver artist Hinda Avery, has been making the Jewish film festival circuit, with a recent stop in Washington, D.C. The 15-minute film, which follows the story of its title character and her quest to be recognized as an artist, was directed and edited by Victoria’s Michael Kissinger, and is voiced by Ellen Kennedy and animated by Marty Emanuel.

Divided into eight chapters, Bayla’s Issues delves into the inner thoughts – a turbulent sea of doubts, fears and anxieties – of its heroine and her conversations with an expensive and expletive-laden therapist, who is neither encouraging nor helpful.

The character of Bayla came into being after Avery retired from her career in academia. At the time, she wanted to do two things: return to painting after a long break and establish a means of connecting with family who died in the Holocaust.

“Clearly, the only way for me to make this connection would be through an imaginary process, and painting seemed a tangible tool,” Avery told the Independent. “I decided to paint myself with my late mother and, with the help of only two motley photographs, my murdered aunt and grandmother. This would suffice as a way of spending time with them.”

Avery’s mother had left Poland before the start of the Second World War, but was severely traumatized by the murder of her family by the Nazis.

“The atrocity affected both her mental and physical health; her trauma was passed down to me, hence my close connection to the Holocaust,” Avery said.

Over time, in a process that began in 2005 and lasted 13 years, Avery was able to separate herself from, as she puts it, “an overt depiction of the Holocaust experience – an event too catastrophic for me to depict using conventional representation – and instead depicted it as a phantasmagoric event. I added more women and called us all ‘The Rosen Sisters.’” Rosen was her mother’s family name.

The paintings feature strong, confident women resisters in situations that are both humorous and dark. Avery found it therapeutic and liberating “to fight the Nazis in this vicarious method.” Still, she said, “beneath the surface of all the paintings, the calamity and horror of the Holocaust is ever present.”

screenshot - In Bayla’s Issues, Bayla must deal with her past — In *Bayla’s Issues*, Bayla must deal with her past.

When the paintings, in her view, had run their course, she was “desolate” and expressed this by drawing a comic about a befuddled, unfulfilled older Jewish woman who is plagued by the travails of aging and anxiety, and a desire for acknowledgement in the art world.

“In many of the comics, Bayla expresses her angst about being Jewish. Her Jewishness has never been a joy for her. In one of the comics, she says it feels like a huge lead-heavy Star of David, attached to a thick chain-link, hanging from her neck – it weighs her down, she can’t pull it off,” said Avery.

Kissinger’s collaboration with Avery can be traced to 2015, when he served as the editor of the now-defunct Vancouver Courier. “She left a message on my work phone about an upcoming art exhibit of her paintings and I, of course, never returned her call…. But she left another message, and another message,” Kissinger recounted.

“We didn’t do a lot of art exhibit coverage,” he explained. “But, for some reason, I decided to Google her name and up came these paintings of elderly women in bikinis holding automatic weapons and swearing and taking down Hitler and having a great time while they were at it. From that point on, I was in.”

Kissinger went on to write a story and created a five-minute video to accompany it on the newspaper’s website.

screenshot - Hinda Avery’s cartoon strip has been transformed into film about an “‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons” — Hinda Avery’s cartoon strip has been transformed into film about an “‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons.”

A year later, Avery reached out again – this time to share that she had obtained a Canada Council grant and to ask Kissinger if he would be interested in making a documentary about her, her paintings, and her journey in dealing with the Holocaust and depression.

A 27-minute documentary, Hinda and Her Sisterrrz, ensued. That 2018 film screened at a number of Jewish film festivals, including those of San Francisco, Toronto, Boston, Vancouver and Victoria.

“The documentary ends with Hinda talking about retiring the characters in her paintings and moving on to working on a comic strip about an ‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons,” said Kissinger.

“Because I know Hinda’s work and backstory and she trusts me with it and was happy with the documentary, she asked me if I could help her animate her comic strip,” he added.

“Bayla lends herself to being animated. I love seeing her come alive!” Avery said.

The original strip, Bayla’s Comics, appeared in Jewish Currents. More episodes about Bayla’s tribulations – under the title Bayla’s Got Problems – are currently underway.

To watch the trailer for Bayla’s Issues, visit vimeo.com/439541618.

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

Festival features local doc

Left to right: Lydia Okello, Shana Myara and Joanne Tsung. (photo from VQFF)

The 2021 Vancouver Queer Film Festival, which runs until Aug. 22, includes the screening of local feature documentary Well Rounded, directed by Jewish community member Shana Myara.

image - a still from the film Well Rounded — A still from the film *Well Rounded.*

Well Rounded brings fat queers to the front, with interviews from artists to health professionals. Directed by Myara, it features stories from Mi’kmaw comedian and broadcaster Candy Palmater, multidisciplinary performer Ivory and local queers including style icon Lydia Okello and comedian Joanne Tsung. The documentary balances the personal impacts of fatphobia with scientific facts from Dr. Janet Tomiyama, a psychologist working specifically with the causes and impacts of weight stigma, along with socio-political context provided by historian Dr. Jenny Ellison.

Myara is an award-winning writer. She is a curator, recovered festival director, and community arts programmer who has cultivated arts and dialogue for social change for more than 20 years. Well Rounded is her first feature length film. As part of the film festival, it is available for a limited release from Aug. 19 to 21, and includes a post-screening Q&A with the director and cast members.

The full 2021 VQFF program is available online at queerfilmfestival.ca.

– Courtesy Vancouver Queer Film Festival

Future of Film Showcase starts July 9

A still from Max Shoham’s animated film Sophie and Jacob.

The Future of Film Showcase, an annual short film festival and professional development conference dedicated to fostering the future of emerging Canadian filmmakers, features 11 shorts from Canada’s most promising new voices aged 40 and younger. This year’s slate includes Toronto Jewish community member Max Shoham’s animated film Sophie and Jacob, based on the true story of his great-grandparents, who find love while fleeing Nazi-occupied Romania in 1939. Shoham is a graduate of Etobicoke School of the Arts, where he majored in film, and is currently at Concordia University studying film animation.

The Future of Film Showcase takes place July 9 to 22, with films available to stream for free on the CBC Gem streaming service.

– Courtesy Future of Film Showcase

The need to support caregivers

Rick Tash is the primary caregiver of his wife, Bambi Fass, who is dying of cancer. (still)

A new short film by Dr. Jessica Zitter and Kevin Gordon gives an intimate look at the toll involved in caring for a loved one at the end stages of their life.

Zitter happened upon palliative care, she said, before “anyone even knew how to spell the word ‘palliative,’” after she had “finally realized I’d been feeling a lot of burning walls of stress in the way that I had been practising medicine.”

A physician in Northern California, Zitter said, “I’d been treating patients like objects on a conveyor belt, instead of as people, and then began to practise, for the next two decades, palliative care and critical care at the same time, providing me with a strange vantage point within the world of medicine.

“I was inspired to write and share stories about what’s going on in hospitals, and about how we’re treating the seriously ill among us … and I also continue practising medicine.”

Zitter at first opted to educate the public via books, but then she encountered the power of film. “I realized, all these messages I’m trying to get across to people – about medical culture and about what we want to think about differently – they’d lend themselves so well to film, to show the experience of the patient. If a picture is worth 1,000 words, I realized that a movie is worth much more than 1,000 pictures.”

photos - Dr. Jessica Zitter and Kevin Gordon are directors of the short film Caregiver: A Love Story — Dr. Jessica Zitter and Kevin Gordon are directors of the short film Caregiver: A Love Story. *(photos from Jessica Zitter)*

In the 24-minute Caregiver: A Love Story, the audience meets a woman Zitter met at synagogue, Bambi Fass, and Fass’s husband, Rick Tash. Fass was dying of cancer and Zitter offered palliative care, but was refused, until Fass’s condition became dire.

“She called me and she was extremely sick and had deteriorated,” Zitter told the Independent. “She said she needed help and, that day, we got her into hospice care. She was so, so sick and in so much pain and suffering. That day, her life turned around for the better. All of a sudden, she was living again.”

That is when Zitter asked Fass if she would be willing to be filmed. “She replied, ‘I want to help someone else … if you want to write about me or anything.’ She knew about my book. That’s when we got a film crew. I thought the film would be about her, an amazing woman. What I didn’t realize then is that it would actually end up being about her husband as the main focus. I thought he was just going to be the guy who opens the door for the hospital, but he ended up being a central character.”

Fass had sat a few rows in front of Zitter at their synagogue. “She had a long braid of hair,” recalled Zitter. “I’d always see it from behind. I didn’t know her really, but I did wonder…. She was very, very sick…. I knew she was, because she had brain metastasis. She was vivacious and funny. She was staring her death in the face and she still had a sense of humour. She was a hero, a really fascinating character.”

It took almost two years to put the movie together and to fully grasp the importance of sharing it with the world.

“I never realized – the invisible public health crisis, family caregiver burden – how much this story needed to be told,” said Zitter. “The original intention I had for this film was to show how, once you make the right decision, everything will be OK…. I then realized how naïve that message was. It’s not that easy. You can make decisions that feel like they’re going to be the right choice for the patients, but will it be the right choice for the family as a whole? We have to be much more holistic when we think about our patients. It really needs to include our families as well.

“Even in a loving, caring and organized community like ours, we aren’t necessarily focusing on and supporting the family caregivers among us,” said Zitter. “And there are a lot of family caregivers – rising numbers – with very little support. An organized community has been unable to attend to this man [Tash] who is deteriorating in front of our eyes, because they don’t know what to do with him. We’re not primed to think about caregiver burden as an urgent task.”

Zitter found that her synagogue had no committee to assist family caregivers, and her hospital community was also not paying attention to caregivers.

“They’re an invisible workforce that we don’t pay attention to,” said Zitter. “We don’t attend to them, we don’t think about them, we don’t identify them, we don’t include them in the conversation. But they’re a huge part of our workforce … and we’re just ignoring them.”

Zitter’s hope is that people from various communities, including synagogues, churches and mosques, will watch this movie and then establish a workshop for family caregivers and identify ways to support caregivers. To that end, she has created a keynote message and an hour-long program to raise awareness of this crisis and do something about it.

“The best place to start is at caregiveralovestory.com,” she said. “You can go on the website and see public screenings that are coming up and other ways to watch the film yourself, whether bringing it to your organization or watching it privately.”

Currently, Zitter is working on a film about deathbed spirituality and prayer, as well as on a movie about Ethan Sisser, a Jewish Buddhist.

“Ethan was an amazing, amazing guy,” said Zitter. “He died about two or three months ago. He has a community following on social media. A lot of young people were just so moved by the way he viewed his death and the bravery and beauty of his final days…. We’re making a film about him, which will be beautiful and, hopefully, you’ll see that soon.”

Rebeca Kuropatwa is a Winnipeg freelance writer.

Addicted to streaming

Michael Douglas stars as Sandy Kominsky in The Kominsky Method on Netflix. (photo by Anne Marie Fox / Netflix)

I admit to watching movies and television series on Netflix, kanopy.com, Amazon Prime, TIFF, VJFF and any other website that offers movies and TV shows. I watch Netflix and Amazon Prime on my television set and everything else on my desktop PC. I do not feel guilty nor am I ashamed!

I may never go to a movie theatre again. I like setting my own schedule, I like not having to find parking. I like not standing in line. And I love subtitles. I wear two hearing aids, so, even though I can hear, I sometimes have trouble understanding what the actors are saying, especially if they have accents (I love foreign films). I watch everything with subtitles. What a relief.

Total freedom is at hand. I can stop the show and go to the bathroom, I can prepare a meal and then sit down to eat it while watching my show, I can watch three or four episodes in a row. I am in control! I can start a series and, if I do not like it, I stop watching – too violent, too slow, whatever! I can watch the first season of a series and decide that one season is enough, or I can continue to watch. My record is nine seasons of Doc Martin. Instant gratification you say; you bet!

After one-and-a-half years of COVID-19 restrictions, I can honestly admit that I am addicted to streaming. It has been a wonderful way to be entertained, educated and inspired. I will watch movies, especially foreign films, documentaries and TV series. I now watch much less news on the television. COVID-19 and the pandemic have dominated all newscasts, Israeli politics is getting weird and, frankly, I am tired of seeing Prime Minister Justin Trudeau in need of a haircut.

Raise your hand if you also exhibit some of these symptoms! Ah, wonderful, how comforting to know that I am not alone. By the way, I still managed to create and publish four editions of Senior Line magazine for Jewish Seniors Alliance, do my four physical workouts a week, study twice a week with Hebrew teachers and walk the dog four times a day. I am not a reprobate.

Here are some of my favourite television shows (in alphabetic order):

Amazon Empire: The Rise and Reign of Jeff Bezos: A documentary about the man who changed almost everything. Love him or hate him. Always fascinating.

Blackspace: The most evil bunch of high school students you never want to meet. (one season)

Diagnosis: A documentary that highlights difficult case studies in medicine.

Halston: Elegant and wicked, love the fashion and New York City. (one season)

Jeffrey Epstein, Filthy Rich: A revealing documentary of exploitation and excess.

Lupin: Smart, witty and stylish heist/drama. (two seasons)

New Amsterdam: A medical soap opera of the finest quality. (two seasons)

Nomadland: A woman wanders in her van, grieving her loss, in search of meaningful connections. A soulful and beautiful film.

Shtisel: A warm and delightful view of the ultra-Orthodox lifestyle in Jerusalem. (three seasons)

Snowpiercer: Shocking, violent and riveting end-of-the-world scenario. (two seasons)

The Crown: Queen Elizabeth et al. Just marvelous. (four seasons)

The Kominsky Method: Geriatric best friends, their loves and lives. (three seasons)

Dolores Luber, a retired psychotherapist and psychology teacher, is editor-in-chief of Jewish Seniors Alliance’s Senior Line magazine. She works out four times a week, studies Modern Hebrew twice a week, and is constantly reading books and watching movies. Her motto is “Never underestimate an old lady who can deadlift you.”

Dementia in film, the sequel

Lance Henriksen, left, and Viggo Mortensen in Falling. (photo from indiewire.com)

In February 2016, the Jewish Independent published my column “Dementia, cinema’s darling,” in which I reviewed seven films about people struggling with dementia. Well, here we go again! This pandemic year has seen the release of four extraordinary films that feature people struggling with the symptoms of dementia, those with the illness and those who are close to them.

These films opened my eyes not only to the symptoms of Alzheimer’s disease, but also how the affected persons perceive what is happening around them and how that altered reality affects loved ones and family members. After having watched these four unique films, I feel like I have taken a course in how dementia evolves, and how it feels to suffer through the gradual deterioration of the self. I have been shocked, educated and enriched by these moving works of art.

Falling (2021): Viggo Mortensen writes, directs and stars in this lacerating drama about a son dealing with his father’s mental decline. Lance Henriksen plays the father Willis, a foul-tempered, bigoted man, filled with intolerance and invective. His meanness is hard to watch. The flashbacks inform us of the subdued menace of Willis, they scrape your senses like sandpaper. John, the son (Mortensen), must call on all his reserves of patience, understanding and love to withstand the onslaught. (I watched it on TIFF Bell Lightbox, but do a Google search to see where it is streaming now.)

The Father (2021): French writer and first-time director Florian Zeller presents a frightening new angle with this movie, which aims to mirror the confusion and discomfort of encroaching dementia. Anthony Hopkins, 83 years old, takes us from the realm of sympathy to empathy. It is disturbing and brilliant. Hopkins, as the father, nails the way in which people learn to cover for their mental mistakes. The supporting cast is excellent, and Hopkins won the best-actor Oscar for his depiction of a mind in decline. (It is on TIFF, but do a Google search.)

Supernova (2020): Stanley Tucci and Colin Firth dazzle as a couple facing their fears. Tusker and Sam have been together for decades. The careers of both have been put on hold because Tusker has been diagnosed with early-onset dementia. They set out on a road trip. Harry Macqueen, the director, has created a drama about love and mortality. The northern English scenery is stunning, as are the performances of these two people stoically accepting mortality. (It is on TIFF and is also accessible on Apple TV+ and perhaps elsewhere.)

image - Martine Chevallier, left, and Barbara Sukowa in Two of Us — Martine Chevallier, left, and Barbara Sukowa in Two of Us. *(photo from Magnolia Pictures)*

Two of Us (2021): An older lesbian couple is met with unexpected devastation in the aching romantic drama by Filippo Meneghetti. Nina (German actress Barbara Sukowa) and Madeleine (Martine Chevallier) have waited decades to love one another freely. They are preparing to leave France for new beginnings in Rome. First, Madeleine must come out to her children before realizing her dream, but tragedy strikes before she can speak her truth. Sukowa is ferociously great as a woman whose devotion is as fierce as her determination to drag her lover into a more honest life. This is a film of profound intimacy between two people. In French with English subtitles. (It is available at TIFF Bell Lightbox.)