We saw Shanawdithit, a new opera produced by Tapestry Opera and Opera on the Avalon, about the woman who was long considered the last Beothuk. She is also the main source of what little we know about the Beothuk, an indiginous people of Newfoundland who were the victims of ethnocide.
We saw Buddha in Africa (Nicole Schafer, 2019), a documentary that looks at an orphanage in Malawi, run by Taiwanese Buddhists. The film focuses on one interesting young man, Enock, who has grown up learning kung fu and wanting to be the next Jet Li. But now that he is becoming an adult, will he head off with his classmates to Taiwan for university, or stay to find his roots in Malawi?
We saw Leftover Women (Hilla Medalia & Shosh Shlam, 2019), a documentary now playing at the Hot Docs Festival. This movie follows several women in China who are facing pressures—from family, from friends, from society, and from the government—because now that they are in their late 20s and early 30s, they are in danger of being considered “too old” to be married.
Chris, Lochin, and Kirsty explore their reactions to the movie after the screening. How does it compare to the pressures we’re more familiar with for young women to get married? How did it get such intimate shots? Is anything getting lost in translation?
We’ll be going to the Hot Docs festival soon, don’t worry, but first: More opera! Puccini’s La Bohème (performed by the Canadian Opera Company) is the classic story of a young woman who dies amongst the artists of nineteenth-century Paris. Did it make Michael weep? Was Chris all cynical about it? Only one way to find out!