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On this episode of the podcast, we dig into how the film Run Woman Run explores coming of age in your thirties through an Indigenous perspective.
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Associate Editor Brett Pardy recently defended his PhD about film and empathy. We discuss his research, what inspired him to get into the topic, and how Seventh Row ties in.
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Zoe Leigh Hopkins’s Run Woman Run is a thirty-something coming-of-ager about learning to love and care for yourself amidst a lot of trauma.
Listen to us discuss Run Woman Run on the podcast.
Read our interview with writer-director Zoe Leigh Hopkins.
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On a shoestring budget, Zoe Leigh Hopkins has crafted a feel good film about learning to care for yourself in the wake of tragedy and trauma. Set in the Six Nations in Ontario, Beck (Dakota Ray Hebert) is a thirtysomething single mother who lives with her father and shares a bedroom with her pre-pubescent son, Eric (Sladen Peltier). When she gets diagnosed with diabetes, she has enormous trouble making lifestyle changes (taking medication, improving her diet, and starting to exercise) because she’s gotten so used to putting herself last, ever since her mother died by suicide, and there was her father (Lorne Cardinal), sister, and son to care for.
Fortunately, visits from an encouraging and amusing spirit of a champion Indigenous runner and Residential ‘School’ Survivor, Tom (Asivak Koostachin), help give her the support and confidence she needs to take care of herself — if not for herself, at first, then for the people she loves. Along the way, she finds the possibility for romance with the son of her father’s ex-girlfriend, Jon (Braeden Clarke), but it’s her son that keeps her going. This quarter-life coming-of-ager is warm and funny with a light touch, but you can also expect to bawl your eyes out if you’ve ever treated yourself with as little care as Beck does, and for good reason. Though the trauma of residential ‘schools’, language loss, and suicide are all in the backdrop of the film, they never overtake the film’s relatively light tone.
Run Woman Run is also a showcase for so many Indigenous creatives, marking Hebert as a star to watch, as well as Koostachin, who has been everywhere in Indigenous cinema from so-called Canada in the last year (Red Snow, Portraits from A Fire). It’s one of the year’s best, and will be distributed in Canada in 2022, but why wait? It’s a cozy film with a lot on its mind — perfect for the holidays at home.
The film screens digitally across Canada at the Whistler Film Festival until December 31.
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Montreal’s Festival du nouveau cinema showcased international films, including The Crossing, Wood and Water, and Introduction, and homegrown talent with The Noise of Engines and The Left-Hand Side of the Fridge.
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Montreal’s Festival du nouveau cinema (FNC) held its second Canada-wide online edition this year, and it continues to be the cooler, more avant garde sibling to the juggernaut Toronto International Film Festival (TIFF). While TIFF eschewed most Berlinale selections for world premieres and Cannes titles, FNC programmed almost everything from Berlin’s ‘Encounters’ section, its most experimental, with a handful of films from its other sections, too. The programming at FNC is so thoughtful and eclectic that you never know whether you’re going to be walking into a crowd-pleaser (e.g., Hit the Road), a cinematic innovator (or both), or slow cinema that is not for the faint of heart (e.g., the gorgeously shot sort-of meditation on colonialism Child of Plomo, which was not for me). One thing is for sure though: nothing about the festival’s program is boring or derivative.
Every year, it’s a showcase for some of the best titles out of Cannes, which this year included Ahed’s Knee (screened virtually), The Worst Person in the World (screened in theatres), and Hit the Road (also in theatres). It’s a showcase for exciting approaches to creative nonfiction. This year’s festival featured two films that were featured in the Case Study on animated documentary in our ebook Subjective realities: the art of creative nonfiction: 1970 and Archipelago. The festival was also the only one in Canada to program Berlinale Teddy Winner Miguel’s War, a film that featured both in our ebook Subjective realities and our summer workshop The 2021 Creative Nonfiction Workshop.
The festival also showcased exciting new restorations: last year’s edition included Out of the Blue (1980) and Quebec’s Les ordres (1974); this year’s included 4K restorations of Andrez Żulawski’s Possession (1981) and Philippe Falardeau’s The Left-Hand Side of the Fridge (2000).
Writer-director Philippe Falardeau is one of Quebec’s foremost auteurs: his Monsieur Lazhar (2011) was nominated for an Oscar and has had wide-ranging influence on Canadian filmmakers, including Mina Shum. His My Internship in Canada (2015) is one of the funniest and sharpest films about the failure of (Canadian) democracy. And he’s worked extensively in the US with My Salinger Year (2020) and The Good Lie (2014).
Nevertheless, his first feature, The Left-Hand Side of the Fridge, has been impossible to find except on DVD at your local Canadian public library. It’s a mockumentary about an unemployed engineer, Christophe (Paul Ahmarani) who can’t find a job that interests him because he secretly doesn’t really want to be an engineer. That is, until now, with this beautiful 4K restoration, which I hope will become widely available soon. The film is ahead of its time: it’s about a man who discovers that the job he trained for isn’t one that interests him, and through self-imposed unemployment, he eventually figures that out; in this sense, he’s a lot like Julie in The Worst Person in the World.
Like all of Falardeau’s films that would follow, this light-hearted film exposes the outrageous bureaucracy that the unemployed are faced with: useless government advice, endless hoops to jump through, and the realisation that you can’t actually borrow money when you need money (only when you don’t). Of course, Christophe is being followed around by his documentarian friend with a camera, and there’s an irony to the fact that his friend has a government grant to document Christophe’s unemployment and job hunt.
Along the way, there are some great moments, like when Christophe must explain to his sister that, as a mechanical engineer, he can’t do anything useful, like fix her tractor, which would require a mechanic. I’m trained as an engineer, and when I was in engineering school, we used to have a running gag about who the ‘real engineers’ were, as in people who could actually fix your bike rather than, say, write a computer model to solve a problem. There’s also Christophe’s obsession with eating carrots which he buys by the dozen pounds, and later attributes to his orange-ish hue.
The restoration was funded by Telefilm Canada. Telefilm says each film will have a theatrical run and eventually be made available to broadcasters and streaming outlets, but dates for this are currently unknown.
Florence Miailhe’s animated film The Crossing (La Traversée) would make for a great double feature with Oscar hopeful animated documentary Flee. Both films are memory pieces that look back on a young person’s flight from oppression and civil war, in search of a more stable home — and the people lost along the way. While the strength of Flee is the specificity of both Amin’s story and the research that went into getting all of the places and objects exactly right, the fiction film The Crossing is going for something more abstract, never naming the Eastern European country the protagonist is fleeing from nor the places she visits along the way.
What The Crossing lacks in specificity of place and time, it makes up for with the ingenuity of its animation, which is so colourful and free in a film about people who are struggling to keep their freedom. At the start of the film, Kyona (Emilie Lan Dürr) and her brother, Adriel (Maxime Gemin), return home from playing in a tree to discover a civil war is brewing and the family will be going on the run. After being quickly separated from their parents, they find various benevolent and not-so-benevolent hosts to feed and house them — until it’s no longer safe to stay. Throughout, they struggle with maintaining their identity when every host requires that they edit themselves.
The Crossing premiered at the Annecy Animated Film Festival earlier this year, alongside other Seventh Row animated favourites Flee and Archipelago. Flee took home the top prize, Cristal for a Feature Film, while The Crossing took runner up with Jury Distinction. In another year, The Crossing might seem more groundbreaking than it does when up against Flee. Both are based on true stories; The Crossing loses something in the fictionalisation process which distances us from the characters and their plight whereas Flee puts us right in the muck with the characters.
The Crossing is still seeking international distribution outside of France. Sales are being handled by Indie Sales.
It’s hard to draw the line between fiction and nonfiction in Jonas Bak’s Wood and Water, in which he casts his mother as herself, Anke (Anke Bak), visiting her son in Hong Kong (where Bak used to live), but only seeing his apartment rather than him. His siblings also make guest appearances as themselves early in the film. To make Wood and Water, the pair travelled to Hong Kong amidst the 2019–2020 protests, which are documented on screen in the film. Bak’s interest in people’s relationships to places and the way that sound design defines place make this film very Akermanian in spirit. In the woods, where Anke lives in Germany, the quiet is defined by breezes and birds. In the city, in her son’s high rise apartment, she looks over the downtown from dozens of flights up, separated from the loud din of the city — until she opens a window.
Wood and Water is about exploring new places, longing for people and places, and the attempt to connect to people through the places that matter to them. When not knitting in her son’s apartment, Anke explores the streets, meets some locals, and ponders what has attracted her son to this city. In the process, there are sequences of exquisite beauty, like when Anke enters a highway tunnel in Germany, and Bak focuses on the pattern of lights in the ceiling, only to exit the tunnel in Hong Kong. The tall buildings define the landscape where tall trees did in Germany.
KimStim will release Wood and Water in 2022 in Canada and the US.
At this point, the Toronto International Film Festival may just about be the worst showcase for Canadian cinema among the national fall festival circuit. While festivals like Sudbury, Vancouver, Whistler, and FNC all screened some of the best Canadian films of the year — including Noise of Engines and Run Woman Run — TIFF somehow managed to screen most of the worst films. It’s one of the reasons that films like The Noise of Engines (Le bruit des moteurs) will opt, like Philippe Lesage (Genèse and Les démons) before it, to premiere at a festival like San Sebastian, which won’t bury it. All of this is to say, FNC’s programming has become crucial to watch if you want to catch the best — especially Québécois films — from Canada. And their October date means they can capture San Sebastian titles, like this one and Genèse, that skipped TIFF.
This deadpan look at the failure of Canadian government bureaucracy would make a good double feature with almost any of Falardeau’s work, but especially The Left-hand Side of the Fridge and My Internship in Canada. Based on writer-director Philippe Grégoire’s own experiences as a Canadian Customs officer, the film is the story of a bored Customs officer who teaches firearms training, and who gets into scrapes when he has sex with one of his students.
Thrown out of his job on probation, he returns home to the small town where he grew up, only to discover his mother has filled his room with pillows on which his face is printed, and that he doesn’t really know what he wants to do with his life. He’s followed by incompetent police officers who think he must be responsible for a local sex crime because pornographic drawings have been found in which he is featured. And he meets an Icelandic woman who is in town for the car racing, with whom he forms a tentative friendship, bonding over their love of, ‘the noise of engines.’ The Noise of Engines doesn’t quite stick the landing, but it’s certainly one of the funniest films of the year, along with fellow Québécois film Saint-Narcisse, and it’s brutally incisive in its send-up of how doggedly following the rules and protocol can lead to very silly decisions.
The Noise of Engines will eventually be released in Canada by H264 Distribution, but is still seeking international distribution.
The first of two Hong Sangsoo films to premiere in 2021, this one taking the Best Screenplay Award at Berlinale, made its Canadian debut at FNC, skipping TIFF. As a Hong skeptic — I loved Hill of Freedom, thought Another Country was OK, but have disliked almost every other film of his I’ve seen — I was pleasantly surprised to discover that this just might be my favourite of his films. Like the title suggests, this is a film of introductions between strangers: long scenes and long takes of awkward meetings and lonely encounters. The triptych is anchored by Young-ho (Seok-ho Shin), who appears in each segment: first, as the son of a doctor he never gets to see (he has a chat with his assistant, instead); as the obsessive boyfriend of the lead in the second segment who has just moved away to Berlin where she’ll be staying with her mother’s old friend; and finally, as an aspiring actor meeting an old pro, an introduction brokered by his mother.
As a conceit, documenting first encounters works quite well because it’s when people are at their most vulnerable and eager to please. Since the film is about introductions, there’s always a third party present, whose relationship to the two people introduced is always the fulcrum of the story. Black and white photography is in fashion this year — between C’mon C’mon, Belfast, and The Tragedy of Macbeth — but this may be one of the few films that earns it: because introductions share truths regardless of time, place, or colour, and the aesthetic works as a further stripping down of the story. Hong wants us to look at these people’s faces and bodies and see how they relate to each other in space. He rarely moves the camera, and he rarely cuts. That could be exhausting, but here, it’s an opportunity to explore character.
That said, Introduction is a film that screams, “I have a screenplay,” as the stripped down aesthetic forces you to fixate on the dialogue. So I can understand why it took home that prize at Berlin, even if I’d personally have gone for something else, like I’m Your Man or Petite Maman.
Cinema Guild will release Introduction in January in the US, and Acephale will release the film in Canada.
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Alex Heeney takes a look at some of the best films from so-called Canada to premiere this fall, including Bootlegger, Albedo, and Portraits from a Fire.
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There was a time when you could fairly reliably sample the best films from so-called Canada at the Toronto International Film Festival in September. But more and more every year, the festival’s Canadian programming gets worse while other regional fall festivals seem to program better Canadian films. Case in point: last year, Nadia, Butterfly, Rustic Oracle, Monkey Beach, and Call Me Human all made our list of the best films of 2020 — none of which screened at TIFF. Although we loved Scarborough and Night Raiders at TIFF this year, many of its Canadian selections were underwhelming (e.g., Learn to Swim, Oscar Peterson: Black + White, Drunken Birds, Charlotte) and many weren’t even available to Canadian press (e.g., All My Puny Sorrows).
So this fall, I’ve been actively scoping out Canadian films at other festivals. Last year, I attended Sudbury’s CineFest festival virtually for the first time, and discovered some of my favourite Canadian films to premiere that year, including Quebexit. The programming this year was consistently good, offering a chance to catch up with TIFF films I missed, like the excellent Wochiigi Lo: End of Peace, and the well-acted but disappointing All My Puny Sorrows. More impressive though was their programming of Indigenous films — Bootlegger, Portraits from a Fire, and Wochiigi Lo: End of the Peace — which were consistently strong, and have also gone on to play many other regional festivals. The Calgary International Film Festival and Vancouver International Film Festival, which last year programmed the excellent John Ware Reclaimed, also screened must-sees like Returning Home, Coextinction, and Last of the Right Whales.
With the caveat that I’m still catching up with Canadian films that screened at all of these festivals (including The Noise of Engines and Run Woman Run), here are five of the most rewarding films I caught on the Canadian festival circuit this fall which didn’t screen at TIFF.
Caroline Monnet’s feature debut, Bootlegger, follows a young Indigenous lawyer, Mani (Devery Jacobs), who returns to her home reserve, after years living away, in order to complete her graduate school research. On the reserve, alcohol has been banned — not by the Canadian government, as was the case in years past, but by the Indigenous leaders themselves. Mani is trying to encourage the creation of a referendum to let the community decide whether to keep the ban on alcohol which echoes colonialist history.
Bootlegger is thoughtful in its exploration of what it means to become detached from your home as an Indigenous woman, as well as how Indigenous people can end up becoming complicit in their own colonisation because so few options are available to them. The film also positions alcohol as just one way in which the community is being destroyed (e.g., forestry is another). Jacobs is fantastic, as always, here speaking multiple languages. The film is also gorgeously shot. Not all of Monnet’s ideas are fully explored, but it’s certainly a conversation starter and essential viewing for Canadians.
Bootlegger screened at FIN Atlantic Film Festival, Cinefest Sudbury, Vancouver International Film Festival, Festival du Nouveau Cinema, and ImagineNative Film Festival.
Tsilhqot’in filmmaker Trevor Mack’s feature debut, Portraits from a Fire, is a hugely ambitious film about family trauma, coming of age, and memory. The film follows sixteen-year-old Tyler (William Magnus Lulua) who dreams of becoming a filmmaker, and makes his own movies by himself using an old camcorder he found in his house. Tyler is mostly left to his own devices; his mother is no longer around, and his father is largely absent for work. When Tyler discovers footage of his parents when they were young, it sparks questions about the lies of omission about what happened to his mother.
There’s a dreamy quality to Portraits from a Fire, which uses digital glitches in thoughtful ways to look at the link between video footage and memory. It’s also enormously funny and entertaining at times, hugely steeped in place and culture, and also heartbreaking. It doesn’t always work, with some particularly poor dialogue at times, but the performances are uniformly great. The film’s many thoughtful visual ideas make Trevor Mack a major talent to watch behind the camera.
Portraits from a Fire screened at Cinefest Sudbury, Calgary International Film Festival, Vancouver International Film Festival, and ImagineNative. Portraits from a Fire will be available on VOD across Canada on November 9.
“Settler filmmakers Gloria Pancrazi and Elena Jean began the making of Coextinction as a fight to protect the Southern Resident killer whales, of which there are less than one hundred left. In the process of trying to understand what threatens the killer whales, they discover the dangers of the excessive noise produced by the shipping lanes, which interfere with the killer whales’ ability to find their prey. But soon, they realise the problem is not just with being able to find the prey, but the existence of the prey at all.
These killer whales survive primarily off salmon, which Returning Home viewers will know are dwindling in numbers in the Pacific Northwest. Following the story behind the destruction of the salmon population lead Pancrazi and Jean to interact with many Indigenous leaders in the area. They also discover the detrimental effects of salmon farming (run by companies from outside of Canada). Their journey eventually leads them down to the States to discover how mega-dams (not unlike Site C) are obstructing the migratory path of the salmon population. They soon find, too, that killer whales aren’t the only species to depend on salmon; it’s an essential element of the food chain for many wildlife species as well as Indigenous Peoples.” Read more.
Coextinction screened at the Vancouver International Film Festival and Planet in Focus.
It’s one thing to be told that the ice caps are melting; it’s another thing to see it for yourself. In Albedo, a scientific expedition heads close to the North Pole to document the coldest part of the Arctic Ocean and to document the ice floes. What they discover is that although the climate models suggest that the ice floes are intact, in reality, they are broken up into small, floating pieces, which will travel south and melt. If things are in such dire straits here, it’s only worse everywhere else. The film gets its title from the Albedo effect, wherein the ice on the earth’s surface reflects sunlight, preventing it from being absorbed into the earth and thus preventing heating.
Albedo is a visual testament to how the Albedo effect works: if the ice melts, it will be replaced by darker water, which will absorb the sun’s light, further speeding up global warming. There’s an adventure story built into the film, because what would have been an easily navigated route ten years ago proves treacherous today because of the quickly changing climate and increasingly melting ice. The film is sometimes a bit long and clunky and doesn’t have the finesse of something like Coextinction or Wochiigi Lo, but it will completely change how you think about global warming and the state of the glaciers. It’s visually stunning, too, taking us to remote parts of the world we’ll never visit, and we get to watch firsthand as the team is shocked by just how much the world has changed and just how much the ice has melted.
This thriller by Hannah Cheeseman, the director of Succor (one of our favourite shorts at TIFF20) starts out promising and then gets very silly. The film is mainly an excuse for a wonderful central performance by Michael Kurimsky, who first broke out in 2019’s Firecrackers with an amazing lead performance.
Kurimsky stars as Anne, a music graduate student on leave who decides to take a job taking care of the children of her ex-advisor who disappeared, which means living at their cottage country home with her ex-advisor’s husband and two children. Pretty much every cliche you can imagine eventually comes up, but the film at least starts as a thoughtful look at power dynamics (especially within grad school). The film also features wonderful costumes by Mara Zigler, who has previously designed costumes for Sugar Daddy, Firecrackers, and Mouthpiece. Though I found the film ultimately disappointing, it’s great to see Kurimsky and Zigler doing such fantastic work, and Cheeseman continues to show great promise as a director.
The Boathouse screened at Cinefest Sudbury, Calgary International Film Festival, and Vancouver International Film Festival.
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Three documentaries directed by women — Wochiigii lo, Returning Home, and Coextinction —draw connections between environmental destruction, species extinction, and colonialism.
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A collection of documentaries on the film festival circuit in so-called Canada this fall make a harrowing case for the connections between environmental destruction, species extinction, and colonialism in British Columbia. Although all of these films are worthy views on their own, each film raises some issues that are dealt with in more depth in the other films, which makes back-to-back viewing particularly rewarding. Taken together, they draw a straight line from land theft and colonialism to Indigenous trauma, large-scale industrial projects, the disappearance of the salmon, and its effects on the food chain and Indigenous communities.
Haida filmmaker Heather Hatch’s Wochiigii lo: End of the Peace, which premiered at TIFF, though I caught it at Sudbury’s excellent CineFest, is a deep dive into the construction of the Site C hydro dam on the Peace River in British Columbia. From the beginnings of its development, it was clear that the dam would provide energy nobody needed, cost more money than it would ever earn back, and in the process, create major environmental destruction, especially through lands populated largely by Indigenous Peoples.
Hatch’s documentary charts the years-long fight, in courthouses and through protests on the ground, to stop the development of the dam. Hatch regularly cuts between the developments in the building project and Indigenous People’s ongoing fight to stop it, showing that destruction keeps happening even as the dam’s future is being debated. Hatch also connects this megaproject with a history of similar projects, like the Bennett Dam, which had major detrimental impacts on both the environment and Indigenous peoples.
T’exelc filmmaker and cinematographer Sean Stiller’s Returning Home begins with the story of Phyllis Jack-Webstad, the residential school survivor who founded Orange Shirt Day — which has since become Canada’s Truth and Reconciliation Day — and turns into a story of the many ways colonisation has threatened Indigenous survival. Through testimonials from Jack-Webstad and her friends and family, Stiller shows us how residential schools created family fissures, tearing children away from their parents, subjecting them to unconscionable abuses, and causing intergenerational trauma. The film had its world premiere at the Calgary International Film Festival and also screened at the Vancouver International Film Festival.
Following Jack-Webstad back to her home in the Secwépemc territory near Williams Lake, Stiller teases out the links between the threatened salmon population along the Fraser River in the area and the threats to the Indigenous communities there. The Secwépemc depend on the salmon for sustenance, and see a direct link between the survival of the salmon and their own survival as individuals and as a culture. Overfishing has meant that salmon numbers are dwindling, and Stiller even follows a project to help the salmon get back upstream. In Coextinction, we learn that the disappearance of the salmon is not just from overfishing but from other colonial projects across Canada and the US.
Stiller, who shot and directed the film, captures the magnificence of the land and the animals that inhabit it. His shots of salmon swimming upstream are as awe-inspiring as those of the forest and sea, all of which serve as reminders of what’s at stake. The film also wisely intertwines the stories of the Secwépemc people and the land because they are inseparable: colonialism was about getting access to the resources of the land, destroying both the land and its people in the process. The survival of the Secwépemc people, we are reminded repeatedly, requires the survival of the natural ecosystem.
Settler filmmakers Gloria Pancrazi and Elena Jean began the making of Coextinction as a fight to protect the Southern Resident killer whales, of which there are less than one hundred left. In the process of trying to understand what threatens the killer whales, they discover the dangers of the excessive noise produced by the shipping lanes, which interfere with the killer whales’ ability to find their prey. But soon, they realise the problem is not just with being able to find the prey, but the existence of the prey at all.
These killer whales survive primarily off salmon, which Returning Home viewers will know are dwindling in numbers in the Pacific Northwest. Following the story behind the destruction of the salmon population lead Pancrazi and Jean to interact with many Indigenous leaders in the area. They also discover the detrimental effects of salmon farming (run by companies from outside of Canada). Their journey eventually leads them down to the States to discover how mega-dams (not unlike Site C) are obstructing the migratory path of the salmon population. They soon find, too, that killer whales aren’t the only species to depend on salmon; it’s an essential element of the food chain for many wildlife species as well as Indigenous Peoples.
Though Pancrazi and Jean’s film is more focused on the coextinction connections, the film does take detours to chart how ongoing colonialism is very much to blame for the destruction of the salmon population and extinction threats to animals up the food chain. They watch Indigenous protestors get unfairly targeted by the RCMP, and talk to Indigenous leaders about the consequences of colonialism on the destruction of the land, as well as on what they’re doing about it. Along the way, Pancrazi and Jean become part of the activism movement, and their passion both for the Southern Resident killer whales and for the movement are infectious.
Coextinction is the rare nature doc to connect multiple complex issues in order to explain how the survival of multiple species are connected and why we can’t narrowly focus on just, for example, saving the whales. The film also shows great respect for the Indigenous Peoples of the area, collaborating with them and featuring them in the film: they’re the experts on the land, and they are too often cut out of these stories. For example, the excellent Last of the Right Whales, which is about the near extinction of North Atlantic Right Whales on the East Coast, never consults or involves Indigenous Peoples of the area. Coextinction raises the issues of colonialism, encourages you to learn more, and Returning Home explores the consequences in more depth.
Perhaps because Coextinction is the story of Pancrazi and Jean’s own self-education about the Southern Resident killer whales, it never feels like an eat your vegetables lesson. Instead, the film plays like a mystery, full of exquisite images of the wildlife they’re discovering and trying to save. The film mixes a fascination for the killer whales with the on-the-ground action needed, even showing us the government consultation meetings where key decisions about their fate are made. It’s a testament to how everyone and everything is connected, a fun if harrowing ride, and will certainly make you want to visit BC and all of its amazing wildlife.
Coextinction screened at the Vancouver International Film Festival and the Mill Valley Film Festival.
Click here for tickets to Coextinction across Canada from Oct 14-24 at Planet in Focus
Click here for tickets to Wochiigii lo: End of the Peace across Canada from Oct 14-24 at Planet in Focus
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