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July 21, 2021
Culture is not a monolith The co-directors of Ma Nishma Manitoba on collaboration, culture and COVID-19 ARTS & CULTURE This year’s Gimli Film Festival is premiering many fantastic films by local creators, and one of them is Ma Nishma Manitoba. Codirected by Sara Bulloch and Johanna Reimer-Henteleff, Ma Nishma Manitoba explores contemporary Jewish identity and history within Manitoba through interviews with members of Winnipeg’s Jewish community as well as the co-directors’ personal experiences. Both Bulloch and Reimer-Henteleff have backgrounds in film, but from differing perspectives — Bulloch studied film while attending the Asper School of Business at the University of Manitoba and ReimerHenteleff studied fine art at OCAD University prior to entering the film industry. The two began collaborating on Ma Nishma Manitoba with a grant through the Gimli Film Festival in 2019. Coming from interfaith backgrounds, which include Judaism, Bulloch and Reimer-Henteleff wanted to use this project as an opportunity to explore not only their own senses of identity, but that of other Jewish Manitobans. Ultimately, Ma Nishma Manitoba underscores the diversity of cultural and religious practices surrounding Judaism in a contemporary world. “We wanted to try to get a decent amount of different experiences just in terms of background and stuff, which was definitely a challenge,” Reimer-Henteleff said. “I don’t want people to view Jews as a monolith.” In conversation, the co-directors also mentioned that there were groups
photo / Sara Bulloch / provided
Zoë LeBrun, volunteer
they wanted to represent more in Ma Nishma Manitoba, such as Jewish people of colour and individuals from orthodox communities. Similar to the wide range of experiences Ma Nishma Manitoba attempted to capture, the film’s alliterative title carries multiple meanings, which play on the film’s documentary nature and Jewish religious practice simultaneously. “Ma Nishma” is a Hebrew phrase Bulloch stumbled upon while doing research for the film, which is most commonly translated to “What’s new?” in English. Reimer-Henteleff said, “[‘Ma Nishma’ is] very close to ‘Mah Nishtanah,’ which [are] the four questions in Passover […] I like that connection between the two, that little moment of religiosity, but not exactly. It’s a little bit off and a little bit more fun.”
The filming of Ma Nishma Manitoba was also heavily impacted by COVID19’s arrival in Manitoba. Filming during the pandemic became a challenge for Bulloch and ReimerHenteleff to conquer as public health restrictions impacted their ability to conduct interviews.
encouragement to anyone who may be interested in exploring their own cultures.
Bulloch said, “Initially, it was supposed to be a six-month timeline [to film], but because of the COVID pandemic it ended up being a year and a half.”
Reimer-Henteleff agreed.
“There was one particular month where three of our interviews got cancelled,” Reimer-Henteleff said. “COVID-19] made it just a lot more stressful [but] I’m proud that we persevered and got through it and got it finished though, despite all that.”
“Doing your own version of this feels really nice to learn more and just kind of feel a bit more connected with it in your own way,” said Bulloch.
“Especially if [the] culture that you’re in has been through some kind of assimilation, you lose so much of that without even knowing […] you never know what you might find out.” Ma Nishma Manitoba is available to view for free on gimlifilm.com until July 25.
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Ma Nishma Manitoba’s co-directors concluded with messages of
’Toban turntable ARTS & CULTURE Zoë LeBrun, volunteer
4/5 stars It is not often that the true intensity of an album sneaks up on you, but Debra-Jean Creelman’s Threshold, released earlier this month, takes you by surprise. Composed primarily of voice and string instruments, Threshold is simultaneously moving and unsettling. Creelman, a Vancouver-based musician and former member of Canadian indie-rock band Mother Mother, used Threshold to reconnect with her strengths as a vocalist and explore the truths of human experience. Creelman’s music-writing process for Threshold hinged on her voice, with strings providing the
harmonic foundation of the album. The focus on Creelman’s vocal talents are evident from the moment you press play on Threshold. The record’s surreal energy immediately captures and holds your attention, and Creelman’s mesmerizing voice is both the anchor and driving force of the album. The foundational importance of these vocals — not just to the songs that make up Threshold but to Creelman’s writing process overall — is evident throughout the album’s entirety. While each instrumental accompaniment within is beautiful, it is Creelman’s ethereal vocals and ingenious layering that structure the record’s compelling energy and unique sound.
Threshold is described as “a body of work on the brink of catharsis,” which comes through in each of its multi-layered tracks despite the album’s lack of a distinct narrative — Creelman’s vulnerability shines throughout the record, emphasized by the swell of strings and vocals that carry you as the album’s intensity builds, reaching its zenith with “Animal” and “Body is Breathing.” These tracks, situated near the end of the album, contain multiple vocal layers which create a frenetic energy, pulling you in and spinning you around in their auditory undertow before leaving you metaphorically gasping for air as the album comes to a close. With Threshold’s escalating harmonic tensions, emotional intensity and beautifully haunting crescendos, it is clear that Creelman caught her songwriting stride and has created a work that is both enjoyable in its sound
image / Killbeat Music / provided
Debra-Jean Creelman — ‘Threshold’
and thought-provoking in its content — Threshold is an album reminiscent of a psychological thriller with a twist ending you don’t want to miss. Want us to review your album? Email us at arts@themanitoban.com! arts@themanitoban.com
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