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Putting food security to the test 300 km south of the Arctic Circle, filmmaker Suzanne Crocker banned all grocery store food from her house. She fed her family only food that could be hunted, foraged, fished, trapped, grown or raised around Dawson City, Yukon. Add to the mix three skeptical teenagers, one reluctant husband, no salt, no caffeine, no sugar, and let them stew for one year at -40°. Suzanne’s personal journey quickly expanded. First Nation and off-grid farmers with no road access all shared in her common goal: a community celebration of the surprising bounty that the North can provide. What is your foodprint?
Around the world, people are fighting for a better world using food. A Hawaiian organic farm connects young people to the land and helps them pay for college. Greenhouses are erected in the Arctic. Farms flourish in the inner city. One of the only female kosher butchers in the world. Food is at the center of our lives even when the creation of that food is taken away from us. These stories show every human being’s right to be in a direct relationship with their food—and how to fight for that right in a society that alienates us from that which nourishes.
Love, The Last Chapter follows several couples residing in Aspen Silvera, a supportive-living seniors community in Calgary. All of the couples are elderly and each is experiencing a different stage of a romantic relationship. Some residents are in new romances, some are maintaining long-term partnerships, and some are being pulled apart as one half of the couple must be moved into a higher-level care facility. As these seniors assert their desire to have meaningful connections, they sometimes create uncomfortable and uncharted territory for their families, employees who serve them, and caregivers. As we grow older and depend more on others we are often pressured to forfeit our decision-making autonomy. Love and intimacy can be compromised by conscious or unconscious ageism and preferences of family members striving for hygiene and safety. Yet, in the final chapter of life, love in all its forms is more essential than anything. How can we work to meet our elders’ crucial physical and emotional relationship needs and uphold their rights and dignity?
Gig work. Crowdwork. The on-demand economy. Most of us know this new type of work as Uber, but there are thousands: Mechanical Turk, Deliveroo, Fiverr, TaskRabbit, Crowdflower, Alibaba. Millions of people now count micro-work as their main source of income, precariously employed through websites and apps. But the (growing!) millions of workers who perform the creative human labour behind these companies are downplayed—even made intentionally invisible. Despite the fear of a computer take-over, human labour will continue to be crucial to the economy and the function of Artificial Intelligence and other online platforms. But in a world where we can summon the labour of another human from our pockets, how can we properly value the human lives behind this work? How can the gig economy fulfil its promise that each worker can be the master of their own life, without enslaving them through oppressive algorithms?
The Magnitude of All Things is a cinematic exploration of grief and hope in times of personal and planetary change. It weaves together the story of the cancer diagnosis of the filmmaker's late sister Saille, and a collection of emotional and psychological responses to the climate crisis around the world. What do these two threads have in common? The answer, surprisingly, is nearly everything. While grief is our starting point, it’s not the end. The Magnitude of All Things seeks to bring the language of climate grief into discussions about climate change, helping people find meaning - and meaningful action - in our troubled and changing world.
The Anvil Centre