The mountains are a favorite summer destination for enjoying clean air, cool breezes, and breathtaking scenery. Thurmont, Maryland’s Catoctin Mountain is 60 miles from Washington, D.C. The Baltimore Sun lists “walk a trail on Catoctin Mountain” as one of the 100 things every Marylander must do at least once, but it’s still true if you live in DC or Virginia, too.
A movie pitch: A widowed grocery store clerk wants to maintain custody of his school-aged son after his wife passes away. His wife’s family and members of the community are skeptical he is up for the task; after all, they say, a home without a mother isn’t a place to bring up a child. The film unfolds as the man juggles work, family, and his own feelings about loss, parenthood, and faith in a final gambit to prove he can capably parent his son without a mother in the picture.
One more thing: the man in question is an ultra-Orthodox Jew living in Bourough Park.
Oh, and the dialogue is almost entirely in Yiddish. Nu, what do you think?
Authentic, heartfelt, and unique, festival darling "Menashe" has the makings of a Jewish cult classic. On top of that, the film manages to offer viewers of any background a glimpse into a fairly insular modern-day society while maintaining an accessibility that keeps the film relatable and entertaining rather than voyeuristic.
I met the team behind ‘Menashe,’ which is now playing at select theaters in the Greater Washington area, when the film premiered at the Washington Jewish Film Festival earlier this year.
“My goal was to make a humanistic film that was going to be honest in how it talked about religion,” said director Joshua Z. Weinstein, who is Jewish but not Orthodox himself. “I feel that most films about religion are usually either about people leaving, because ‘it’s so awful,’ or really they’re not really talked about. You don’t really see films where people happen to be religious and that’s kind of how I wanted to approached this.”
Weinstein’s background in documentary filmmaking was reflected in his desire for authenticity. “I wanted it to feel like we’re eavesdropping on scenes that were never seen before,” he said.
The story is set in the Chassidic community in Brooklyn, and based on the real-life experiences of its star, Menashe Lustig. Weinstein met his Lustig (by chance or Divine Providence, take your pick) on the set of a Lipa Schmeltzer music video.
“I saw Menashe and he was this Charlie Chaplin-esque character on set,” said Weinstein. “He was so emotive with his hands, with his face. I was captivated by him; there was a sad clown aspect to him, something a little bit broken inside.”
“I knew immediately that we could make a film around who he was,” he said.
Weinstein chose to shoot in Borough Park over other ultra-Orthodox enclaves like Williamsburg or Monsey because of the diversity of its religious commmunity. “It’s authentic that people would have different accents, people would look differently, that there wouldn’t be one idea of what ultra-Orthodox was,” he said.
Lustig himself grew up in New Square, New York, about as dichotomous to diversity as one can get without taking a time machine back to pre-war Europe. “New Square is a one road in, one road out town, everyone is Skverer Jews,” said Weinstein, referring to the Chassidic sect that founded the community in 1954. “Menashe is one of the few people in the whole town who is more open-minded.”
Lustig married in London and when his wife passed away he came back to New Square with their young son, who is now 13. In the film, his son is played Ruben Niborski as a impish-looking but serious young man carrying the weight of his circumstances on his shoulders.
As a single parent myself, I said, there were a lot of relateable moments in the film. I confessed that I too have served my son cake for breakfast in a pinch, but not cola. “It’s different because you’re a mom, and a dad is different,” said Lustig. “A dad has much more… less…” He searched for the words for a moment. “There’s usually much less opportunity to understand what to give for a child.”
“A yiddishe mama, you know, a yiddishe mama is something…” He trails off again. “A mom is a mom. If you lose it, I feel for my son too, you can’t replace it. Usually, a dad tries to pull a child [up] to his level; a mom goes down to the level of a child.”
Weinstein observed that while there are gender-normative ideas of who a parent is in general society, in Lustig’s world those ideas “are amplified to the nth degree.” Weinstein’s goal was to make the character’s slip-ups as a single dad universal. “They’re not inherently bad, they’re just a father making mistakes,” he said.
Has Lustig’s son seen the movie? “If he wants to, maybe one day, but I’m not offering it,” he said with a chuckle.
We talked about how the film is unique in its focus on the parental bond between a an ultra-Orthodox father and son with the father in the role of caregiver. “Once you have a child, you get the feelings from Heaven you didn’t have before,” said Lustig. “You have laws in the Bible too that you can’t separate a sheep from the mother, it’s very brutal to take it away.”
Those verses talk about separating a child from its mother, though, not father or parents, I said. That focus on the mother-child bond is persistent in Jewish texts.
“Does a father not bleed?” offered Weinstein. He made a good point.
The film grazes—touches upon is too strong an expression—a few points of tension within this conservative religious society without it being gratuitous. “As soon as you become preachy, as soon as you try to say more than what you can say, that’s when you lose the audience and you lose the authenticity and you lose the drama,” said Weinstein.
“It was really important for me that this was just one man’s story. Obviously, you hear hints of the world,” he said, “little moments peek around, but that is honestly how Menashe would interact with the world if he was a single man. That’s kind of how I wanted it to be: here is his perspective, not the whole Chassidic world’s perspective.”
In “Menashe,” the audience enters a space where people’s lives are demarcated —sometimes comfortably, sometimes not, sometimes willingly, sometimes less so— by religious practice and the norms of ultra-Orthodox society. It is a credit to both the star and the filmmaker that the characters make the space they occupy and life’s challenges and joys feel relatable and familiar.
“Menashe” is rated PG for thematic elements and is playing now at the Landmark Bethesda Row Cinema in Maryland and Angelika Film Center Mosaic in Virginia.
“A Sense of Renewal: A Group Show,” on display through August 13 in the Goldman Art Gallery at the Bender Jewish Community Center (JCC) in Rockville, Maryland, displays textural, organic work leading the beholder down memory lane, displaying forces of nature, and evoking a sense of caution and drama. Featuring work by Miguel Perez Lem, Felisa Federman, Nancy Nesvet, Pauline Jakobsberg, and Terry Svat, the paintings present, as described in the artists’ statement, “images that long for the past, examine our present world, and ponder the future.”
The life of Cantor Samuel Taube reads like an adventure novel. It spans nine decades, three continents, and a dozen countries. It spans the highest heights and the lowest depths of Jewish history in the 20th century. Above all, it is a story of great talent and deep faith that sustained him through it all.
Promoted as Washington’s greatest Jewish concert, the annual Yad Zlata Benefit Concert, held June 25 in Rockville, Maryland, certainly lived up to the hype.
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We've all heard the expression "everyone's a critic," but few view it in a positive light. Docs In Progress, a nonprofit based in Silver Spring, Maryland, is an exception to that rule.
Docs In Progress, lead by Executive Director Erica Ginsberg, creates and fosters a supportive community for documentary filmmakers in the Greater Washington DC area. Their flagship programming, Work-in-Progress Screenings help local and visiting filmmakers who are seeking feedback on a story structure and character development. These screenings are open to the general public and include a facilitated session where the audience provides constructive feedback on the story structure and character development of these not-quite-finished documentaries.
"This can be essential to help filmmakers move forward with creative blocks or to get a reality check on a film ahead of distribution," says Ginsberg. "Since 2004, we've screened more than 150 films and the majority have been completed, some going on to film festival and distribution success," she continues.
Still from Bonnie Rich's "Searching for My Jewish Soul." (Image courtesy of Docs in Progress)
This Sunday, August 6, Docs In Progress is trying something new and pretty Jewish. Through a recent grant from the National Endowment of the Arts, they are expanding on this idea of Works-in-Progress Screenings, and are presenting the event in a series called Docs in the City. Each event will present two documentary filmmakers and their films that work within the same theme, one a work-in-progress and the other an iconic, established film. A moderated, audience-feedback session will follow the work-in-progress to offer honest and constructive critique for the emerging filmmakers. A Q&A session with the established filmmaker will also take place at each event.
For the kick-off event, presented in partnership with Washington Jewish Film Festival, the theme will be "Personal Documentary" and will feature emerging filmmaker, Bonnie Rich’s Searching for My Jewish Soul (work-in-progress) and award-winning filmmaker Doug Block’s iconic film 51 Birch Street. Docs In Progress is billing both films under the shared theme of Personal Documentaries, but, they share another theme as well - an exploration of Jewish culture and identity.
"There is no question that both films deal in different ways with aspects of contemporary Jewish-American life. That is why we approached the Washington Jewish Film Festival to co-host the screening. They are an incredible partner," says Ginsberg.
Local filmmaker and Jewish mom, Bonnie Rich, takes a lighthearted approach to a serious matter in her work-in-progress,Searching for My Jewish Soul. After her two adult daughters confess to her that they have their doubts about raising their hypothetical children Jewish, she decides to explore contemporary relevance in Judaism.
Watch the trailer for Searching for My Jewish Soul: https://youtu.be/Oyb_bDP8XPA
New York based, award-winning filmmaker, Doug Block explores the question “Do we ever really know our parents?” in his acclaimed film, 51 Birch Street. Spanning 60 years and three generations of a Jewish family, the film weaves together hundreds of faded snapshots, 8mm home movies, and two decades of footage in a tale of what can happen when our most fundamental assumptions about family are suddenly called into question.
Watch the trailer for 51 Birch Street: https://youtu.be/N-_pA7UiMdI
See both films and participate in the talk-back and Q&A this Sunday at the Edlavitch DC Jewish Community Center. Tickets and further information are here.
Have you ever turned on your radio and wondered about the individuals behind the voices and the work behind the words? At the headquarters of National Public Radio (NPR) in Washington, D.C., you can learn about the fast-paced news business and gain an appreciation for the hard work and dedication of the many professionals it takes to bring NPR radio programs to life.
Nestled in the heart of Sandy Spring, Maryland, easily accessible from anywhere within Montgomery County, lies a green oasis where fun rules the land, fears are conquered, and positive energy flows.
In Judaism, the period of The Three Weeks, culminating with the fast of Tisha B’Av, is a time of reflection and mourning. We contemplate the tragedies that befell our people not only at the time of the destruction of the Temple in but also during the subsequent millennia of exile.
The chaos, uncertainty, and confusion of the last few months of 1938 are felt before the actors even take the stage in the Edlavitch DC Jewish Community Center (DCJCC)’s Theater J production of Arthur Miller’s last work, “Broken Glass.” Screens of broken glass, jagged and unconnected windows, cover the back wall of a sparsely set stage that gives little away as to what the audience can expect.
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