Between : Living in the Hyphen

Speaking biologically, 'race' is a spectral concept. Black, brown, red, white, and yellow, considered purely as skin colours, merit no more significance than a tattoo. The 'skin your're in' is about as meaningful as ectoplasm. Scientists remind us that not only are we all essentially the same, but we all have the same genetic ancestor. Eve was a black, African woman. Nevertheless, history and politics, sociology and economics, transform skin colour - 'race' - into either a golden sheathe or a leaden prison of shame. In Europe and North America, blackness can still seem a burden. It can still brand its possessors as uncivilized, exotic, and menacing. But it can also be prized, lusted after and viewed as a precious enhancement, like gold foil. In Race Is a Four-Letter Word, director Sobaz Benjamin highlights Canadian contradictions and conflicts around race. Heroically, he exposes himself, too: a black man who grew up hating himself, trying to bleach his skin with chemicals, and then struggling to appreciate the meaning of his culture and heritage as an 'Afro-Saxon' Briton, then Grenadian and now Haligonian-Nova Scotian-Canadian. Courageously, Benjamin strips away the masks and armour of race, of blackness and whiteness, to reveal the vulnerable and human, including that very sex that inspires so much primal envy and dread. This brave film forces us to unmask and to look unflinchingly at our real selves. Sobaz Benjamin showcases the stories of a white man who is culturally and psychologically black; of a black woman who wants to be considered iconically Canadian; of another black woman who retreats to England rather than continue to face Canada's racial cold war; and of himself, a black man who has learned to love his complexity. In the end, Race Is a Four-Letter Word teaches us that the soul has no colour. Yet, we also learn that race is a marathon we are all forced to run. Race Is a Four-Letter Word was produced as part of the Reel Diversity Competition for emerging filmmakers of colour. Reel Diversity is a National Film Board of Canada initiative in partnership with CBC Newsworld.

In a decade, tiny Brooks, Alberta has been transformed from a socially conservative, primarily Caucasian town to one of the most diverse places in Canada. Hijabs have become commonplace, downtown bars feature calypso and residents speak 90 different languages. Immigrants and refugees have flocked here to work at Lakeside Packers - one of the world's largest slaughterhouses. Centring on the 24 days of the first-ever strike at Lakeside, this film is a nuanced portrait of people working together and adapting to change. They are people like Peter Jany Khwai, who escaped war in Sudan, wears an African shirt and a cowboy hat, and affirms his Canadian identity as well as his determination to fight for his rights. Or Edil Hassan, a devout Muslim born in Somalia, who counts her hours of organizing and picketing among her proudest moments. As 24 Days in Brooks shows, people from widely different backgrounds can work together for respect, dignity, and change - even though getting there is not easy. 24 Days in Brooks was produced as part of the Reel Diversity Competition for emerging filmmakers of colour. Reel Diversity is a National Film Board of Canada initiative in partnership with CBC Newsworld.

Musicians Vineet Vyas, Mei Han and Asif Illyas are part of one of the greatest social experiments the world has seen: multiculturalism. Nearly 40 years ago, under the eye of visionary prime minister Pierre Trudeau, Canada began turning itself into the world's first truly multicultural state--a place where people from all nations could be at home. But the genesis for Trudeau's idea came decades earlier, when he was a young man travelling through the chaos of the post-war Middle East and Asia. Vineet Vyas is a renowned tabla player who splits his time between Canada and India. An accomplished traditional musician, zheng player Mei Han is also an audacious innovator and improviser. And Asif Illyas--born in Sri Lanka, raised in England, and living in Halifax--is frontman for boundary-breaking contemporary pop band Mir. In Trudeau's Other Children, award-winning filmmaker Rohan Fernando places the stories of Mei, Vineet and Asif in juxtaposition with archival footage and excerpts from Trudeau's journals. The result offers unique insights into the origins and practice of Canada's multicultural policy--and a film as powerful, layered and subtle as the best of their music.