Author: Meghan Siegler

Bedford artist donates old works to support FIT

When Tracey Dahle Carrier of Bedford created her first illustrations for a kids’ booklet for Bedford Presbyterian Church, it never occurred to her that two decades later those illustrations would be back at the church for a whole different purpose — raising money for Families in Transition via an art auction.

The auction is being held online and in person now through April 30, featuring nearly 50 of Carrier’s original illustrations and artist proofs from her children’s books — she’s illustrated five, including Digby in Disguise.

But the project that started it all was the small booklet she created for the church at the request of her friend and co-author, Ruth Boling.

“The Bedford Presbyterian Church was merging their church service to include children [and the church wanted to create] a booklet to help kids understand the service and what to expect,” said Carrier, who at the time was working from home doing freelance work, illustrating for different companies. “I ended up donating the illustrations and the design.”

Carrier said she wanted to make the booklet attractive to kids, and relatable.

“Kids are squirmy and they’re wiggling around in their seats and making noises,” she said. “I wanted to take the child’s perspective into account.”

So she created characters that have similar qualities: mice.

“Mice are seldom welcome and are squirmy and hard to manage,” Carrier said. “They were the perfect spokespeople for this job.”

The booklet was picked up by Geneva Press, and after it was published, John Knox Press asked for more, similar children’s books from Carrier and Boling.

“It was quite a successful little venture,” Carrier said.

The pair decided that when the first JKP book was released, all proceeds would go to Families in Transition, an organization that the church as well as Carrier and her husband support.

Fast forward 20 years to when Covid hit. Carrier — who is the membership manager at the Currier Museum of Art in Manchester — started working from home.

“We had to work extra hard to stay connected to the art-loving community,” she said.

During her lunch breaks, she and her husband would talk about how there were so many in the community who were devastated by Covid, some even unable to pay their rent.

“When I was thinking about what to do [to help], it was hard to know because I couldn’t really get out and about,” she said.

But then she thought back to the donations that she and Boling had made to Families in Transition so many years ago and figured it wouldn’t hurt to approach the church to see if there was a way to help FIT with support from Bedford Presbyterian.

“There are people who might still have some feelings for these mice,” Carrier thought.

The church agreed and suggested they include some of Carrier’s other pieces that she’s illustrated over the years. There’s a poster that she created for the NH Reading Program when its theme was “treasure reading,” so it features mice scrambling off a pirate ship to find books. There are also pieces from Digby in Disguise and Digby Finds a Friend; those books feature a little bear.

There are other animal illustrations too: “There’s a lot of fur in these drawings,” she laughed.

One is a drawing of a black lab, and as with all of her animals, Carrier said she tried to capture its personality and spirit.

“I had a Bernese mountain dog for 12 years, and I was asked by Silent Moon Press to illustrate a book about Bernese mountain dogs,” Carrier said. “I knew [my dog] wasn’t going to be around much longer, so it was a tribute to her.”

Carrier stopped illustrating in 2012, as she was juggling work at the Currier — part-time, at that point — and doing commissioned work for McGowan Fine Arts Gallery in Concord, and teaching at the New Hampshire Institute of Art. When the Currier offered her a full-time position, she took it, and she has been there ever since. She’s thinking about retiring soon, though, and might go back to doing some artwork.

For now, the best chance to see Carrier’s work is at the church or online. One hundred percent of the proceeds of the auction will go to Families in Transition.

“If anyone wants to take a look at the art and see if there’s anything that appeals to them … or if they don’t have a lot of wall space and just want to make a donation, that would be great,” Carrier said.

Art Auction
Bidding for Tracey Dahle Carrier’s artwork runs through April 30. All items are on display and can be viewed in person at Bedford Presbyterian Church (4 Church Road in Bedford) during regular office hours Monday through Friday, or find the auction link online at bedfordpresbyterian.org. Call ahead at 472-5841 to arrange viewing times. There is a “Buy Now” option for all pieces to bypass the bidding process, and 100 percent of proceeds will benefit Families in Transition.

Featured photo: Copyright and courtesy of Tracey Dahle Carrier. Courtesy photo.

Powerful works on display at ‘Impact! Abstract’ exhibition

Twiggs Gallery in Boscawen has opened its 2022 season with “Impact! Abstract!” featuring the work of six local artists and on display through May 28.

“It showcases artists boldly approaching abstraction in completely different ways with a wide variety of media,” Twiggs Gallery Director Laura Morrison said. “Most of the artwork in this exhibit is on the smaller side, yet each piece really stands out on its own. It’s very powerful work.”

Each of the six artists answered a few questions via email about their inspiration and techniques.

Ann Saunderson

Acrylic, mixed media, oil & cold wax, monotype

What draws you to abstract art?

At first abstraction was just a challenge after having been a landscape and narrative painter all my life.

What was your artistic process in creating pieces for this exhibition?

It was surprisingly difficult to switch over and loosen up enough to enjoy the process. Once I accepted that I could paint over layers it was easier. And oil and cold wax helped and added the possibility of texture. Most of my work is really quite accidental. I may start with a theme, a concept, and then halfway through there’s a moment where the paint and I change directions and truly I’m just along for the ride.

How does your work in this exhibition make an impact?

My work is pretty dynamic. It doesn’t have answers and leaves a great deal up to the viewer. I love color and texture and I think those factors also give my paintings impact.

Daniela Wenzel

Oil painting, assemblage, ink drawing, driftwood pyrography and improvised quilt making

What draws you to abstract art?

What excites me about abstraction are the endless possibilities to depict facets of everyday life and the environment, without portraying clearly recognizable subject matter. An abstract work of art can mean many things to different viewers. I am specifically drawn to the emotional capacity in abstract art and its utter unpredictability. I rarely have a definite vision in mind when I start a new piece.

What inspired your choice of materials?

I enjoy free experimentation with color and techniques, pushing boundaries and being resourceful with my materials.

What was your artistic process in creating pieces for this exhibition?

While time stood still at the height of Covid-19 in the spring of 2020, I found myself home with my kids on the days I wasn’t working at Elliot Hospital. My three Lego assemblages were created due to lack of time to paint in the studio. A lover of any kind of colorful visual vocabulary, I improvised my art making and created simple color abstractions. I specifically enjoyed playing with color theory and depth by layering different shapes and hues. Legos are an incredibly fun and abundant art supply and after repeatedly stepping on them I realized they could be more than nagging booby traps. For the two oil paintings included in the ‘Impact! Abstract’ exhibition I also used pigment sticks, which are basically solidified oil paint in the shape of a thumb-sized crayon. The use of these is more immediate and less deliberate and the marks noticeably different than from a paint brush.

How does your work in this exhibition make an impact?

The paintings both reflect and resonate the same playfulness and positivity as the Lego assemblages. They contain colorful pattern work, evocative shapes and a variety of paint application techniques to carry a sense of spontaneity.

Kate Higley

Printmaking

What draws you to abstract art?

I was a painting major as an undergrad, discovered printmaking in my early 30s, and fell in love with the way it has to be done step by step. The focus on process slows me down in a good way.

What inspired your choice of materials?

These particular prints are intaglio drypoints. This means that the ink is snagged inside the lines rather than flowing across the surface. I use an expanded plastic material for the plate and all kinds of sharp objects to make an image. It is then inked, wiped, and put through a press onto dampened paper.

What was your artistic process in creating pieces for this exhibition?

The gallery inquired if I could submit some black and white images. With three older plates on hand, I printed those, became engrossed and created four more plates specifically for this exhibit. The incentive was the invitation and I think Laura Morrison, the curator, used the absence of color to break up the other more vibrant work in a lovely installation.

How does your work in this exhibition make an impact?

My interest is inventing small organisms swimming or tangled in imagined aquatic or marine environments. The concerns are ecological and environmental. As an abstract artist, my aims are quite different from those who work toward realism. Texture, movement and repetition are all used to create a mysterious and engaging space where the viewer can consider not just what is present, but what might be happening outside the picture place.

Ethel Hills

Acrylic

What draws you to abstract art?

I started in abstract art almost accidentally. I was working in watercolor and started using a wet in wet technique to drop unusual colors into my landscapes. That led me to being more experimental and more colorful, letting go of realism in favor of design and color. The bottom line is that I’d much rather have a luscious crazy colorful painting than one that looks like a photograph.

What was your artistic process in creating pieces for this exhibition?

The pieces in this exhibit were painted with lots of play and experimentation. I put shapes and marks on the panel or canvas and then keep playing and experimenting, looking for surprises, and looking for what speaks to me. At some point in the process I start to see what the painting is about. At that point the refining, rearranging and adjusting are a bit easier, because I have an emotional direction for the painting.

What inspired your choice of materials?

Acrylic is a great medium for this type of playing around, trying things out and changing things.

How does your work in this exhibition make an impact?

Hopefully these paintings make people think and make them smile. In general, I think that abstract art asks more of the viewer. The artwork isn’t always a quick read. It’s an invitation to look and think and feel. My paintings are kind of two sides of a coin. The ‘Mud Season’ ones are dark and rich, but with strong lights. They’re the contrast between the dark and messy parts of life and the brighter things, such as hope and joy. The brightly colored ones, from the ‘Early Spring’ series, are joyful and reminiscent of the contrast between snow and the coming spring. But that’s just my read on them. Everyone gets to bring their experience to the work and make their own judgments and their own stories.

Grace Mattern

Mixed media collage

What draws you to abstract art?

I’ve been a writer since I was young and have published two books of poetry. … Poetry is an abstraction of sorts, using as few words as possible to express the meaning of moments and events in our lives. Ten years ago I began to make image-based collages, layering figures and backgrounds to reflect multiple dimensions. That led me to an interest in combining image and text to create an additional layer of meaning. From there I began to make abstract collages because I was intrigued by the process of creating meaning without representational images. I enrolled in an online course in abstract collage in the spring of 2021. Through that class I learned different techniques for mark-making and printing collage papers and committed to a regular practice of collage-making. I’ve been regularly making abstract collages since.

What was your artistic process in creating pieces for this exhibition?

The pieces in the exhibit were created using techniques I’ve learned over the past year. The pieces arose from experimentation with techniques and materials and building trust in my instincts regarding composition and how to create meaning through abstraction.

What inspired your choice of materials?

I’m intrigued by meaning that can arise from unexpected combinations of materials. Sewing on paper, then painting the paper and cutting out shapes is included in three of the collages in the exhibit. I’m also drawn to the effects of layering transparent paper with varied prints, and what can emerge from that process. That’s reflected in the pieces in the show also.

How does your work in this exhibition make an impact?

As a longtime writer and somewhat beginner visual artist, I’ve always struggled with the question of how art has an impact in the world. I’m a lifelong social justice advocate, and worked for the New Hampshire Coalition Against Domestic and Sexual Violence for 30 years. The current focus of my activism is racial justice and land conservation, which overlaps with recognizing the ongoing contributions of indigenous peoples who have stewarded this land for thousands of years. I believe that the act of creation itself is activism, as it’s a gift to the world to express ourselves through art, music, poetry, etc. I hope the impact of my work in the exhibition is to create excitement in people to find whatever creative expression is meaningful to them and put it out into the world.

Becky Barsi (Artsy Barsi)

Interdisciplinary with a focus on mixed media assemblage

What draws you to abstract art?

The element of experimentation, chance, and the unknown draw me to create abstract compositions.

What was your artistic process in creating pieces for this exhibition?

It all started by deconstructing a bullet and playing with the gunpowder inside. After a few singed fingertips I learned how to safely control this mild explosive. Following these experiments I considered the broader significance of this media and how it could be juxtaposed with traditional art media.

What inspired your choice of materials?

So much of my life is lived in motion. Going, going, going. I often forget to stop and observe the subtle details of the life around me. … ‘Texture in Motion’ is a response to the chaos of a life that had intended to be more reflective and aware. Developed over the past year, this mixed media work was created as a meditative process and bridges three unique media. The work plays with the physical properties of a fluid medium, bending and twisting, sometimes colliding with colors (acrylic ink). It is balanced by the varied, yet structured, textures that are interacted with on a daily basis (security envelopes) and are tied together by the contrasting unpredictability of a volatile explosive (black powder). This work is a reflection and metaphor of a life.

How does your work in this exhibition make an impact?

There is a visceral reaction to working with gunpowder that can’t be avoided. The anticipation of the ignition, when the flame touches the volatile grain, adds an extra beat to the rhythm of my heart. The chance, the unknown result of this material instantly impacting the surface and surrounding materials, adds to the anticipation and impact of this process.

A poet’s perspective
New Hampshire poet laureate Alice B. Fogel (2014-2019) will be at Twiggs Gallery On Saturday, April 16, from 1 to 3 p.m. She will be reading from her new book of poems inspired by abstract expressionist art, Nothing But: a series of indirect considerations on art & consciousness. There will be a book signing opportunity after. The event is free but seating is limited; reserve a ticket at twiggsgallery.wordpress.com.

How did you use abstract art to inspire your writing?
What I wanted to do was to start with abstract expressionist artworks — without describing or explaining them — and bring to language those same disruptions to our stream of consciousness that occur when we encounter the unexplainable. … I’m so grateful for the opportunity to transcend mundane logic by means of nonrepresentational material — mineral, color, form, texture, light, shadow — I hoped the poems would create a conversation about reality, illusion, embodiment, perception and thought itself.

Was there any piece in particular that originally made you think, ‘This could be the basis for a poem’?
The very first poem I think I wrote for this series was based on my response to a painting called ‘Field Notes, No. 59,’ by Andrew Moore, that I saw in a gallery in Asheville, North Carolina, Blue Spiral. (The poem is ‘Notes for 59,’ which opens the book.) I was so taken with it that I began to contemplate how abstract art, while not representing recognizable, ordered figures from our daily lives, can still represent a great and necessary part of our primal or archetypal human experience. I wondered if language could confound and re-orient us the same way.I took off from there.

How did you find the artwork that you drew your inspiration from? Local galleries? Online?
Some of it was from galleries, and a very few from artists whose work I already knew. But because I was injured and immobile at the time, I found most of it online through websites. Not the best way to view art, but it was a life-saver that I could view it at all.

Why abstract as opposed to representational art?
If I saw a painting and I could say, ‘That looks like a tree/house/river/anything!’ then I wouldn’t use it for this project. I didn’t even like using a totally abstract painting if it had a title that was too directive, like ‘Loneliness’ or ‘Rain in Winter.’ … I wanted to be affected in my heart or my gut or my skin while being clueless in my mind. I’m basically examining consciousness itself, building up a first-person plural, collective conversation, poem by poem, about reality and illusion, embodiment and spirit, perception and thought, as well as about art itself. Whether my response was infused with humor or wonder or ache, the art became … akin to a religion — a way to access the transcendent by means of pure material.

Explain the subtitle of your new book.
Thank you for asking about this.The book starts with an epigraph from William James’s The Stream of Consciousness, written in 1892: ‘Consciousness is in constant change … a series of indirect considerations…. The only breaches that can well be conceived to occur within the limits of a single mind would … be interruptions, time-gaps during which the consciousness went out….’ The book’s subtitle reflects that concept. … It’s probably no surprise … that these poems are not narratives or linear lyrics. So I also hoped that by providing a pretty concrete hint of what the poems are after, the subtitle would help people know what they were getting themselves into.

Twiggs is calling this exhibition “bold and powerful.” Do your poems fit that description as well?
That’s not for me to say, but that’s definitely how I think of the art that inspired the poems in this collection.

Featured photo: “If only…” by Ann Saunderson. Courtesy photo.

Nashua exhibition represents faces from around the globe

Kavitha Chandrasekaran has painted every single day since she moved to Nashua three years ago, and now she’s sharing the products of that devotion in a solo exhibition at the Nashua Public Library.

“This is my first [show],” Chandrasekaran said. “I can’t believe I’ve created so many paintings.”

“Faces in Watercolors,” on display through April 30, features portraits of people from Africa, Vietnam, Thailand and India; the latter is Chandrasekaran’s homeland. She moved to the U.S. in 2013, first to Atlanta, then New York, finally landing in Nashua due to her husband’s job change.

Chandrasekaran said it was boredom that prompted her to pick up a paintbrush.

“When I came to Nashua my kids were very small, so I couldn’t get a full-time job,” said Chandrasekaran, who has a master’s in human physiology. “But when they napped I had some time.”

It was the first time Chandrasekaran had tried painting; previously the only art she’d done was drawing back in her early school days. She started by teaching herself how to paint with acrylics.

“[Then] I started exploring watercolor [and spent] hours scrolling on Instagram — Instagram made me try watercolor,” she laughed.

Chandrasekaran said she loves the way you can’t predict exactly how the watercolor effect is going to look when she’s working on the backgrounds for her portraits, but there’s a more practical reason why she’s stuck with watercolors.

“I don’t need lots of supplies, so when my kids wake up I can just pack up and put things away,” she laughed.

People’s faces resonate with Chandrasekaran in a way that landscape painting hasn’t; she’s tried the latter, but she said that after 10 or 15 paintings, she still didn’t like how they turned out.

Her desire to create a custom calendar with images of her children drew her into portraiture. She didn’t know how to draw figures, so she studied and taught herself the basics, then started to learn how to tell a story through the faces she paints.

“The eyes are very important to me because that is the most expressive part of a face,” she said.

For this exhibition, some of the portraits are based on photos she found on Instagram and was given permission to paint. Some she picks as a reference to start with and changes a little bit so they have their own unique look. The photos of Indigenous people in particular caught her eye.

“These photos were very expressive, and I got very attracted to their jewelry and [accessories],” Chandrasekaran said.

During this time when she hasn’t been able to travel to India, or anywhere really, for a couple of years, Chandrasekaran said immersing herself in the faces of people from around the globe has been a comfort. She is hoping, though, that she will be able to introduce her kids, who are 6 and 4, to India this summer. But for now, she’s embracing the cultures of Nashua.

“This is a foreign land to me, but I made it my home,” she said.

Chandrasekaran plans to keep painting and wants to try to submit some of her work to more galleries and become more familiar with the local art scene.

“The painting is what now keeps me going every day,” she said. “This is something that I enjoy and want to [continue to] explore.”

“Faces in Watercolors”
Where: The gallery at Nashua Public Library, 2 Court St.
When: Now through April 30 any time the library is open
Meet the artist: There will be an artist’s reception on Thursday, April 14, from 6:30 to 8 p.m.
Visit: nashualibrary.org

Featured photo: “Akha.” Watercolor by Kavitha Chandrasekaran. Courtesy photo.

Meet four Concord-area writers at “An Evening to Remember”

Concord author Paul Brogan is on a mission to show locals that the Capital City area is home to talented writers of all genres — in fact, he’s using all of the royalties from his recently published book, The Concord Theatre, to pay for what he hopes will be an ongoing free series of talks that spotlight these local authors.

The first event will bring four of those writers — Brogan included — to the Bank of NH Stage for “An Evening to Remember: Conversations with Concord Area Authors” on Wednesday, April 6, at 7:30 p.m.

“There are lots of people in this area who write, who love to write, who express themselves beautifully in all genres,” Brogan said. “I want to do something that makes the people of the area understand that we have some really talented people who are writers. We know we have really talented performers [like] Seth Meyers, Adam Sandler, Sarah Silverman, and there are [well-known] writers like Dan Brown and Jodi Picoult, but I want to showcase some of the people who aren’t selling books at that same level but who are writing passionately … [and] writing because they have something they want to say.”

“An Evening to Remember” will be led by former longtime NHPR host Laura Knoy and feature Brogan as well as authors Margaret Porter, Virginia Macgregor (who writes as Nina Monroe) and Mark Okrant.

“Laura will talk with each of us and let us tell a little bit of our story, ask questions and encourage people in the audience to ask questions [about things like] why do we do it, how we get inspired,” Brogan said.

Brogan’s writing story began relatively recently.

“I went to Catholic schools and writing was one of those things nuns instilled in you … but I never did anything with my writing for a long, long time,” Brogan said. “I was past 50 when I finally sat down and wrote my first book.”

That book, Was That A Name I Dropped?, was published in 2011, and Brogan didn’t get the writing bug again until several years later, when he was inspired by the old Concord Theatre being converted into the Bank of NH Stage. He had worked at the Concord Theatre for 27 years, starting when he was 14.

“I had such affection for the [Concord Theatre], so I wrote a book three years ago about the theater’s history and Concord’s history with movies,” he said.

The feedback he got after his latest book came out showed him how few people are aware of what New Hampshire authors have to offer, with people saying things like, “I didn’t know anyone around here could write,” and assuming that you have to be in a more metropolitan area “to have the muse hit you,” Brogan said. But that’s because most people aren’t taking advantage of local resources; Brogan calls Gibson’s Bookstore in Concord, for example, “a writer’s best friend,” with owner Michael Herrmann hosting book launches for local writers and displaying their books in a special section. He also said the NH Writers’ Project is a great resource, but “would wager that a lot of people don’t click on that website.”

So Brogan started thinking about putting on an event to spotlight local authors and spoke with fellow author Margaret Porter at Gibson’s one day, asking her what she thought about it. She was all in, and the two approached Monroe and Okrant to see if they’d be interested as well. They were on board, and Porter suggested they ask Knoy to moderate the discussion.

“I said, ‘If you can get her, she would be amazing.’ … And she jumped at it,” Brogan said.

Knoy met with Brogan and Porter recently to check out the venue.

“Within an hour I felt like we’d been friends for years, and I think she’s the perfect person to put us all on stage at ease, and put the audience at ease,” Brogan said.

They want to make sure the whole atmosphere is comfortable too.

“We want it to be [like] the audience is looking at people in a living room having a conversation and then have the audience become involved and then stay around and mingle,” Brogan said.

Porter said she’s looking forward to sharing a small sample of the creativity within the Concord region, as well as their experiences of writing and publication.

“We hope to provide helpful information, maybe even some inspiration, to anyone aspiring to write fiction or nonfiction, or has questions about pursuing a writing career,” she said.

Brogan said he wanted to make the event free so that people can check it out without making any kind of financial commitment.

“They can come see the Bank of NH Stage — now there’s no excuse not to check the place out — and meet Laura in real life. … There’s a number of reasons for someone to give it a try,” he said.

Both Porter and Brogan hope the audience will come away with new notions and ideas and a curiosity to read one of their books or to check out the section of local authors at Gibson’s.

“New Hampshire has long been noted for its literary associations, a legacy that we’re privileged and excited to continue,” Porter said.

“We hope, if it really goes nicely, we’ll do a second one next year with different area authors,” Brogan said.

“An Evening to Remember: Conversations with Concord Area Authors”
When: Wednesday, April 6, 7:30 p.m.
Where: Bank of NH Stage, 16 S. Main St., Concord
Cost: visit ccanh.com to register

Featured photo: Laura Knoy, Margaret Porter, Paul E Brogan. Courtesy photo.

NH Jewish Film Fest offers in-theater & virtual screenings

This year’s New Hampshire Jewish Film Festival is combining the benefits of virtual screenings — reaching more people in more places, for example — and hosting in-person screenings too, to bring back that festival vibe that’s been missing for the past two years.

“It’s been a journey, that is for sure,” festival co-chair Pat Kalik said of holding the event during the pandemic. “We did get some benefits from going virtual, but we missed, of course, the community feeling of seeing a movie in the theater and then having the discussion after.”

This year’s festival, which runs March 31 to April 10, will feature five in-theater screenings, two of which will have post-screening discussions. Virtual attendees will have a 48-hour window to watch each movie any time during the festival, and there will be virtual screenings of four of the in-theater films as well after the festival ends.

The festival features independent and foreign films from 12 countries. Kalik said they start screening films in July and view about 50 before picking their final lineup. She said they try to pick different kinds of films, from dramas to documentaries, to appeal to all tastes.

“Our goal is to bring these films to the community, films that would not come to the independent theaters in New Hampshire,” Kalik said. “Some of the films are subtitled — some people won’t go to subtitled films, but we try to get a mix. … My hope is that everyone will give these types of films a try.”

One of her favorites is the documentary that’s going to open the festival at Rex Theatre.

“I thought The Automat was a fascinating film, and that’s going to be our opening night at the Rex in Manchester,” Kalik said. “[At Automat restaurants] you would put money into a wall of windows, and behind each window was the food you wanted to buy. This is a film about the history of the Automat.”

The closing film is Cabaret at Red River Theatres in Concord. Typically the festival features newer films; in this case, it’s celebrating Cabaret’s 50th anniversary. The screening will be followed by a discussion with film buff Zachary Camenker of Concord.

“The film kind of broke the glass ceiling 50 years ago in ways that people weren’t expecting,” Camenker said.

Cabaret, which is about Berlin nightlife during the Nazi rise to power, won eight Academy Awards. Camenker said it’s the winningest film that did not win best picture in Oscar history; it lost that award to The Godfather.

Still, “It’s one of those musicals that has stood the test of time,” he said. “It’s a good reminder of where things were a century ago as opposed to where they are now.”

Another film that looks back at a difficult time in history is “Upheaval: The Journey of Menachem Begin.” The documentary explores the life of the Israeli prime minister.

Director Jonathan Gruber of Black Eye Productions in New York said he didn’t know much about Begin before he started working on this project.

“I didn’t realize how instrumental he was in Israel’s becoming a state,” Gruber said. “I was just impressed with him as a leader. He never enriched himself through his position.”

Begin was a controversial leader, though, which Gruber saw firsthand in his interviews. He said he heard some criticism that the film is slanted favorably toward Begin, while others have thought the opposite.

“Begin does not get a free pass in the film,” Gruber said. “We annoy everybody.”

Gruber, who was born in Israel, was able to get all of his interviews done in person overseas just before the pandemic started. He used a third-camera angle for some of the film.

“The content is so powerful but I also visually wanted to make it arresting,” he said.

Gruber will discuss the documentary via Zoom on Tuesday, April 5, at 7 p.m.

With the exception of Cabaret, Zoom will be used for all film discussions.

“I think we’ve learned a lot because of [the pandemic], and we’re going to take advantage of it in the future, but it’s not going to replace the traditional film festival where you can go to the theater and bond and eat and drink,” Kalik said.

New Hampshire Jewish Film Festival
When: March 31 through April 10
Where: Various locations in the state and online
Cost: $12 per in-theater ticket or per virtual household ticket
More info: For festival pass information, movie trailers and more, visit nhjewishfilmfestival.com.

Here are the films according to festival descriptions.

In-theater screenings

The Automat

Thursday, March 31, 7 p.m. at The Rex, Manchester

Documentary, 2021, U.S., English. Before fast food, one American restaurant empire was unstoppable. Experience the untold story of the Automat with this documentary film starring Mel Brooks about the popular 1950s restaurant chain that served its meals in vending machines.

Following the screening, director Lisa Hurwitz will discuss her film via Zoom, and Automat collector Steve Stollman will join the conversation.

Fiddler’s Journey to the Big Screen

Sunday, April 3, 1 p.m. at 3S Art Space (Portsmouth), The Rex (Manchester) and Showroom (Keene)

Documentary, 2022, U.S., English. Narrated by Jeff Goldblum, Fiddler’s Journey to the Big Screen captures the humor and drama of film director Norman Jewison’s quest to recreate the lost world of Jewish life in tsarist Russia and re-envision the beloved stage hit as a wide-screen epic.

The Un-Word

Thursday, April 7, 7 p.m., Red River Theatres, Concord

Narrative, 2020, Germany, German with English subtitles. In this German satire, tempers flare after a Jewish student is goaded by Muslim classmates into a schoolyard brawl, injuring an Iranian and a Palestinian student. A hopelessly naive teacher arranges a summit with the fuming parents and spineless principal. But her do-gooder attempts at peacemaking, complete with Palestinian and Israeli flags decorating the snacks, expose her own misguided beliefs.

Tiger Within

Sunday, April 10, 1 p.m., Red River Theatres, Concord

Drama, 2020, USA, English. Multiple Academy-Award-winner Ed Asner, in one of his last performances, stars in this tender story of the unlikely friendship between Samuel, a Holocaust survivor, and Casey, a skinhead teen runaway. Despite their respective traumas and initial mistrust of one another, they form a powerful bond that yields a sense of family and mutual support.

Cabaret

Celebrating Cabaret’s 50th Anniversary!

Sunday, April 10, 3:30 p.m., Red River Theatres, Concord

Musical/Romance, 1972, U.S., English

Starring Liza Minelli, the musical about Berlin nightlife during the Nazi rise to power won eight Academy Awards.

Following the screening, New Hampshire educator and film enthusiast Zachary Camenker will lead a discussion about the history and impact of the film a half century later. (This screening is in-person only and does not have a virtual option.)

Virtual-only screenings

200 Meters

Drama, 2020, Palestine, Jordan, Qatar, Italy, Sweden (Arabic, Hebrew, English with subtitles). Mustafa and his wife live 200 meters apart in villages separated by the Israeli border wall. One day he gets a call every parent dreads: His son has been injured in an accident. Rushing to cross the Israeli checkpoint, Mustafa is denied on a technicality. But a father’s love won’t give up, and he will do anything to reach his son.

Apples and Oranges

Documentary, 2021, Israel (Hebrew, English with subtitles). A wave of foreign volunteers came to Israel in the 1960s through 1980s to work on a kibbutz, a communal village centered around agriculture. During the ’80s, the war in Lebanon and the Israeli-Palestinian conflict forced volunteers to decide whether supporting the kibbutz meant supporting the state of Israel.

On Monday, April 4, at 7 p.m., Director Yoav Brill will discuss his film and reflect on the changing nature of the volunteers as Israel’s geopolitical situation evolved.

Greener Pastures

Drama, 2020, Israel (Hebrew, English with subtitles). Dov, a widower, is forced by his family to move to a nursing home. He’s broke since he lost his pension, and he blames the state. When Dov notices that all his fellow residents smoke legal medical cannabis, he realizes that weed can be his salvation — selling it, not smoking it.

Neighbors

Drama, 2021, Switzerland, France (Kurdish with English subtitles). In a little village on the Syrian-Turkish border in the early ’80s, a 6-year-old Kurdish boy experiences his first year in an Arab school and sees how his little world is radically changed by absurd nationalism.

Persian Lessons

Narrative Feature, 2020, Russia, Germany, Belarus (German, French, Italian, English and Persian with English subtitles). Occupied France, 1942. Gilles is arrested by Nazi SS soldiers alongside other Jews and sent to a camp in Germany. He avoids execution by swearing to the guards that he is not Jewish, but Persian. This lie temporarily saves him, but Gilles gets assigned a life-or-death mission: to teach the Farsi language to Koch, the head of camp, who dreams of opening a restaurant in Iran once the war is over.

Upheaval: The Journey of Menachem Begin

Documentary, 2020, USA (English) Prime Minister Menachem Begin was a tireless fighter for the Jewish people. He was, at the same time, a controversial leader.

On Tuesday, April 5, at 7 p.m. Director Jonathan Gruber will discuss his documentary on the life of Menachem Begin.

Short films (virtual only)

Beefies

Comedy Short, 2021, U.S. (10 minutes, English). Josh wants to find his late mother’s “beefies” recipe for Passover but must reconnect with his estranged brother to do so.

Ganef

Short, 2020, U.K. (14 minutes, English with Yiddish phrases), London, 1962. 6-year-old Ruthie discovers Lynn, the cleaner, is a thief.

Masel Tov Cocktail

Short, 2020, Germany (30 minutes, German, Russian with English subtitles). A Russian-Jewish teen in Germany offers a comic take on modern Jewish life.

The Shabbos Goy

Comedy Short, 2019, U.S. (7 minutes, English). God literally forbids Chana to turn off her vibrator gone rogue.

The Tattooed Torah

Animated Short, 2021, U.S. (21 minutes, English, Hebrew). True story of the rescue and restoration of a Torah from Czechoslovakia.

Featured photo: Courtesy photo.