FESTIVAL PREMIERE
Meadowlarks
Director: Tasha Hubbard
Between 1951 and 1984, during Canada’s notorious Sixties Scoop, over twenty thousand Indigenous children were removed from their homes by authorities and adopted into predominantly non-Indigenous families. Inspired by an award-winning documentary, MEADOWLARKS tells the story of four Cree siblings, separated since childhood and now in their fifties, who agree to meet for the first time over a holiday weekend in Banff. Without the usual markers of familiarity, or a shared sense of cultural belonging, Anthony (Michael Greyeyes), Connie (Carmen Moore), Marianne (Alex Rice), and Gwen (Michelle Thrush) discover unexpected moments of joyful synchronicity, conflict and connection. With further guidance from the warmth of a newly discovered community, a fledgling family is invited to heal. Excited and curious, but also scarred and afraid of rejection, the Meadowlark siblings must contend with where they have been, and who they will become, especially to one another.
CAST & CREDITS
Director
Tasha Hubbard
Producer
Julia Rosenberg, Tyler Hagan
Writer
Tasha Hubbard, Emil Sher
Key Cast
Michael Greyeyes, Carmen Moore, Alex Rice, Michelle Thrush
DIRECTORS BIO
Tasha Hubbard is an award-winning filmmaker from Peepeekisis First Nation in Treaty Four Territory and has paternal ties to Thunderchild First Nation. Her Canadian Screen Award winning nîpawistamâsowin: We Will Stand Up was the first Indigenous-directed film to open Hot Docs, taking home the festival’s Best Canadian Feature prize in 2019. It screened theatrically across Canada and at festivals around the world, earning Hubbard the DGC Discovery Award for her direction and the Canadian Screen Award for Best Feature Documentary. She made her solo directorial debut in 2005 with the Canadian Screen Award winning Two Worlds Colliding, an exposé of Saskatoon’s infamous ‘Starlight Tours,’ now greenlit as a scripted limited series, about the abandonment by police of Indigenous men in freezing conditions. With her acclaimed Birth of a Family, Hubbard sensitively parsed the legacy of the Sixties Scoop, a period spanning decades, during which thousands of Indigenous infants and children were removed from their birth families. Hubbard is also an Associate Professor at the University of Alberta. Her research and advocacy supporting Indigenous efforts to return buffalo to the lands is the focus of her latest documentary feature, Singing Back the Buffalo.
DIRECTORS STATEMENT
As an Indigenous filmmaker, I have made films about Indigenous experience for two decades and I’m noticing that audiences are growing and becoming more aware of our histories and issues. What is less familiar to audiences is the 60s scoop. After the residential schools started to close (although not fully until the 1990s), Canadian policies were adapted into a new child removal system. Tens of thousands of Indigenous children were apprehended. Reasons varied. Families needed support in grappling with the legacies of residential school, but rather than assistance for the parents, the children were taken away and ties were severed. People remember the social worker sedans coming onto the reserve and taking children who were walking down the road. Just being a single parent was enough justification for the apprehensions. Children were then processed in various ways and sent to willing adoptive and foster parents, usually without any oversight. Most were adopted into Canadian families, but some ended up in the U.S. and abroad. Survivors remember forced labour, abuse, neglect and loneliness. Even those who ended up in “good homes” grapple with the loss of community and culture.
The complexity of the impacts is still not understood, sometimes even in Indigenous communities. Some 60s Scoop survivors completely shut down and never try to come back; others try to reconnect and then retreat; and some are able to find a connection and a sense of identity. All are fearful of being rejected by the families and communities that were never given a chance to hold onto these children. Sadly, the suicide and incarceration rates are high for survivors, most of whom had no support and experienced some form of trauma.
I was adopted out in the tail end of the 60s Scoop and was one of the last children to go through the Adopt Indian and Metis program in Saskatchewan. I used this experience to anchor my telling of the four siblings in the documentary, and the same is true for the narrative story. I have met many 60s scoop survivors over the years: friends, babysitters, significant others, and even my own family: my aunt was adopted out a generation before me. I was fortunate enough to reconnect with my family in my teens, but the emotional elements remain the same whatever the age of connection.
Returning Filmmaker
Showtimes
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AMC The Grove 14
189 The Grove Dr
Los Angeles, CA 90036
Parking
At The Theatre