This year’s CIFF “Alberta Spotlight” features nine films, spanning both narrative and documentary.
“In addition to the crews and the locations, we’ve got a growing population of producers, production houses, filmmakers,” Brenda Lieberman says of Alberta’s film scene. “The more people continue to live and work and embrace their city, the more it grows.”
The Scene spoke with three CIFF alumni to discuss their new projects and their place in Alberta’s creative landscape.
YUQI KANG
FRUIT IS RIPE
Having lived in several countries before settling in Alberta, Yuqi Kang brings a global perspective to filmmaking. Her new work, Fruit is Ripe, is a generational immigrant story set between Calgary and a farm near Olds, following five families whose lives intertwine.
Why this story?
“The story is a metaphor for nurturing crops and raising children — both require care and dedication, and many of these families came to Canada for their children’s future. It’s a documentary, and everyone in the film is real.”
What challenges did you face along the way?
“For this film, the biggest challenge was the climate. You can get snow in July or sudden thaws in winter, which is tough for both filmmaking and farming.”
How does your sense of place shape your filmmaking?
“Relocating has been part of my life since childhood, so I’ve often felt like an outsider. That continued after moving to Canada and then to other places.
“It’s shaped me to approach each new place and person with curiosity. I’ve learned that, at the core, people are very similar, even if they speak different languages.”
GILLIAN MCKERCHER
A DICKENS OF A CHRISTMAS
For her third feature film, McKercher is exploring a holiday romance with a supernatural twist. The story follows a busy lawyer, a Victorian-themed dinner, and a matchmaking ghost.
Why this story?
“I’d never done a Christmas story or a romance, and I wanted the challenge. I pitched myself as director and had to think beyond the obvious Christmas tree — what’s the feeling Christmas brings? How do you capture that on a subtextual level? I want to say ‘yes’ to everything at least once.”
What was production like?
“I was nine months pregnant, so there was definitely pressure not to deliver the baby on set. It was one of the best working experiences I’ve had. I was motivated to be prepared, make the most of our time.
“I’ve never worked with an actor like Ashley Newbrough, who has a really high baseline for what the genre wants. It made me respect the formula — if you’re making a Christmas movie, there are certain things audiences want, and that’s okay. Honour the traditions.”
How does Alberta shape your work?
“I’ve developed grit working outside major industry hubs. The best thing [about Calgary] is the crews and the landscape. And the hustle energy and entrepreneurship.
“The worst thing about being in Alberta is that it’s very isolated here. If you’re going to make it as a filmmaker in a writing or directing position, you have to work really hard to be relevant in the national and international landscape.”
TREVOR SOLWAY
SIKSIKAKOWAN: THE BLACKFOOT MAN
Siksika filmmaker Sinakson Trevor Solway returns to the CIFF after last year’s Tales from the Rez. In his new documentary, he turns the lens on his community, offering an intimate, vérité portrait of Blackfoot men as they navigate identity and kinship.
Why this story?
“The story breaks from the way Indigenous people are often portrayed in cinema — stuck in the past as warriors, savages, or noble Indians. “With this film, I wanted to show that we live the full spectrum of human experience. We have our accomplishments and our mistakes, and we’re capable of love, grief, regret, happiness, and sadness.”
What was production like?
“Over four years, I filmed for 90 days as a one-person crew, simply showing up with my camera and letting life unfold.
“I let these moments speak for themselves and let my community speak for itself. I didn’t design anything to be shot in sequence or coverage.”
How does Alberta shape your work?
“When I shoot exteriors, I’m reminded of my grandparents’ stories — how the land was like a living being, with people and animals in an intimate relationship with nature. “
For me, the land isn’t just another character — it’s the central one. From prairie skies to coulees to the Rocky Mountains, it’s naturally beautiful. Filming on Siksika and Blackfoot territory keeps me grounded and gives me purpose.”
