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Gisèle Pelicot is Changing the Narrative on Sexual Violence
Gaza” Speaker Series
Taken to UN’s Highest Court
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Gisele Pelicot is Changing the Narrative on Sexual Violence
Content warning: sexual violence, intimate partner violence
“It’s not for us to have shame – it’s for them.”
These are the powerful words Gisèle Pelicot gave to an Avignon court on October 23. Pelicot has now testified for the second time in the ongoing rape trial that has taken both France and the entire world by storm. This case has forced people from all over the world to confront the rape and abuse culture that, for too long, has reigned in silence and impunity. Through her courageous decision to make this trial public, Pelicot reveals the fissures in the judicial and societal systems’ prosecution of sexual violence. Pelicot’s argument is central to how this case is being received worldwide: rather than humiliate the victim, shame must be turned against the perpetrators as a tool to enact change.
The “Mazan rape trial” – first taken to court on September 2 – is an unprecedented case in which Dominique Pelicot, 72, is accused of repeatedly drugging and raping his wife, Gisèle, 71, over the course of nearly 10 years. This trial not only addresses Gisèle Pelicot’s marital rape, but also the rapes her husband subjected her to at the hands of dozens of other men between 2011 and 2020. Dominique Pelicot has since admitted to the crimes and is on trial alongside 50 other men. In the videos filmed by Dominique Pelicot, the police counted 92 rapes by 72 rapists, ranging in age from 26 to 74. Many of these men were recruited online and lived within 20 kilometres from Pelicot’s village, Mazan. An analysis of the rapists’ demographics from The Guardian revealed the variety in their profiles, including a computer expert, a nurse, a journalist, and a former fire officer. Most of the co-defendants are on trial for aggravated rape before the Vaucluse criminal court – although not all of the perpetrators have been identified – and face up to 20 years in prison. Despite damning evidence, at least 35 of the defendants have denied the rape charges.
lawyers trying to reverse the situation in court. Some lawyers have even questioned the validity of Pelicot’s claims. On September 18, a team of defence attorneys showed 27 photos to the court, arguing that she appears to be conscious in the images. This is just one example of how justice systems consistently place blame on victims and try to downplay the perpetrators’ crimes. Pelicot denounced this pattern of attacking survivors, saying, “I have the impression that the culprit is me, and that the 50 behind me are victims.” The way the defence lawyers are treating Pelicot is a prime example of the persistent humiliation and degradation women face once they decide to speak up. This trial is unprecedented, not only for the scope and nature of its accusations, but also because of its global impact. To many, Gisèle Pelicot represents every woman who has survived sexual violence. Her choice to openly challenge the discourse on rape and sexual violence has resonated with survivors around the world . One in three women worldwide have been subjected to physical and/or sexual violence in their lifetime, with the majority reported as intimate partner violence. This trial is in line with many other cases of sexual violence around the world. For instance, the rape and murder of a female doctor in India back in August sparked a national outcry regarding women’s safety. Similar discourse followed the We Will Stop Femicide Platform’s report disclosing the murder of 34 women in Turkey this September. This is just the tip of the iceberg –the Mazan rape trial exposes the prevailing rape culture both in France and the rest of the world.
Journalism has the power to influence the way sexual violence is perceived by the public. Not only is it the responsibility of the media to platform this trial – especially due to Pelicot’s wishes to make it public – but it is essential to report the proceedings with care. Media coverage must empower survivors by amplifying their voices and challenging rape culture.
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Pelicot has been preparing for this trial for the past four years. She explained to the court on October 23 that “I’m holding on because I also have all these women and men behind me today [...] The veil must be lifted on rape. That’s why I’m in this courtroom every day. It’s not just my fight; it’s also the fight of all [other victims].” In the past months, Pelicot has become an icon and a voice for feminism in France and across the world. Her decisions to reveal her identity, make the trial public, and allow the videos her husband made to be used openly in court are changing the way we talk about rape and sexual abuse. Pelicot is actively shifting the spotlight onto her rapists. “I’m a totally destroyed woman,” she told the court on October 23. Yet, she declared in the same statement that she “wants all these women who are victims of rape to be able to say, ‘Madame Pelicot did it, we’ll be able to do it.’ I don’t want them to feel ashamed anymore. Because when you’re raped, you’re ashamed, but they’re the ones who should be ashamed. I’m not expressing anger or hatred. I’m expressing a determination to change society.” And through this trial, she just might.
The narrative around rape has to change. During the trial, there have been several disgusting claims made by defence
In France, there is now a movement to add a clause on consent to the legal definition of rape. While these kinds of advances are promising, we hold the responsibility to understand the widespread issue at stake and to actively make sure that Gisèle Pelicot’s courage is not in vain. There is an urgent need for individuals, societies, and judicial institutions to recognize their failures in addressing sexual violence. Existing narratives surrounding rape culture must be changed and systemic impunity in courts must come to an end.
If you or someone you know has experienced sexual violence at McGill or in Montreal, you can call the Office for Sexual Violence Response, Support, and Education (OSVRSE), the Sexual Assault Centre of the McGill Students’ Society (SACOMSS), or the Montreal Sexual Violence Helpline for support. As a McGill student, you can also receive resources through The McGill Students’ Nightline, the McGill Peer Support Centre, and the Legal Information Clinic at McGill (LICM). If you can, consider donating to or volunteering at organizations such as The Native Women’s Shelter of Montreal, Auberge Shalom, Multi-Femme, and the West Island Women’s Shelter. We must do everything we can to support survivors of sexual violence and continue to uplift their stories.
Dr. Makdisi on Overwriting Palestine: History, Genocide and Denial Today Seventh installment of “On Gaza” speaker series
India Mosca Managing Editor
For the past year, the “On Gaza” speaker series has been highlighting different disregarded issues of the Palestinian people and shedding light on the importance of questioning Western narratives. For a long time, the history of Palestine has been denied and deformed. This tendency has been reinforced since October 7, 2023, with the spread of a popular false narrative refusing to acknowledge historical context leading up to this day.
“Overwriting Palestine: History, Genocide and Denial Today” is the title of the seventh installation of the “On Gaza” speaker series co-sponsored by the Critical Media Lab (CML) and the Research Group on Democracy, Space and Technology (RGDST). On Monday, October 10, students and faculty were invited to come listen to Dr. Ussama Makdisi talk about the importance of acknowledging the active denial and replacement of Palestinian history and the importance of promoting and supporting Palestinian narratives. Dr. Makdisi, is a Professor of History and Chancellor’s Chair at the University of California Berkeley. Co-organiser Professor Ipek Türeli emphasized the importance for universities to have an active role in challenging dominant Western narratives. “What has been unfolding before our eyes in Gaza and now in Lebanon on media screens is not an issue that is detached from our campus, nor from our academic communities. Students and faculty demand for events such as the “On Gaza” series which are critical to imagining liberated futures for all of us.”
In the past year the whole world has witnessed the killing of an estimated 43,000 Palestinians, a majority of which are children, women and elderly, and over 2,865 Lebanese people, by the Israeli military. Scholars and media have categorized the ongoing brutal killing of Palestinians as the “first livestreamed genocide in history,” however Dr. Makdisi insisted that facts are not enough. He explained that “Calling history into question helps us understand how colonialism in the name of protecting civilization has been legitimized and what is ethically unbearable becomes morally tolerated.” The lecture he gave provided the answer, shedding light on “the ruthless double standard which underlies Western support of Zionism, with Jewish and Israeli life cherished as part of an alleged enlightened Europe after World War II, while Christian and
Muslim Palestinian life and history is devalued.”
Makdisi continued his lecture by discussing the history of Palestine, the rise of Zionism and the systematic work of Western liberal leaders and thinkers for the past hundred years to not only deny Palestinians of their history, but also substitute it with Eurocentric visions and racist portrayals. He emphasized that we should go beyond obvious denial of history, and focus on what it has been substituted for. What is actually chosen to be talked about? And how does this play into the passivity we see around us?
The central issue discussed in the talk was how we approach history, emphasizing the need to recognize the instrumentalization of historical narratives and misinformation in shaping public opinion and influencing the international community’s response to the genocide in Gaza.
“The obvious reality is that long before October 7, there was October 6, and October 5, going all the way back to 1948, and before that 1917, and before that 1897 when European Jewish Zionist nationalists met in Basel to put Herzl’s vision of a Jewish State in motion [...] even when they knew that there were people living on that land,” explained Dr. Makdisi.
While the Holocaust was a turning point in solidifying international sympathy to the Zionist cause and led to a massive displacement of European Jews, Dr. Makdisi pointed out that neither the U.S. or Britain allowed for big waves of migrations into their territories. Instead they pushed for European Jewish survivors to settle in Palestine in the name of “decency and humanitarianism.” This led to the 1947 UN partition plan, “which gave the Jewish minority a majority of Palestine.” The Nakba followed as a result of this partition plan, with Zionist militias expelling between 750,000 and one million Palestinians from their homelands and forcing them into refugee status.
He explained in this partition plan western leaders “rationalized the idea that the creation of a Jewish state trumped the suffering of Palestinians, and that the natives of this land were irrational, primitives, and aggressive, because they opposed what Western philosophers and politicians thought of as a fundamentally decent and good thing.” Before adding that for the next 60 to 70 years the “consistent denial of the Palestinian relation to Palestinian land and the substitution of Palestinian history with a different narrative had profoundly corrosive moral, political and ethical effects.”
Dr. Makdisi concluded his presentation by highlighting three dominant dogmas. The first is that, in the liberal West, questioning Israel as a Jewish state — regardless of its actions or history — is proscribed, as it challenges the West’s selfperception as having moved beyond its antisemitic past. The second is the philo-Zionist view of Israel as an extension of an idealized West. The third dogma is that Palestinians
“Calling history into question helps us understand how colonialism in the name of protecting civilization has been legitimized and what is ethically unbearable becomes morally tolerated.”
- Dr. Makdisi
are increasingly erased—not only stripped of historical context but also depicted as incompatible with Western humanism. Except when they are considered “negative value” as expressed by Palestinian scholar Eward Said, and any attempt to challenge this narrative is framed as violent or antisemitic.
The lecture was aimed at helping us understand the “self-righteous morality” that has been widespread since October 7, 2023. Makdisi highlighted how despite the clear evidence of genocide most Western leaders and politicians are reluctant to acknowledge this history and condemn Israel’s genocidal actions.
Dr. Diana Allan, associate professor in Anthropology at the Institute for the Study of International Development at McGill and co-founder of the Critical Media Lab, told the Daily that “Ussama Makdisi’s scholarship has done so much to illuminate the richness of Palestinian civilization in the multireligious Ottoman Mashriqi region prior to the Nakba, and to trace how the historical arc of Zionism — a European solution to a European problem — began in racist ignorance and erasure of that world, and bends now toward its complete destruction.”
She added that “his talk was a rigorously detailed reminder of the devastating cost of mainstream antiPalestinian colonial ideology, which our governments and institutions continue to uphold.”
Another point Dr. Makdisi touched upon was the crucial role of students in the creation of new narratives. “The students in particular who have not been indoctrinated in the same way
into this liberal language and narrative [...] who are empathizing with people that they can see suffering, and are not overwriting that suffering with a completely ideological narrative, are outraged. And the students represent the future,” he told the audience. Will Roberts, co-organiser alongside Professor Türeli, wrote to the Daily saying that “the importance of Dr. Makdisi’s talk — and of the “On Gaza” series in general — is that there is far too little basic truth-telling in the academy about the ongoing genocide in Gaza.” He denounced the McGill administration for making “the University into a space hostile to basic public scholarship and truthtelling, stoking people’s fears and inciting paranoia.” One example of this hostility was the vandalization of posters promoting Dr. Makdisi’s talk, even during the event itself.
“It is so clear, once you know some history, that racism, apartheid, [and] the weaponization of charges of antisemitism will not succeed in making Palestinians disappear as people, nor stop them or their allies around the world of all faiths from fighting and advocating for liberation,” Dr. Makdisi concluded. “But until that future is achieved each of us has a fundamental choice to make. Each of us has to decide on which side of history we want to stand.”
The livestream of the event is available on YouTube: www. youtube.com/live/ORq2yUC1dd0. You can follow the Critical Media Lab on social media to stay updated with their upcoming events.
Courtesy of Nada Naser, Yan Lin Centre
Challenging Gender Discrimination
The Taliban Taken to UN’s Highest Court by Canada, Germany, Australia, and the Netherlands
Nika Nikitenko News Contributor
On September 25, Canada, along with Australia, Germany, and the Netherlands, announced their formal decision to take the Taliban to the UN’s highest court, the International Court of Justice (ICJ), for its blatant discrimination against women.
The four countries accuse the Taliban authorities of “gross and systemic” violations of women’s rights under the Convention on the Elimination of All Forms of Discrimination against Women (CEDAW), adopted in 1979 and signed by Afghanistan in 2003.
Since its return to power in August 2021, the Taliban has shocked the world with the implementation of the law on “virtue and vice,” which aims at completely erasing women from the public sphere. Enforced by the “morality police,” this law includes restrictions such as:
• barring women from accessing secondary and university education;
• prohibiting women from travelling more than 72 kilometres without a male relative;
• prohibiting women from participating in sports and from entering public areas like parks;
• barring women from raising their voices in public and from looking at men other than their husbands or relatives.
Since the Taliban authorities seized power, it has been reported that nearly 60,000 women-owned businesses were negatively impacted by these restrictions. Amnesty International reports that, in a matter of two months (between June and July 2023), nearly 4,500 women were dismissed from jobs in education.
Numerous UN agencies have also reported a sobering surge in forced marriages, child marriages, gender violence, and femicide.
As a result of these accusations, and the aforementioned restrictions, Afghanistan under the Taliban is considered to be the most restrictive regime in its treatment of women. If the hearing proceeds, this will be the first time in history that a country is taken to the ICJ for its violations of CEDAW and
will therefore make a solid legal precedent in international law regarding gender prosecution.
The decision to take the Taliban authorities to court comes at a time when many Afghan women and activists feel that the world has forgotten about their struggle due to the international community’s silence on the issue. Living under such restrictive regulations, women do what they can to resist. Some women hold secret classes, while others participate in public campaigns where they share their singing on social media platforms as a protest against recent prohibitions from speaking in public. Some groups continue trying to attract the world’s attention through interviews and activism abroad.
According to the rules of the international court, once the plea is submitted against a party, there is a waiting period of six months in order for both parties to solve their issue without court interference. If this goes unanswered, the case proceeds before the ICJ. While the ICJ is a powerful international body,
the rulings of which are legally binding for member-states, it lacks the means to actually enforce its decisions.
The decision to take the Taliban to court has been applauded around the world. In fact, 22 countries have issued a joint statement condemning the Taliban’s violations of the CEDAW: “We [...] condemn the gross and systematic human rights violations and abuses in Afghanistan, particularly the gender-based discrimination against women and girls.”
But what can this proceeding actually do to help Afghan women in their struggle against this “gender apartheid?”
The Taliban authorities can, in theory, simply ignore the proceeding. However, the Taliban has long been seeking international recognition, which has not been granted. Thus, being taken to court for human rights violations might put a higher price on the Taliban’s practices by inciting other countries to adopt unfavourable diplomatic attitudes towards the regime
[M]any Afghan women and activists feel that the world has forgotten about their struggle due to the international community’s silence on the issue.
through sanctions such as maintaining travel bans for members of the Taliban regime, keeping the assets of the Afghanistan Central Bank frozen, limiting corporate cooperation with other countries thus disrupting the production chain of certain goods, and so on.
Some speculate that the recent increase in restrictions issued by the Taliban is actually a strategic play used by the authorities to bargain in negotiations with other states, possibly within the
context of the international court proceedings.
The decision to take the Taliban to ICJ marks a significant shift in the way the international community reacts to such blatant human rights violations and genderbased discrimination. By taking risks that can cost them their freedom or even life, the brave Afghan women have brought the issue to the fore of international attention and have initiated tangible legal actions to challenge the wrongs they face.
Nadia Boachie | Visuals
The Ballot Box Has Failed Us
Arismita Ghosh Commentary Editor
For the past few months, Americans and nonAmericans alike have been glued to their screens, watching the events of the upcoming U.S. election unfold with a sense of impending doom. We in Canada will undoubtedly be affected by these results, whether in terms of increasingly conservative immigration policies or voting trends in the 2025 Canadian elections. U.S. politics have always had an unfair impact on the rest of the world as a result of its position in the imperial core — and all we can do is watch from the sidelines.
But is that really true? I think this is a passive attitude, one that assumes any kind of political action is out of our hands simply because we do not have voting power. Even
Taking political action beyond voting
are home to millions of greencard holders and legal permanent residents who are affected by the same laws as citizens but are still refused the right to vote for their representatives.
Voting has always been considered the cornerstone of democracy in the West. Coming from India, where huge sections of minority populations are outright omitted from electoral rolls at the whims of the current government, I was not raised with this sentiment. I have always known real political change to come from grassroots movements — from people taking to the streets to fight for what they want. And now, watching the state of the U.S. elections, I am more convinced of this than ever.
Over 700,000 Americans agree with me — these are the people voting “uncommitted,” who are similarly disillusioned with both parties and what they
Democrats and Republicans have both played a bloody hand in the ongoing genocide of Palestinians, with the Biden administration making more than 100 military aid transfers to Israel since October 7, 2023.
outside the context of this specific U.S. election, I find it jarring how the onus of political change is often solely on the electoral process. After all, both the U.S. and Canada
stand for. “Uncommitted” is a voting option that allows citizens to express their dissatisfaction with either candidate, often by choosing “none of the above”
on a ballot. While many voters feel obligated to choose between “the lesser of two evils,” the fact remains that “lesser evil” is still evil. Democrats and Republicans have both played a bloody hand in the ongoing genocide of Palestinians, with the Biden administration making more than 100 military aid transfers to Israel since October 7, 2023. Presidential candidate Kamala Harris likewise refuses to budge on her policies that continue to fund Israel’s genocidal campaign. In her recent Presidential Town Hall, she claimed that voters must accept her policies on Palestine if they
want to see any kind of change on “other issues.” Harris has also previously responded to proPalestine protesters by saying, “You know what? If you want Donald Trump to win, then say that. Otherwise, I’m speaking.”
This dismissive attitude — treating the lives of millions of Palestinians as if they are simply another item on her political checklist — is understandably infuriating to those of us watching these atrocities unfold. Arab and Muslim voters in Michigan have lost faith in the Democratic Party after their continued complicity in Palestinian genocide. As one such voter asserts, “It is their job to earn my vote; it is not my job to fall in line.” And yet, plenty of liberal virtue-signallers continue to fault
“It is their job to earn my vote; it is not my job to fall in line.”
— Anonymous voter in the U.S. election
these citizens for not voting blue. Why should pro-Palestinian voters be blamed for the faults of a system that has failed to represent them?
Why should they bear the brunt of scrutiny when the party they are supposed to trust cannot even meet basic demands — to stop funding the slaughter of Palestinians, to
stop backing a genocide?
I ask: has a genocide ever been stopped by voting?
Voting is a function of the system, and when the system itself is inherently flawed, trying to “fix” it from within its limits will never work. No matter who wins this election, the United States government will continue sending military aid to Israel and profiting off of Palestinian suffering. It is beyond unfair to force voters to play a part in this genocide through the ballot box. During this election period, many Americans are instead relying on alternate strategies, such as uncommitted voting or third-party voting, alongside organizing and raising funds for Palestinian aid. For the rest of us, who are not American citizens but understand the importance of stopping U.S.-backed Israeli occupation, we must join the fight on the streets. Montreal-based organizations such as Solidarity for Palestinian Human Rights (SPHR) and Montreal4Palestine, as well as transnational ones like the Palestinian Youth Movement (PYM), are important avenues of activism on campus and beyond. I encourage more students to get involved with such organizations, to take part in demonstrations, and to amplify Palestinian voices wherever possible.
Claire Grenier | Visuals Contributor
Auden Akinc | Visuals Contributor
Bridging Culture With Code
Why AI adoption in the settlement sector needs a human-centered approach
Raihana Sayeeda Kamal
Sci+Tech Contributor
Imagine prompting ChatGPT to depict a picture of refugees in Canada and it generates an image of Muslim families. When asked about their ethnic backgrounds, the responses list Syria, Afghanistan, Iran, and Iraq but do not mention Ukraine.
This scenario is generated in a 2024 study published in Knowledge Mobilization for Settlement, where researchers asked ChatGPT to generate an image of a refugee family in Canada and prompted it to consider ethnic background, integration barriers, and educational levels. Shockingly, it repeatedly depicted refugees as Muslim families, in particular from the Middle East and including women wearing hijabs. It also cited language as a primary integration barrier for these families. The prompts were tested multiple times to capture the AI’s understanding of diverse populations. The results were surprising, revealing a significant lack of nuanced understanding of diversity in the representations of refugee families.
This study also reveals ChatGPT’s disparities in job recommendations for newcomers between the Global North and the Global South. When asked about job prospects for individuals from five countries in the Global North and five from the Global South with the same amount of experience and using the same prompt, ChatGPT suggested lower-tier positions, such as administrative assistant, for those from the Global South, while recommending higher-tier roles, such as software developer, for applicants from the global north. This discrepancy extended to an average salary disparity of $20,000.
Generative AI uses predictive models to generate responses by drawing on historical data. These cases demonstrate how systemic biases and discrimination are ingrained in AI training. These biases are further
compounded by language barriers, highlighting another critical area where AI fails to serve newcomers effectively. The study demonstrated how ChatGPT offers substantially less assistance to non-English speakers. Researchers tested it by prompting about opening a bank account in English and French, the two official languages of Canada. ChatGPT provided more detailed and interactive responses to the English prompt than to the French one. ChatGPT’s inconsistent responses across languages show a gap in linguistic support to newcomers in a bilingual country like Canada. For new immigrants who don’t speak English or French, such limitations could lead to inequitable access to critical information, underscoring the need for the development of robust multilingual AI tools.
As newcomers transition through the complex journey of settlement, they often face challenges along the way, including navigating job searches, adapting to a new culture, and facing language barriers in their country of residence. According to Statistics Canada, the unemployment rate for new immigrants living in Canada for less than five years is 12.6 per cent, which is significantly higher than the total unemployment rate of 6.4 per cent as of July 2024. To navigate their career path, newcomers and the settlement sector may turn to AI for immediate assistance. These findings underscore why Canada’s immigration sector must adopt a humancentred approach to AI in order to ensure that technology supports the integration of newcomers without reinforcing stereotypes and biases.
Immigration, Refugee, Citizenship Canada (IRCC) is increasingly applying generative AI and data analytics tools such as Chinook for faster and more effective service delivery in administrative tasks, such as summarizing profiles, triaging
“Because of vulnerabilities and intersectionalities of demographics in this population, it’s very important to understand the specific needs and challenges diverse newcomers face in integration.”
- Isar Nejadgholi, senior research scientist at the National Research Council of Canada
applications, and assigning officers based on the sensitivity of cases. Even though they do not involve AI in the final decision-making, any plan to expand the use of AI in providing assistance to immigration settlement requires careful consideration.
“AI tools should be responsive to the specific needs of newcomers that require human oversight in the loop. Every newcomer has a unique story, especially refugee cases, [which] are highly sensitive. AI often misses the nuanced understanding of cultural sensitivity and empathy essential for supporting the integration journeys of diverse newcomers,” says Darcy McCallum, CEO of Social Enterprise for Canada.
Echoing Darcy, Isar Nejadgholi, senior research scientist at the National Research Council of Canada, said, “Because of vulnerabilities and intersectionalities of demographics in this population, it’s very important to understand the specific needs and challenges diverse newcomers face in integration.”
For effective use of AI in immigration, the IRCC should work closely with the settlement sector and provincial governments while serving as the intermediary to newcomers.
“Developing AI tools requires an agile, iterative and multidisciplinary approach. Technologists, the settlement sector, policymakers, and AI researchers need to collaborate starting from early stages of AI tools design and development. This collaboration ensures that these tools
are reliable, user-centric, culturally sensitive and ethically aligned that meet both technical and user expectations. It requires long-term planning,” Isar added.
Another 2024 study, titled “Humancentred AI applications for Canada’s immigration settlement sector,” found that AI solutions benefit from a prototyping-first approach, allowing for early, iterative testing and refinement.
“Prototypes help identify design flaws early, saving time and resources in the long run,” Isar noted. Technologists play a pivotal role in developing these prototypes, which require hands-on testing and continuous refinement before widespread deployment.
“Additionally, to align ethical standards with user needs, centralized government oversight is required that would establish data-sharing protocols, privacy safeguards, and regulatory frameworks,” Isar noted.
Isar further pointed out that AI cannot replace humans in immigration support; rather, this sector requires more humans to apply AI effectively in integrating immigrants, who are one of the biggest contributors to Canada’s economy. “Students should be involved in AI research, as they bring fresh perspectives,” Isar recommends.
One organization, Immigrant Networks, uses AI algorithms to pair newcomers with professional mentors based on shared interests, saving staff time while ensuring appropriate support. “A newcomer’s success depends on language, communication,
digital, and networking skills. With the mentorship from Immigrant Networks, 70 per cent of mentees secured jobs within six months,” said Immigrant Network’s founder and CEO Nick Noorani. This approach underscores the importance of employing more humans to train immigrants where AI might fall short of meeting individual needs.
Promoting AI literacy among newcomers and the settlement sector is also essential. “Critical thinking and fact-checking are especially important when interacting with AI in a nonnative language,” explained Isar. By understanding AI’s limitations, the literacy training may support newcomers and allow settlement staff to tailor prompts to achieve accurate, useful results.
Canada’s prosperity relies on the success of its immigrant communities. As Nick Noorani states, “Canada is built on immigration. If immigrants fail, Canada will fail.” With ethical design and a human-centred approach, AI can complement Canada’s immigration efforts, ensuring that each newcomer’s potential contributes to a stronger and more inclusive society.
The author is a graduate of the Max Bell School of Public Policy at McGillUniversity.
Auden Akinc | Visuals Contributor
A Love Letter to Time
A review of John Crowley’s We Live in Time (2024)
We live in time – it holds us and molds us…ordinary, everydaytime,whichclocks andwatchesassureuspassesregularly… it takes only the smallest pleasure or pain to teach us time’s malleability. Some emotions speed it up, others slow it down…until the eventual point when it really does go missing, never to return.” – Julian Barnes, The Sense ofanEnding.
Come for the viral demon carousel horse, stay for the heart-wrenchingly beautiful love story. We Live in Time (2024) knits together the stories of Almut, a flourishing restaurateur, and Tobias, a drifting divorced Weetabix salesman. Their meet-crash (the first in romantic dramedy history, perhaps?) leads to a decade-long saga of enduring love that persists through both the monotony and the drama that life contains. The story is woven in a nonlinear fashion, apropos of the title itself. The film frames the macrocosms and microcosms of time found in ordinary life with heartbreaking grace and intimacy. Life-defining events –career milestones, birth, and death –are boiled down to the small moments that make them up. We experience the long minutes of waiting and false alarms in childbirth, the long minutes of waiting and difficult conversations in death.
The film’s magic lies in the little scenes within Almut and Tobias’ life. While the chaotic birth scene in the petrol station was an equally horrific and beautiful testimony to the goodwill of humanity, it is eclipsed by the quietly touching scene in the bathtub during Almut’s labour, in which she and Tobias share a comically large pack of Jaffa Cakes that sit atop Almut’s pregnant belly. The instant is delicate, intimate, and ordinary; we view these characters in their real lives, intruding on their shared moments. Interludes such as this place the most importance on the smallest memories in one’s life. Time is shown in all different sizes, from Tobias’ stopwatch counting labour contractions to the looming countdown at the biennial chef championship, the Bocuse d’Or. Time intrudes into everyday conversations:
“Whether we like it or not, the clock is ticking.”
“What’s the rush?”
“Because I’m worried there’s a very distinct and real possibility that I am about to fall in love with you.”
Love is seen in its most desperate and revelatory moments; in its simplicity, served alongside eggs at breakfast; and in carefully choreographed and wellplaced scenes of intimacy.
In the hands of another production, Almut could have easily fallen into the Manic Pixie Dream Girl trap, dancing into Tobias’ doldrum life with her funky hair, spectacular omelets, casual bisexuality, and resolutely independent charm. Florence Pugh obstinately refuses that categorization, bringing incredible life and depth to
Love is seen in its most desperate and revelatory moments; in its simplicity, served alongside eggs at breakfast; and in carefully choreographed and wellplaced scenes of intimacy.
the character. Almut is not defined by her relationship with Tobias – she has a deep history, defined goals, and is marked by her ambition and drive. Pugh grounds Almut’s headstrong spirit, however, allowing her equal moments of vulnerability and strength. The film’s central question of quality over quantity of time is most apparent in Almut’s recurrent battle with ovarian cancer, which she must face while attempting to balance her family and her career as a chef. Though she views her invitation to the Bocused’Or as the pinnacle of her culinary career, Almut’s competitiveness is backed not by selfish aims of obtaining money and fame, but by the desperate desire to leave behind a legacy that her daughter can be proud to claim. It is, I believe, objectively impossible for Andrew Garfield to be anything less than the most charming and lovable character in any film he stars in, with We Live in Time being no exception.
father, and working at Weetabix, Tobias meets Almut when he needs her most (as the story always goes). While Almut is defined by her career, Tobias is defined by his unabashed love. He goes all-in on the relationship, accidentally scaring Almut with questions about raising children far too early. As Tobias and Almut fall in love with each other, the audience cannot help but fall equally in love with the two of them.
Pugh and Garfield, as usual, wholly
In the hands of another production, Almut could have easily fallen into the Manic Pixie Dream Girl trap, dancing into Tobias’ doldrum life with her funky hair, spectacular omelets, casual bisexuality, and resolutely independent charm. Florence Pugh obstinately refuses that categorization, bringing incredible life and depth to the character.
Tobias joins a long line of Endearingly Nerdy and Bashful Boys who Wear Glasses (joined by Neil Perry, Milo James Thatch, and, of course, Peter Parker). Divorced, living with his
embody their characters in their signature modes of perfection. Pugh lends an earnestness and profound passion to Almut. Their shared love of food, particularly in how it creates
connection and community, is a running theme throughout the film.
Garfield embodies Tobias’ earnest love and devotion in an unobtrusive, yet firmly present manner, allowing Pugh to shine without getting lost in her shadow. However, at times, the characters felt slightly formulaic, with their traits and flaws feeling more like stock checklists for the audience to count on their fingers:
Tobias:
1. Is organized, devoted to his lists, and most thoroughly a Virgo (he and I are twin souls in this sense).
2. Has anger management issues and occasional violent bursts of passion.
3. Prioritizes family over career ambitions.
4. Wears glasses (this is a defining character trait of his).
Almut:
1. Cooks (quite well).
2. Fights against feeling tied down or limited.
3. Defines her life success by her career achievements.
4. Has cool hair.
The film’s culminating tension falls into the standard trope of frustrating miscommunication and concealment. Almut attempts to hide her participation in the Bocuse d’Or, the stress of which may interfere with her chemotherapy treatment. Tobias
cannot fathom her prioritization of her career over their family. The discord between their ideas of a “successful life” leads to one of Tobias’ characteristic outbursts of anger and a dramatic fight that seems to be a requirement for all romance movies. The film avoids overbearing melodrama, however, offering quick resolution and a patched relationship that makes the ending all the more heartbreakingly tragic.
While the film is not as revolutionary and wheel-reinventing as, say, Aftersun (2022), it derives its charm and power from its ordinariness. The emotions evoked feel familiar, delivered in a frame of warm colour and comfort. The events witnessed (except, perhaps, the international cooking competition and the incredible speed at which Tobias healed after being run over by a car) are both joyfully and painfully common. Though a more dramatic and gut-punching sequence could have aided in the final impact of the film, the ending is quietly devastating: as Almut gracefully skates away from her family, the agony is felt in what is unsaid. The audience is nonetheless banded together in their grief, sharing sobs as the soundtrack plays to the rolling credits.
The Daily gives We Live in Time 4.25 out of 5 stars.
Luxe Palmer Copy Editor
Eva Marriott-Fabre| Visuals Editor
Soleil Launi è re: Montreal’s MustSee Multidisciplinary Artist
An introduction to the world of Launière’s performance art
Amelia H. Clark Culture Contributor
If you haven’t listened to, read, watched, or seen one of multidisciplinary artist Soleil Launière’s works while in Montreal, you’ve been missing out. For the last five years Launière has been creating art in almost every field at a breakneck pace.
In 2023 alone she: premiered her first album on Spotify, Taueu (“in the centre”); published her first book, Akutu (“suspended”); acted in a short film, Katshinau (“Dirty Hands”); and created two stunning (click the link, you’ll thank me later) visual art pieces, Takutatinau and Ninanamapalin –My Body is Trembling.
In 2019, Launière founded her production company Auen Productions to “interweave the presence of the two-spirited body and experimental audiovisual while drawing inspiration from the cosmogony and sacred spirit of the animals of the Innu world and express a thought on silences and languages through the body.”
Launière has directed seven completed performance works so far, and she has another titled Takutauat on the way.
Earlier this October, I attended a production of Launière’s latest work, a performance art piece titled Aianishkat (“One Generation to the Next”) at Agora de la Danse theatre. The show starred Launière, her mentor
I can’t call it “hairography” because that word would cheapen Launière’s use of hair in this performance. Nor can I leave it at “beautiful” because that would leave out the significance behind its use: Launière utilized her own and Botz’s hair to explore how both trauma and knowledge are passed down through generations.
Aianishkat began with Botz alone on stage, carefully unwrapping a blanket to reveal chunks of cut black and brown hair, which she spread across the floor as if they were ashes. Then, while braiding her own hair, she fashioned the blanket into a makeshift basket and collected what hair had been thrown away.
Fabric is integral to this piece; most of the props were either clothing or blankets, which the actors manipulated into different forms to serve a unique artistic purpose. Launière entered the stage shortly after Botz had finished cleaning the floor, carrying a basket of her family’s laundry and sitting down to fold the pieces in an orderly fashion. Her daughter soon joined her onstage.
Prior to the performance, my friends and I debated how a toddler could participate in this piece. We wondered how a show could run orderly when one of the actors may not understand the concept of a script or cues. I was pleasantly surprised by how perfectly Launière’s daughter performed. Although her actions were, like any toddler’s,
For the last five years Launière has been creating art in almost every field at a breakneck pace. In 2023 alone she: premiered her first album on Spotify, Taueu (“in the centre”); published her first book, Akutu (“suspended”); acted in a short film, Katshinau (“Dirty Hands”); and created two stunning [...] visual art pieces, Takutatinau and Ninanamapalin – My Body is Trembling
Rasili Botz, and her three-yearold daughter Maé-Nitei LaunièreLessard, bringing together three generations of Indigenous women to explore the process of intergenerational pedagogy. The first notes I took after leaving the show were: “Never before have I seen such beautiful hair,” “The child did everything right,” and “Merci, bon nuit.”
unpredictable and spontaneous, everything she did fell completely in line with the performance. Botz and Launière easily ran with the child’s improvisations, occasionally using wind- up toys to coax her back on stage if she wandered into one of the wings. Her sheer joy at accompanying her mother on a stage littered with
interesting objects, sounds, and shapes delighted the audience. She not only added a lightness to the second half of the 90 minute show, but also an air of hope for the future.
Prior to attending the work, the only performance art I’d seen was a “deconstructed” production of Shakespeare’s Romeo and Juliet performed at Toronto’s Young People’s Theatre. It was titled What if Romeo and Juliet… and had four actors each playing changing parts of the scenery from integral scenes in the original play. One actor played a fountain, squatting and flailing his arms. Someone else was a sword, standing on their tippy toes and pointing their fingers at the ceiling. Another actor played the floor. It left a bad taste in my mouth when it came to the phrase “performance art.” The idea of a primarily improvised production, mainly told through movement instead of words, didn’t particlarly interest me. After What if Romeo and Juliet…, I didn’t see how performance art could function well as a medium.
Yet I became intrigued by Aianishkat as soon as the show lights came on, revealing Botz. I came to a realization about performance art 30 minutes later when all three actors were brought on stage together. The way they
interacted was fascinating, and told a story all on its own. I realized that nobody on stage was trying to act out a storyline – they were instead performing a truth. Through movement, they were acting out the process of intergenerational teaching. They visually embodied the struggle and perseverance that Indigenous communities have and continue to demonstrate in the fight to uplift their culture in the face of colonization. The power behind this performance stood in the
“thanks” on my part was in order. We are all lucky to live so close to Launière’s work. Her next performance art piece, Takutauat , is still in production – updates regarding the time, place, and runtime will be available on her website, www.soleil-launiere.com. In the meantime, I’d implore any art lover in Montreal to treat themselves to one of her many art pieces available online including her book, visual artworks, and award-winning music on Spotify. You can also experience
The way they interacted was fascinating, and told a story all on its own. I realized that nobody on stage was trying to act out a storyline – they were instead performing a truth.
unspoken bond between mentor and student, mother and daughter, artist and audience.
Launière ended Aianishkat with the only spoken phrase of the performance, “ Merci, bon nuit .” She said this with her daughter cradled in her arms, both waving goodbye to the audience and smiling. It didn’t feel right; I thought she should have said “ you’re welcome ,” because a
Launière in person at Mundial Montréal on November 19, the Marathon Festival aux Foufounes Électriques on November 20, and Cégep Saint-Laurent on November 29.
Courtesy of Lucile Parry-Canet
Age, Abjection, and Angles in The Substance (2024)
Coralie Fargeat and the feminine implictions of body horror
Isabella Roberti Culture Staff Writer
Content warning: spoilers, graphic body horror
The Substance, the visceral and stomach-churning body horror film written and directed by French filmmaker Coralie Fargeat, has been described by its star Demi Moore as “The Picture of Dorian Gray meets Death Becomes Her.” It tells the story of aging Hollywood actress Elizabeth Sparkle (Demi Moore) who gets fired on her 50th birthday for someone “newer,” and is offered a black market drug, the Substance, that turns her into a younger, more beautiful version of herself. In the preface to the aforementioned Oscar Wilde novel, he writes, “When critics disagree, the artist is in accord with himself.” And Fargeat’s no-holds-barred approach to body horror – loaded with criticism of Hollywood’s ageism and beauty standards – is exactly how she dreamed it, regardless of whether or not audiences are ready for it.
The main point of criticism viewers have for The Substance – aside from those who don’t really understand what “body horror” actually means and that it is, in fact, gross – is that the messaging is too relentless. But based on Fargeat’s meticulous script that includes “as much detail as possible,” this is exactly the point. Every single aspect of the film, overt and subtle, had something to say about agism and beauty standards in Hollywood, from the cinematography, to the casting, to the specific ways body horror was used. In doing so, Fargeat gives Hollywood a taste of its own medicine.
Immediately after watching The Substance, my first thought about Coralie Fargeat was, “this woman knows her film theory.” Unsurprisingly, she attended La Fémis, one of the most prestigious cinema schools in France. Fargeat’s facetious filmmaking challenges the way women have historically been represented in narrative cinema. Her use of fragmentation with the character of Sue (Margaret Qualley), the “younger, hotter” version of Elizabeth, is a direct reference to ideas about representing women first theorized in the 1970s by Laura Mulvey. Mulvey argues that fragmented shots of the female body (eyes, boobs, butt, feet, lips, etc.) freeze “the flow of action for erotic contemplation” and present the female body as “mere verisimilitude,” embodying the possessive desire caused by castration anxiety from the male viewer.
With Sue, Fargeat takes this history of Hollywood’s attempting to possess the female body by lingering on it, fragmenting it, and deconstructing it, and rendering it completely absurd. In a scene where Sue is shooting an episode of her workout show, excessive zoom-ins, slow-mo, replays, and a grid
of the shot showing her lips saying “Sue” a million times over garnered laughter from the audience – both genuine and uncomfortable. But it’s just a hyperbolic version of what cinema has been for over a century.
The use of nudity serves a similar purpose: Qualley poses nude, lingers, and contemplates her own eroticism. Moore’s nudity is far less stylized: she is lying on the floor or leaning over the sink, unfragmented, unglamourous.
There is only one male character in the entire film: Dennis Quaid’s scummy studio executive. The way he’s shot, the rigidity he represents, is made all the more real by his constant proximity to the camera. He often enters from a distance and approaches the camera as if invading it. The use of a fisheye lens makes him even more confrontational of a presence. Quaid is also shot flatly and symmetrically, emphasizing the shallowness of his character. The “in-your-faceness” of the film is made literal by the cinematography – it is not a dialogue-heavy movie. It is all completely thought-out, and audiences fall right into Fargeat’s well-trained hands whether they like it or not.
Between films like Poor Things, Drive Away Dolls, and Kinds of Kindness, Margaret Qualley has enjoyed a year
as the thriller genre’s new muse. Demi Moore, however, while unanimously popular in the 80s and 90s, hasn’t been in the spotlight for some time. In this way, both of these were stunt castings. Demi Moore was once the highest- paid actress in the world, but her career waned immensely in the 2000s and 2010s, both because of her stepping aside to raise her three daughters and the scrutiny the media placed her under. “She’s been put through the media wringer throughout her 40-year career,” writes Richard Lyndon for Vanity Fair, adding that Moore was “scrutinized and speculated about and cast aside.”
In the late 90s and early 2000s, the rise of tabloid culture, beauty and plastic surgery fads, and the inception of the internet caused a phenomenon of popular actresses either being cast away from the spotlight or getting procedures to look younger. Other actresses popular during the 80s and 90s who suffered immensely because of drastically changing and increasingly harsh media reception include Courtney Cox and Meg Ryan, who explained that their plastic surgeries were moreso a result of external pressure than autonomous decisions, and yet were criticized heavily.
However, actresses who have aged naturally are treated no better, Demi
Moore included. Other actresses like Geena Davis and Glenn Close have struggled immensely with getting roles since hitting 50. Moore falls more into this category, as does Elizabeth: her boss fires her exactly on her 50th birthday, sending her a syntactically devastating note on a bouquet of flowers: “you WERE great!,” in contrast with Sue’s congratulatory “you ARE great!”
No woman is spared from agism in Hollywood. Fargeat, therefore, does not spare patriarchal Hollywood overlords for a second in The Substance.
Messaging in The Substance is rivalled in explicitness only by the positively unhinged body horror. Many claimed The Substance to be one of the grossest movies they’ve ever seen, but there was no better genre choice in my eyes to convey Fargeat’s message. Aging, in its simplest terms, is getting nearer to death, a physical transformation that transgresses inside and outside, alive and dead. This is called abjection, a tenet of literary criticism theorized by feminist cultural philosopher Julia Kristeva, and is the subconscious recognition of one’s own mortality brought about by the transgression between the inside and the outside of the body, the self and the other.
Women’s bodies are no stranger to inside-outside transgression and are
far more subject to abjection. Between menstruation, childbirth, penetrative sex, birth control, menopause, and all the other daily horrors we experience, we come face to face with the limits of our corporeality on the regular – more than men will ever have to. As Sue becomes more and more abusive of the Substance, she becomes more and more abject. A nightmare sequence shows her back opening up to spill out all her organs;,she has to pull a whole chicken wing out of her belly button during rehearsal for her show, and at the end, when she attempts to take full control and not switch back with Elizabeth, her teeth and ears begin to fall off.
When Sue decides to use the single-use Substance to create yet another version of herself, she turns into a horrifying conglomeration of blood and body parts, “Mostro Elisasue.” The elements of her body that transgress inside and outside are extremely purposeful. At one point, an orifice from the monster (an ear? A mouth? Something else, perhaps?) opens, producing a lone untethered breast. Here, Fargeat takes a part of Sue that was once for erotic contemplation and renders it a tool for disgust. Aging, despite being a privilege, can still be physically arduous. The idea of trying to counter aging is just as gruesome: the injection of the Substance, including all the needles and stitches, are the parts of real anti-aging procedures we don’t see, and that we only judge the results of.
Every detail of The Substance being considered too “in your face” by audiences isn’t just missing Fargeat not taking herself too seriously, it’s also missing the irony. The “in-your-faceness” of everything on the internet –every post on social media, every pop culture trend, the mere concept of “influencers” – is all about how to be more beautiful, how to look younger, and the marketing of products advertised to perform such impossibilities. But when Fargeat uses that exact same method of saturating the screen with all this visual pathos – this time to comment on the horror of ageism and beauty standards –her overtness is criticized.
The Substance itself is a metaphor for these trends that we see everywhere: Ozempic, trending surgeries like BBLs, buccal fat removal, eye lifts. It’s all body horror: it’s all injections, removals of flesh, the splicing off of excess, putting it elsewhere, things entering our bloodstreams. Aging, too, is bodily decay. One, however, is natural – a privilege even – and is only treated as such when it happens to men. Fargeat’s film may be outlandish, but in this case, as in many, the more impossible and hyperbolic the scenario, the clearer the picture it paints of the body horror women undergo every second, whether at the hands of time or of the world around us.
Melika Amoueian | Visuals Contributor
VEGETABLE HOROSCOPES
Aries (Mar 21Apr 19)
You’re spicey, But Simultaneously cool and crisp - like a pepper!
Taurus (Apr 20May 20)
You’re sweet and earthy - a total butternut sqash.
Gemini (May 21Jun 20)
Your Dual Nature makes you a tomato: Are you a fruit? or Are you a vegetablE? You decide.
Cancer (Jun 21Jul 22)
You are silly and spicey like a radish.
Leo (Jul 23Aug 22)
your loyalty and boldness make you a crunchy sweet pea.
Libra (Sept 23Oct 22)
Your inability to make decisions makes you aN Avocado. No one knows when you’ll be perfectly ripe.
Capricorn (Dec 22Jan 19)
You are undoubtedly hardworking. like everyone’s favorite hearty root vegetable: a carrot.
Scorpio (Oct 23Nov 21)
You’re versatile and a familiar favourite. like celery!
Virgo (Aug 23Sept 22)
you love to party hard, like a true jalAPE Ñ o!
Sagittarius (Nov 22Dec 21)
You are truly unique and there is no one like you. just like an artichoke.
Aquarius (Jan 20Feb 18)
You’re complex, with many layers: you’re an onion (or an ogre)!
Pisces (Feb 19Mar 20)
Your calm and collected vibe makes you a total cucumber.
FILM 101 CROSSWORD
____ of faith
part
German cries
“I’ll do it”
Asian desert 17 Sporty car roof 18 _____ Pradesh (Indian state)
19 Tolkien monsters
Content of Caligari's
20 Content of Caligari’s Cabinet (1920)*
(1920)*
23 Opposite of SSW
24 Corsican cup
Opposite of SSW
28 Adriatic seaport
Corsican cup
32 Continuity-breaking techniques popularized by Godard’s Breathless (1960)*
35 Laughable
Adriatic seaport 32 Continuity-brea king techniques popularized by Godard's Breathless (1960)*
36 Wrestler turned actor John
37 OutKast rapper Big
35 Laughable 36 Wrestler turned actor John 37 OutKast rapper Big ___
38 Making imprints onto a sheet of silver-plated copper (1839)*
42 QB Manning
43 Relative of -ists
44 Like Cheerios
38 Making imprints onto a sheet of silver-plated copper (1839)* 42 QB Manning 43 Relative of -ists
Like cheerios
45 Objects of Italian neo-realist thievery (1948)*
48 Uproars
49 ___ no question
50 Rank above maj.
Objects of Italian neo-realist thievery (1948)* 48 Uproars 49 ___ no question 50 Rank above maj.
51 Breakthrough film for Audrey Hepburn
51 Breakthrough film for Audrey Hepburn (1953)*
59 Four ringed four wheeler
59 Four ringed four wheeler
62 On ___ (carousing)
62 On __ (carousing)
63 Long way to get there?
63 Long way to get there?
64 Shiny thing found in oysters
64 Shiny thing found in oysters
65 Radiohead frontman
65 Radio head frontman Thom
66 Feels fine
66 Feels fine
67 Durable wood
67 Durable wood
68 Scoped in
68 Scoped in
69 Trouble spots?
69 Trouble spots? Down
1 Sleeves and the like
1 Sleeves and the like
2 Pi preceder?
3 See 3-down
2 Pi preceder?
3 See 65-across
4 “Sports Center” channel
5 One with an alma mater
6 Do not disturb
7 Words to a traitor
8 Human rights lawyer Clooney
9 When doubled, Nando’s seasoning
10 Passing comment?
11 Neither’s partner
4 "Sportscenter" channel 5 One with an alma mater 6 Do not disturb 7 Words to a traitor 8 Human rights lawyer Clooney 9 When doubled, Nando's seasoning 10 Passing comment? 11 Neither's partner 12 Where Alex Trebek worked as a newscaster
12 Where Alex Trebek worked as a newscaster
13 That guy's 21 Year abroad 22 "pls," to the French
13 That guy’s
25 Suddenly, in music
21 Year abroad
26 Pothead
22 “pls,” to the French
27 Endorses digitally
46 Jester unearthed in "Hamlet" 47 ___-Magnon
57 Egyptian deity
58 Ranch neckwear
28 Pass, on a bicycle
25 Suddenly, in music
26 Pothead
27 Endorses digitally
28 Pass, on a bicycle
29 Bad way to be caught
29 Bad way to be caught 30 O'Neal, McGrady, or Howard 31 Shiba ___ 32 Catcalls
34 Wrestling site 36 Indigenous Canadian 39 Seminary subj. 40 ____ be sorry! 41 Golfer’s goal 46 Jester unearthed in Hamlet
48 Paid, as the bill 50 Get a lump in one's throat?
