This short documentary follows several refugee families during their first 19 days in Canada, as they navigate an unfamiliar terrain that has suddenly become their home.

Located in the quiet Calgary neighbourhood of Bridgeland, the Margaret Chisholm Resettlement Centre is the starting point for government-assisted refugees who arrive in the city.

During the 19-day timeline established by the federal government, an initial assessment is done and refugees are assisted with everything from airport reception and orientation to referrals, documents, and counselling.

19 Days reveals the human side of the refugee resettlement process. A unique look at the global migration crisis and one particular stage of asylum, it lays plain the realities faced on the difficult road towards integration.

This short documentary follows several refugee families during their first 19 days in Canada, as they navigate an unfamiliar terrain that has suddenly become their home.

Located in the quiet Calgary neighbourhood of Bridgeland, the Margaret Chisholm Resettlement Centre is the starting point for government-assisted refugees who arrive in the city. The Centre is continually welcoming a new wave of visitors, most coming from war-torn countries like Somalia, Syria, Iraq and Afghanistan. While many Bridgeland residents do not even know the Centre exists, for the refugees living there, it is their entire world.

During the 19-day timeline established by the federal government, an initial assessment is done and refugees are assisted with everything from airport reception and orientation to referrals, documents, and counselling.

The majority of the refugees are fleeing armed conflicts and countries in ruins. Most were forced to leave loved ones behind. It is the goal of finding a safe place, a place where they may one day feel at home, that brings them to Canada. For them, this is a new chapter—the beginning of a new life.

19 Days reveals the human side of the refugee resettlement process. A unique look at the global migration crisis and one particular stage of asylum, it lays plain the realities faced on the difficult road towards integration.

The film was directed by Somali-Canadian filmmakers Asha and Roda Siad, whose recent credits include the Amnesty International Canada Media Award winner Living at the Border, an interactive documentary that explores the experiences of African asylum-seekers in Italy.

How did the idea for this documentary come about?

Asha: I was filming a news report about the Margaret Chisholm Resettlement Centre for a local television station in the spring of 2014. It was the first time I had been inside the house. At the time, Roda and I had finished a project in Europe that examined the asylum process in Italy through the eyes of African refugees. After that experience we wanted to expand the dialogue surrounding migration in the world today and document what the resettlement process was like in Canada for refugees. More importantly, we wanted to continue highlighting the multiple narratives of refugees. There is little opportunity to gain an understanding of their realities through mainstream media. 19 Days shows that refugee experiences cannot be reduced to one simple story. It’s a film that answers the questions most people want to ask, which is, What happens after they reach their final destination?

What were the main themes you wanted to address?

Roda: There are several themes explored in this film, such as isolation, resilience, time and hope. Being in a contained environment for a long period of time allowed for a range of different emotions. The centre was designed in the form of a house to help refugees transition to Canadian society for 19 days and briefly adjust before being thrust into the city. There are moments when this feels extremely isolating. While the residents are on a fast-paced and intensive schedule full of information and workshops, there are also long periods of waiting and uncertainty. Ultimately, it is the interaction between the families that gives warmth to the film.

What was your goal for the film?

Roda: The goal was to give Canadians an inside look at the resettlement and integration experiences of refugee families. Unless they are a service provider, most Canadians do not know about the work involved in resettling refugees to Canada. They do not really know what happens after the arrival. We also wanted to make this film from the perspective of the families themselves. The film follows refugee families from Burundi, Sudan and Syria. Many of the headline news stories today about refugees refer to immigration categories and statistics. 19 Days shows the human side of the resettlement process. It sheds light on the complex realities faced by these families during their first few weeks in Canada. This timely film not only poses the critical question of what it really means to integrate, but it also advances a discussion around how we can create inclusive and supportive environments for vulnerable populations.

Who is your intended audience?

Roda: The audience for this documentary ranges from people who work directly with refugees to the general public. It can be used as an educational resource for service providers who work with newcomers. At the same time, the film is for the average Canadian who wants a better understanding of the resettlement process. This film also has global relevance, as Europe is currently engaged in debates around migration. Our hope is that 19 Days can contribute to the dialogue around refugees and the integration struggles they encounter.

Was it difficult to gain access to the resettlement centre? Were they open to the idea of making this film?

Asha: With any project, gaining access is key to successfully capturing your story. Since I had filmed previously in the centre, I was able to create a relationship with the MCRC staff. Additionally, our past work demonstrates our passion for using media to explore untold narratives in a way that generates understanding and helps to create social change. We are sensitive and conscious about our approach and personal impact. This allows us to gain access to spaces that would normally be difficult to gain access to. The staff of MCRC were very open to the idea of creating this film, because it gives Canadians an understanding on how refugees resettle. The staff allowed us to film in their facility for days at a time and they became very comfortable with our small crew. By engaging the staff with our goal of expanding the dialogue, it allowed us access in terms of understanding the government side of the refugee resettlement process, which was an important aspect of the film.

Can you talk a little bit about the stylistic choices you made for the film? Why did you decide to tell this story in this way?

Asha: From the beginning, our goal was to create an observational documentary. We wanted to give audiences a deeper look into the lives of the families we filmed, and the only way to do that was to immerse ourselves in their world. The images in the film speak for themselves and tell their complex stories in a subtle yet powerful way; you become a witness to their story, their feelings, their life at that moment. This was our first observational film, and though it may be a difficult method of filmmaking, the house is a contained environment and it was essential to film in this style. While we faced a few challenges, it was an extremely rewarding experience and allowed our entire team to have a closer relationship to the families, the house and ultimately the film. The idea of not relying on voice-overs, text and music to guide viewers was daunting at first, but it focused our attention on allowing our families’ stories to reveal themselves through daily interactions, including counselor meetings, house tours, workshops and family time. Through these interactions, we were able to illustrate who they are, their past, their fears and hopes.