Meadowlarks (2025) TIFF Review: A sentimental reunion in Banff

In her 2017 documentary Birth of a Family, Tasha Hubbard delves into the powerful story of Betty Ann Adam and her siblings. Separated as infants during the Sixties Scoop, the four siblings—three sisters and a brother—were taken from their young Dene mother and placed in different families across North America. Decades later, they reunite for the first time after uncovering the existence of one another, embarking on a journey of rediscovery and healing.

Now, in 2025, Tasha is back with a feature film version of her 2017 documentary, starring acclaimed indigenous actors Michael Greyeyes, Carmen Moore, Alex Rice and Michelle Thrush. Beginning with stilted conversation, obligatory gifts, and contrived bonding exercises, the lone brother and three sisters struggle to navigate the complexities of re-establishing a connection after decades of separation.

Despite being in a beautiful house, booked specifically for the reunion in the picturesque setting of Banff, Alberta, the initial awkwardness was hard to beat. Their involuntary separation at birth was a direct consequence of the Sixties Scoop, a widespread practice in which Indigenous children were often taken from their families without consent and placed into the child welfare system. Although, they were not responsible for the past, they were forced to deal with the consequences of the incident and in a way, still do. As the days progress, they reconnect slowly, healing together, battling their past and looking forward to a brighter future together.

What I find truly remarkable about this film is its fearless plunge into the now—eschewing flashbacks in favor of an unfolding present that pulls you in from the first frame. Tasha crafts something rare and resonant. While most storytellers approach this tender, often painful subject through the documentary lens, she defies convention with a cinematic narrative that feels just as urgent, just as true. The result? A deeply emotional experience that left not only critics and Indigenous viewers, but the entire audience visibly shaken, their tears a testament to the film’s quiet power.