Series 3
A stop gap measure
About the Film
When temporary solutions become the status quo, who gets left behind? A Stop Gap Measure follows disability activist Luke Anderson on his fight for accessibility to be a right, not a privilege.
Director/Writer
Lulu Wei
Editor/Writer
Erin Gulas
Co-Cinematographer
Cinematographer
Sound
Lulu Wei
Ashley Iris Gill
Matt Beckett
Composer
Joseph Shabason
Runtime
11 MIN
Hannah Donegan, Lauren Grant
Producers
Daria Savic
Production Designer
About the Director
Lulu Wei
Lulu Wei is an award-winning director and cinematographer based in Toronto. Their work explores themes of space-making, cultural identity, and queerness, reflecting a distinct style shaped by their background in commercial and documentary filmmaking. In 2020, their debut feature, There’s No Place Like This Place, Anyplace, won the Audience Award at the Hot Docs Canadian International Documentary Festival and received nominations for Best Directing and Best Writing at the 2021 Canadian Screen Awards. Lulu’s sophomore film, Supporting Our Selves, premiered as the Centrepiece Gala at the Inside Out Film Festival in 2023, where it won the Juried Award for Best Canadian Feature. As a cinematographer, they have lensed numerous projects, including The Nature of Things, Summer Qamp, and Sex with Sue (2022), which earned them a Canadian Screen Award nomination. They hold an MFA in Documentary Media from Toronto Metropolitan University and when they’re not behind a camera, you’ll usually find Lulu DJing a dance party or hosting events with New Ho Queen, the queer Asian arts collective they co-founded.
Artist Statement
A Stop Gap Measure made me realize how little I knew about accessibility. Before this film, I barely noticed single-step entrances—now, I see them everywhere. Luke Anderson’s perseverance is deeply inspiring, and I hope this film pushes audiences to rethink accessibility and demand change. I wanted to create a film that wasn’t just informative but also engaging, one that would leave viewers fired up. When Luke introduced me to his puppets, I knew they had to be part of the film. Puppetry offered a creative way to make accessibility conversations more inviting, easing the fear of saying the wrong thing.
A question that runs through all my films is: What kind of city are we building, and who is it for? My past work explored bike lane politics in Spoke and community loss in There’s No Place Like This Place, Anyplace following the redevelopment of Honest Ed’s and Mirvish Village in Toronto. These films reinforced my belief that real impact requires political change. With A Stop Gap Measure, I continue using storytelling to challenge perceptions, expose systemic barriers, and reimagine accessibility as something that benefits everyone.
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