Follow filmmaker Elle-Máijá Tailfeathers as she creates an intimate portrait of her community and the impacts of the substance use and overdose epidemic. Witness the change brought by community members with substance-use disorder, first responders and medical professionals as they strive for harm reduction in the Kainai First Nation.
Mary Two-Axe Earley: I Am Indian Again shares the powerful story of Mary Two-Axe Earley, who fought for more than two decades to challenge sex discrimination against First Nations women embedded in Canada’s Indian Act and became a key figure in Canada’s women’s rights movement.
In this feature-length documentary, Cree filmmaker Neil Diamond takes an entertaining and insightful look at the portrayal of North American Indigenous people throughout a century of cinema. Featuring hundreds of clips from old classics as well as recent releases, the film traces the evolution of the “Hollywood Indian.” Diamond guides the audience on a journey across America to some of cinema’s most iconic landscapes and conducts candid interviews with celebrities like Clint Eastwood, Robbie Robertson and Jim Jarmusch. The film is a loving look at cinema through the eyes of the people who appeared in its very first flickering images and have survived to tell their stories in their own way.
Acclaimed Métis filmmaker Christine Welsh brings us a compelling documentary that puts a human face on a national tragedy – the epidemic of missing or murdered Indigenous women in Canada. The film takes a journey into the heart of Indigenous women's experience, from Vancouver's skid row, down the Highway of Tears in northern BC, and on to Saskatoon, where the murders and disappearances of these women remain unsolved.
On August 9, 2016, a young Cree man named Colten Boushie died from a gunshot to the back of his head after entering Gerald Stanley’s rural property with his friends. The jury’s subsequent acquittal of Stanley captured international attention, raising questions about racism embedded within Canada’s legal system and propelling Colten’s family to national and international stages in their pursuit of justice. Sensitively directed by Tasha Hubbard, nîpawistamâsowin: We Will Stand Up weaves a profound narrative encompassing the filmmaker’s own adoption, the stark history of colonialism on the Prairies, and a vision of a future where Indigenous children can live safely on their homelands.
In this feature-length documentary by Alanis Obomsawin, it's the summer of 2000 and the country watches in disbelief as federal fisheries wage war on the Mi'kmaq fishermen of Burnt Church, New Brunswick. Why would officials of the Canadian government attack citizens for exercising rights that had been affirmed by the highest court in the land? Casting her cinematic and intellectual nets into history to provide context, Obomsawin delineates the complex roots of the conflict with passion and clarity, building a persuasive defence of the Mi'kmaq position.
In this first episode from the Wapos Bay series, Talon and his cousin T-Bear play on the same hockey team, but their relationship becomes strained when they both try to win the attention of Melanie, a girl on an opposing team. Meanwhile, Raven is having a little too much fun and not helping her grandmother prepare the Kohkum/Granddaughter bannock competition at the Festival. Frustrated by waiting for her granddaughter to help out, Kohkum quits preparing for the contest. The 3 children acquire some valuable lessons with the help of Kohkum and Mushom, Raven's grandfather. T-Bear learns how to be a team player, and Raven is determined to compete in the contest.
Wapos Bay is a Gemini Award-winning stop-motion animation series that follows the adventures of 3 kids from a Cree community in northern Saskatchewan.
In episode 23 from the Wapos Bay series, Raven is looking forward to day camp, while Talon, T-Bear and Devon are excited to go fishing and swimming. Summer is here! The fun ends when 2 of the boys get a nasty-looking rash, Devon keeps racing to the bathroom, and Raven tries to figure out what's wrong with her friend Amber. Water specialist Dr. Lee Wilson checks to see if there could be a problem with the water.
Wapos Bay is a stop-motion animation series that follows the adventures of 3 kids from a Cree community in northern Saskatchewan.
This short documentary offers an Indigenous perspective on the devastating experience of searching for a loved one who has disappeared. Volunteer activist Kyle Kematch and award-winning writer Katherena Vermette have both survived this heartbreak and share their histories with each other and the audience. While their stories are different, they both exemplify the beauty, grace, resilience, and activism born out of the need to do something.
Shot over two years, Mohawk Girls provides a surprising inside look at modern Indigenous youth culture. Deeply emotional yet unsentimental, it reveals the hope, despair, heartache and promise of growing up Indigenous at the beginning of the 21st century.
In a pounding critique of Canada's colonial history, this short film draws parallels between the annihilation of the bison in the 1890s and the devastation inflicted on the Indigenous population by the residential school system.
This film is part of Souvenir, a series of four films addressing Indigenous identity and representation by reworking material in the NFB's archives.
On August 9, 2016, a young Cree man named Colten Boushie died from a gunshot to the back of his head after entering Gerald Stanley’s rural property with his friends. The jury’s subsequent acquittal of Stanley captured international attention, raising questions about racism embedded within Canada’s legal system and propelling Colten’s family to national and international stages in their pursuit of justice. Sensitively directed by Tasha Hubbard, nîpawistamâsowin: We Will Stand Up weaves a profound narrative encompassing the filmmaker’s own adoption, the stark history of colonialism on the Prairies, and a vision of a future where Indigenous children can live safely on their homelands.
This powerful short documentary showing Indigenous youth resistance and emerging voices that will continue to define the landscape of Indigenous cultural and political activism for the next generation. Members of the National Youth Council, including Duke Redbird and Harold Cardinal, have a powerful exchange with a hostile white priest about the failures of the education system in relation to Indigenous people. The group tackles issues including segregated residential schools, the denial of citizenship rights, loss of language, and mass incarceration, many of which persist or continue to be stumbling blocks in the relationship between Indigenous people and the Government of Canada today.
The people of the Attawapiskat First Nation, a Cree community in northern Ontario, were thrust into the national spotlight in 2012 when the impoverished living conditions on their reserve became an issue of national debate. With The People of the Kattawapiskak River, Abenaki director Alanis Obomsawin quietly attends as community members tell their own story, shedding light on a history of dispossession and official indifference. “Obomsawin’s main objective is to make us see the people of Attawapiskat differently,” said Robert Everett-Green in The Globe & Mail. “The emphasis, ultimately, is not so much on looking as on listening—the first stage in changing the conversation, or in making one possible.” Winner of the 2013 Donald Brittain Award for Best Social/Political Documentary, the film is part of a cycle of films that Obomsawin has made on children’s welfare and rights.
Filmmaker Tracey Deer's short film turns the politics and conflicts of a playground sandbox into an allegory for the way nations treat one another, and the borders seem to do more harm than good.
For almost a century, the Coast Salish knitters of southern Vancouver Island have produced Cowichan sweaters from handspun wool. These distinctive sweaters are known and loved around the world, but the Indigenous women who make them remain largely invisible. Combining rare archival footage with the voices of three generations of woolworkers, The Story of the Coast Salish Knitters tells the tale of unsung heroines--resourceful women who knit to put food on the table and keep their families alive. Written and directed by Métis filmmaker Christine Welsh, this is a story of courage and cultural transformation--a celebration of the threads that connect the past to the future.
Eskasoni is the home of celebrated Mi’kmaq poet Rita Joe. This Cape Breton village is enjoying a revival of Indigenous traditions and spirituality which inspires much of Rita Joe's writing. For twenty years her poetry and her presence have touched thousands with dignity. This video is a celebration of the spiritual pride of the Mi’kmaq as embodied in Rita Joe's writings and her life.
This feature documentary offers an overview of the changes experienced by the Inuit from 1950-1970 with their loss of sled dogs and semi-nomadic lifestyle. A controversial issue at the time, many Inuit still believe that their dogs were deliberately killed by the RCMP as part of government policy to force them off the land and into "civilization." Qimmit: A Clash of Two Truths explores how and why the sled dogs disappeared, a mystery that has left deep wounds across Canada's Arctic.
This film looks at the ritual, tradition and legend of the moccasin game, an ancient and popular form of gambling said to have originated with the Sioux. A tournament held at the Sioux Valley Reservation near Brandon, Manitoba, brings together Sioux from both Canada and the United States to compete for high stakes in what is believed to be the oldest sleight-of-hand game in the world.
This documentary takes you on a reflective journey into the extended family of Nova Scotia’s Mi'kmaq community. Revisiting her own roots, Mi'kmaq filmmaker and mother Catherine Anne Martin explores how the community is recovering its First Nations values, particularly through the teachings of elders and a collective approach to children-rearing. Mi'kmaq Family is an inspiring resource for both Indigenous and non-Indigenous audiences who are looking for ways to strengthen and explore their own families and traditions.
We hear the Mi'kmaq language spoken and a lullaby is sung by a Mi'kmaq grandmother featured in the film.
Martha was only 5 when she and her parents were lured away from their Inuit village. Along with a handful of other families, they were moved to Canada’s most northerly island, Ellesmere, to ensure Canadian sovereignty in the Arctic.
They were told that game would be plentiful and life would be easy. Instead, they discovered that the islands of the Arctic are among the least hospitable to human life in the world. For years, they endured hunger and extreme cold.
Deprived of the right to an education and a childhood, Martha had to help her family survive. Yet she proved as resilient as the other people from her community who appear in the film.
Martha of the North is the story of a journey and a childhood spent in a new and unwelcoming land.
In this feature-length documentary, filmmaker Loretta Sarah Todd takes viewers on a visually lush journey, exploring the significance of land, memory, and knowledge to the Kainai Blood Nation of Southern Alberta.
The catalyst for this expressionistic journey is the return of belongings of the Kainai, collected by Europeans during colonial times and kept in distant museums. As the community's elders examine the objects and share stories first-hand, they reveal how the rich threads of Kainai life thrive from one generation to the next.
The hunters are the Innu people and the bombers are the air forces of several NATO countries, which conduct low-level flights over the Innu's hunting terrain. The impact of the jets is hotly debated by peace groups, Indigenous people, environmentalists and the military. But what is often overlooked are the many complex changes underway in Innu society, as social and technological changes confront a traditional hunting culture.
The Peace-Athabasca River Delta is a stunning habitat. Rivers converge in a rich, marshy wetland before draining into the Slave River. But the Delta is in trouble. Since the building of the WAC Bennett Dam in 1967, annual floodwaters--once the ecosystem's lifeblood--have become a thing of the past. The Delta is drying up, and lakes and wetlands are being replaced by brush. Species like the muskrat are disappearing. Footprints in the Delta explores the changes that have buffeted the region for several decades. Scientists, activists and Indigenous Peoples describe how lives have been fundamentally altered by the changes. And satellite images show the dramatic pace of degradation. Footprints in the Delta is essential viewing for anyone who cares about wetlands. It is a revealing account of the rapid change and environmental havoc humans can bring to a delicate ecosystem.
An introduction to four Indigenous painters whose work in recent years has stirred interest in Canada and abroad. Despite the artists' differing styles and origins, their canvases reflect their common heritage. The guide in the film is Tom Hill, a Seneca man who knows art and the Indigenous tradition and encourages his subjects to talk about their own origins and objectives. The painters are Norval Morrisseau, Allen Sapp, Alex Janvier, and Daphne Odjig.
In the Yukon, an innovative program is bringing a traditional form of Aboriginal justice--circle sentencing--to the Canadian justice system. Sentencing circles don't focus on punishment. Instead, they bring together the perpetrator of a crime, his or her victims, and peers and family in an effort to bring healing to the community.
For many Aboriginal men in the North, going to jail was a natural extension of attending missionary-run schools. Brothers Harold and Phil Gatensby, who have both done their share of jail time, now participate in circles as a way to allow offenders to break the cycle of crime, court and prison. The program works so well that Aboriginals from the Yukon have helped set up similar programs elsewhere in Canada and in the US. The circle is a powerful alternative to prison terms imposed by courts--not only for Aboriginal people in the North but, potentially, for all communities.
A doc about the Cree and Chippewa people of northern Manitoba. Made in the mid 20th century, it is dated in tone, but provides insight into the vital relationship that existed between First Nations and the caribou herds that sustained them.
This adaptation of an ancient Inuit legend was filmed in Inuktitut and directed by Inuit filmmakers - making Atanarjuat the first feature film of its kind!
Set in Igloolik, in Nunavut, this is "a powerful drama, not a documentary," reminds the director Kunuk. "It demystifies the exotic, otherwordly aboriginal stereotype by telling a universal story." The clothes, spears, kayaks, sunglasses and dwellings were all painstakingly researched. "We show how our ancestors dressed, how they handled their dog teams, how they argued and laughed.. confronted evil and fought back."
Many enthusiastic viewers have compared this epic story to The Iliad. In the words of one movie critic, "If Homer had been given a video camera, this is what he would have done!"
Set in the dramatic and alluring landscape of the north, Arctic Defenders tells the remarkable story that began in1968 with a radical Inuit movement that changed the political landscape forever. It lead to the largest land claim in western civilization, orchestrated by young visionary Inuit with a dream - the governance of their territory - the creation of Nunavut. The story reveals Canada’s misguided attempts at sovereignty in the north and finds hope and inspiration from determined people who changed the rules of the game.
The NFB and its community partner, the Ottawa-Carleton District School Board, present a Virtual Classroom with acclaimed documentary filmmaker and social activist Alanis Obomsawin and community activists Gabrielle Fayant and Brock Lewis. Recorded live at the OCDSB’s Aboriginal Learning Center, and moderated by CBC journalist and author Waubgeshig Rice, the event focusses on the topic of social justice in Indigenous communities and the positive shifts brought about by Indigenous youth. The panellists come together to talk about the hot-button social issues that young people in Indigenous communities are facing, with an emphasis on the various ways in which these youth are working to overcome these challenges.
In her award-winning documentary, director Alethea Arnaquq-Baril joins a new tech-savvy generation of Inuit as they campaign to challenge long-established perceptions of seal hunting. Armed with social media and their own sense of humour and justice, this group is bringing its own voice into the conversation and presenting themselves to the world as a modern people in dire need of a sustainable economy.
In this feature film, the profound impact of the Canadian government’s residential school system is conveyed through the eyes of two children who were forced to face hardships beyond their years. As young children, Lyna and Glen were taken from their homes and placed in church-run boarding schools, where they suffered years of physical, sexual and emotional abuse, the effects of which persist in their adult lives. We Were Children gives voice to a national tragedy and demonstrates the incredible resilience of the human spirit.
Warning: this film contains disturbing content and is recommended for audiences 16 years of age and older. Parental discretion, and/or watching this film within a group setting, is strongly advised. If you need counselling support, please contact Health Canada.
This animated short tells the story of a ferocious polar bear turned to stone by an Inuk shaman. The tale is based on emerging filmmaker Echo Henoche's favourite legend, as told to her by her grandfather in her home community of Nain, Nunatsiavut, on Labrador's North Coast. Hand-drawn and painted by Henoche in a style all her own, Shaman is the first collaboration between the Labrador artist and the NFB.
Filmed in cinéma vérité style, this feature-length doc follows a group of incarcerated men with troubled pasts as they undergo treatment based on Indigenous philosophy at the Waseskun Healing Center. Director Steve Patry spent a full year with these men, gaining their trust and confidence. The result is a remarkable and gripping film about learning to overcome suffering and finding balance.
In The Mountain of SGaana, Haida filmmaker Christopher Auchter spins a magical tale of a young man who is stolen away to the spirit world, and the young woman who rescues him. The film brilliantly combines traditional animation with formal elements of Haida art, and is based on a story inspired by a old Haida fable.
Betty Ann, Esther, Rosalie, and Ben were only four of the 20,000 Indigenous Canadian children taken from their families between 1955 and 1985, to be either adopted into white families or live in foster care. As the four siblings piece together their shared history, their connection deepens, and their family begins to take shape.
In this short film, Inuk artist Asinnajaq plunges us into a sublime imaginary universe—14 minutes of luminescent, archive-inspired cinema that recast the present, past and future of her people in a radiant new light.
Diving into the NFB’s vast archive, she parses the complicated cinematic representation of the Inuit, harvesting fleeting truths and fortuitous accidents from a range of sources—newsreels, propaganda, ethnographic docs, and work by Indigenous filmmakers. Embedding historic footage into original animation, she conjures up a vision of hope and beautiful possibility.
“When you don’t know your language or your culture, you don’t know who you are,” says 69-year-old Armand McArthur, one of the last fluent Nakota speakers in Pheasant Rump First Nation, Treaty 4 territory, in southern Saskatchewan. Through the wisdom of his words, Armand is committed to revitalizing his language and culture for his community and future generations.
This short film, crafted entirely out of NFB archival footage by First Nations filmmaker Caroline Monnet, takes us on an exhilarating journey from the Far North to the urban south, capturing the perpetual negotiation between the traditional and the modern by a people moving ever forward.
Part of the Souvenir series, it's one of four films by First Nations filmmakers that address Indigenous identity and representation, reframing Canadian history through a contemporary lens.
This short documentary tells the story of Tony Chachai, a young Indigenous man in search of his identity. Moved by the desire to reconnect with his Atikamekw roots, he delivers a touching testimony on the journey that brought him closer to his family and community. On the verge of becoming a father himself, he becomes increasingly aware of the richness of his heritage and celebrates it by dancing in a powwow.
This film was produced as part of Tremplin NIKANIK, a competition for francophone First Nations filmmakers in Quebec.
Pete Standing Alone of the Kainai Nation was more at home in the White man's culture than his own as a young man. However, confronted with the realization that his children knew very little about their origins, he became determined to pass down to them the customs and traditions of his ancestors. This hour-long film is the powerful biographical study of a twenty-five-year span in Pete's life, from his early days as an oil-rig roughneck, rodeo rider and cowboy, to the present as an Indigenous man concerned with preserving his Nation's spiritual heritage in the face of an energy-oriented industrial age.
This short experimental documentary challenges stereotypes about Indigenous people in the workplace. Featuring portraits set to a powerful poem by Mohawk writer Janet Marie Rogers, the film urges viewers to go beyond their preconceived notions. As I Am is a celebration of Indigenous people's pride in their work and culture.
Covering a vast swath of northern Ontario, Treaty No. 9 reflects the often contradictory interpretations of treaties between First Nations and the Crown. To the Canadian government, this treaty represents a surrendering of Indigenous sovereignty, while the descendants of the Cree signatories contend its original purpose to share the land and its resources has been misunderstood and not upheld. Enlightening as it is entertaining, Trick or Treaty? succinctly and powerfully portrays one community’s attempts to enforce their treaty rights and protect their lands, while also revealing the complexities of contemporary treaty agreements. Trick or Treaty? made history as the first film by an Indigenous filmmaker to be part of the Masters section at TIFF when it screened there in 2014.
Kamala Todd's short film is a lyrical portrait of Cease Wyss, of the Squamish Nation. Wyss is a woman who understands the remarkable healing powers of the plants growing all over downtown Vancouver. Whether it's the secret curl of a fiddlehead, or the gentleness of comfrey, plants carry ageless wisdom with them, communicated through colour, texture, and form. Wyss has been listening to this unspoken language and is now passing this ancient and intimate connection down to her own daughter, Senaqwila.
A day in the lives of Indigenous students at N’Swakamok Alternative School, Places to Gather and Learn emphasizes the value and necessity of Indigenous alternative and community spaces. This short follows students as they learn and share their stories, aspirations, obstacles and accomplishments. Run in partnership with the N’Swakamok Indigenous Friendship Centre, and as a satellite of Sudbury Secondary School, N’Swakamok Alternative School offers students a supportive and culturally activated space to gain life skills as they pursue their academic and personal goals.
Long before Canada became a country, every nation on Turtle Island had its own unique version of a stick-ball game. The most popular one on this continent has always been lacrosse, a game that was gifted to the First Nations by the birds and four-legged animals, and played for centuries as a medicine game. This short film explores how the medicine game that has been passed down from generation to generation by the Haudenasaunee at the Fort Erie Native Friendship Centre is helping to revive their cultures and restore their communities. Young people have always been at the centre of community for many First Nations societies, and this documentary shares the wisdom of cultivating the spirit of belonging in youth, revealing how this is helping to shape a new future.
Some Stories follows a group of Indigenous youth from the Nipissing (Nbisiing) region who come together through the North Bay Indigenous Friendship Centre and explore the importance and impact of stories in their lives.
Since its inception in 1976, Toronto Council Fire Native Cultural Centre has been a place in which the urban Indigenous community could feel safe, learn and grow. Council Fire uses cultural teachings and creates space to restore Indigenous identity, especially for its youth. At the core of Council Fire’s history and teachings is the drum, which they refer to as “our mother.” In Full Circle, we get to know the members of the Toronto Council Fire Youth Program as they embark on new journeys. We meet a drum group that lays down tracks at a professional recording studio and a group of young dancers who showcase their moves at a dance studio.
This short film offers a snap-shot of life in Fort Frances, Ontario, as some of its community members prepare to gather in a special place that will bond their hearts and minds. By engaging in ceremony and celebrating their language, culture and land, the people are creating “Zaagi’idiwin”—a symbol of their truth, their story and their own reconciliation, which is community-defined, beautiful and inspiring.
Our People Will Be Healed, Alanis Obomsawin’s 50th film, reveals how a Cree community in Manitoba has been enriched through the power of education. The Helen Betty Osborne Ininiw Education Resource Centre in Norway House, north of Winnipeg, receives a level of funding that few other Indigenous institutions enjoy. Its teachers help their students to develop their abilities and their sense of pride.
The rights of First Nations children take centre stage in this monumental documentary. Following a historic court case filed by the Assembly of First Nations and the Child and Family Caring Society of Canada against the federal government, Alanis Obomsawin exposes generations of injustices endured by First Nations children living on reserves and their families. Through passionate testimony and unwavering conviction, frontline childcare workers and experts including Cindy Blackstock take part in a decade-long court battle to ensure these children receive the same level of care as other Canadian children. Their case against Canada is a stark reminder of the disparities that persist in First Nations communities and the urgent need for justice to be served.
“It’s not how it used to be.” The words of Cézar Néwashish resonate throughout this short documentary that explores the history of the Atikamekw community of Manawan, Quebec. Less than a century old in name, Manawan embodies the experiences of so many Indigenous communities across Canada. Where once they practised their customs freely on a vast territory, the arrival of the Europeans would eventually mean the restriction of their cultural practices and confinement to a reserve named Manawan.
Atikamekw elder Cézar Néwashish continues to recount the history of the community of Manawan that first began in The History of Manawan: Part One. As Christianity and European customs take deeper root in the community – abetted by residential schools and aggressive assimilationist government policies – seemingly irreversible changes to significant customs begin to unfold. Despite these struggles, the people carry on.
This short is part of the Manawan series directed by Alanis Obomsawin.
In this feature-length documentary, Alanis Obomsawin tells the story of Shannen’s Dream, a national campaign to provide equitable access to education in safe and suitable schools for First Nations children. Strong participation in this initiative eventually brings Shannen's Dream all the way to the United Nations in Geneva.
This short documentary explores the legacy of residential schools through the eyes of two extraordinary women who not only lived it, but who, as adults, made the surprising decision to return to the school that had affected their lives so profoundly. This intimate and moving film affirms their strength and dignity in standing up and making a difference on their own terms.
Second Stories follows on the heels of the enormously successful First Stories project, which produced 3 separate collections of short films from Manitoba, Saskatchewan, and Alberta. Second Stories builds on that success by continuing the training with 3 of the 12 Indigenous filmmakers who delivered such compelling short documentaries. Produced in association with CBC, APTN, SCN, SaskFilm and MANITOBA FILM & SOUND.
In this short film, artist Jobie Weetaluktuk turns his gaze on his family and the power of ritual through the story of a young woman and her unplanned child.
In Inukjuak, an Inuit community in the Eastern Arctic, a baby boy has come into the world and they call him Timuti, a name that recurs across generations of his people, evoking other Timutis, alive and dead, who will nourish his spirit and shape his destiny.
In July 1990, a dispute over a proposed golf course to be built on Kanien’kéhaka (Mohawk) lands in Oka, Quebec, set the stage for a historic confrontation that would grab international headlines and sear itself into the Canadian consciousness. Director Alanis Obomsawin—at times with a small crew, at times alone—spent 78 days behind Kanien’kéhaka lines filming the armed standoff between protestors, the Quebec police and the Canadian army. Released in 1993, this landmark documentary has been seen around the world, winning over a dozen international awards and making history at the Toronto International Film Festival, where it became the first documentary ever to win the Best Canadian Feature award. Jesse Wente, Director of Canada’s Indigenous Screen Office, has called it a “watershed film in the history of First Peoples cinema.”
This feature-length documentary chronicles the Sundance ceremony brought to Eastern Canada by William Nevin of the Elsipogtog First Nation of the Mi'kmaq. Nevin learned from Elder Keith Chiefmoon of the Blackfoot Confederacy in Alberta. Under the July sky, participants in the Sundance ceremony go four days without food or water. Then they will pierce the flesh of their chests in an offering to the Creator. This event marks a transmission of culture and a link to the warrior traditions of the past.
In this feature documentary, filmmaker René Siouï Labelle retraces the path of his ancestors and surveys their territories, recording images of stunning beauty. He unveils a historical journey known to very few as he reflects upon the identity of the Wendat nation. In French with English subtitles.
This documentary pokes fun at the ways in which Inuit people have been treated as “exotic” documentary subjects by turning the lens onto the strange behaviours of Qallunaat (the Inuit word for white people). The term refers less to skin colour than to a certain state of mind: Qallunaat greet each other with inane salutations, repress natural bodily functions, complain about being cold, and want to dominate the world. Their odd dating habits, unsuccessful attempts at Arctic exploration, overbearing bureaucrats and police, and obsession with owning property are curious indeed.
A collaboration between filmmaker Mark Sandiford and Inuit writer and satirist Zebedee Nungak, Qallunaat! brings the documentary form to an unexpected place in which oppression, history, and comedy collide.
In five short minutes, this short film destroys any remaining shreds of the myth of a fair and just Canada. Children forced from their homes and sent to residential schools, families examined like livestock in crowded tuberculosis clinics, tainted water and land, poisoned for industry and profit at the cost of Indigenous lives, and the list goes on. But filmmaker Jeff Barnaby's message is clear: We are still here. Featuring the music of Tanya Tagaq.
This film is part of Souvenir, a series of four films addressing Indigenous identity and representation by reworking material in the NFB's archives.
This short documentary serves as a quiet elegy for a way of life, which exists now only in the memories of those who experienced it. Bonnie Ammaaq and her family remember it vividly. When Bonnie was a little girl, her parents packed up their essentials, bundled her and her younger brother onto a long, fur-lined sled and left the government-manufactured community of Igloolik to live off the land, as had generations of Inuit before them.