Unikkausivut - Sharing Our Stories (Ages 12-14)

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.

This short documentary tells the story the once-thriving town of Okak, an Inuit settlement on the northern Labrador coast. Moravian missionaries evangelized the coast and encouraged the growth of Inuit settlements, but it was also a Moravian ship that brought the deadly Spanish influenza during the world epidemic of 1919. The Inuit of the area were decimated, and Okak was abandoned. Through diaries, old photos and interviews with survivors, this film relates the story of the epidemic and examines the relations between natives and missionaries.

In this short film, filmmaker Jobie Weetaluktuk mixes archival and new footage to make a statement about the appropriation of Inuit culture throughout history.

This short documentary presents the environmental challenges in Nunavut. Beneath the immaculate layer of snow, there are mountains of trash. Iqaluit's 2 dumps are filled beyond capacity and the municipality has no plan to solve the problem. Throughout the film, we discover the problems faced by this isolated region and learn just how serious they are. But above all, we hear a call to action from the residents, who don't want to see the North they love disappear. In French with English subtitles.

This documentary looks at the hazards of uranium mining in Canada. Toxic and radioactive waste pose environmental threats while the traditional economic and spiritual lives of the Indigenous people who occupy this land have been violated. Given our limited knowledge of the associated risks, this film questions the validity of continuing the mining operations.

This feature documentary introduces us to the Copper Inuit of the Coronation Gulf region of Canada's Northwest Territories, one of the last aboriginal groups to be contacted by people from outside. When Doctor R.D. Martin arrived in Coppermine in 1929, he had to deal with one of the consequences of that contact: a full-blown tuberculosis epidemic.

Lumaaq tells the story of a legend widely believed by the Povungnituk Inuit. The artist's drawings are transferred to paper, cut out, and animated under the camera. The result is Inuit prints in action. Dialogue, music and artwork make this film a total cultural transplant.

In this short animation based on an Inuit legend, a goose captures the fancy of an owl, a weakness for which he will pay dearly. The sound effects and voices are Inuktitut, but the animation leaves no doubt as to the unfolding action. A story with the wry humor characteristic of many Inuit tales.

This feature length documentary examines the phenomenon of the northern lights, aka the aurora borealis. Though scientists have advanced many theories in an attempt to explain it, mysteries still linger. Experience a visual panorama of animated legends and international space launches as indigenous people and scientists offer their perceptions of the wondrous northern lights.

These vignettes from 1951 covered various aspects of life in Canada and were shown in theatres across the country. Subjects included here are British Columbia's Cariboo Trail, once the scene of a great gold rush and which still pays off for the placer miner and occasional prospector; Canada's new state residence at 24 Sussex Drive in Ottawa, a redesigned old stone mansion destined to become Canada's No. 10 Downing Street; a unique ceremony in remote Chesterfield Inlet as the first Inuit girl in history receives the veil of the Grey Nuns; Great Lakes conservationists outsmart the eel-like bloodsucker that preys on fish; and the new blue model uniforms designed for the Women's Division of the Air Force.

Please note that this is an archival film that makes use of the word “Eskimo,” an outdated and offensive term. While the origin of the word is a matter of some contention, it is no longer used in Canada. The term was formally rejected by the Inuit Circumpolar Council in 1980 and has subsequently not been in use at the NFB for decades. This film is therefore a time-capsule of a bygone era, presented in its original version. The NFB apologizes for the offence caused.

This animated film uses the Arctic landscape and the traditional Inuit characters of the Bear, the Seal and the Owl to raise young people's awareness about the harmful effects of substance abuse. A polar bear experiences hallucinations after inhaling fumes from an abandoned gas can. A nearby owl and seal help to show the bear the error of his ways, thus preventing him from falling further into addiction. This film was an initiative of the Natives of the Institution La Macaza to warn children of the dangers of inhaling toxic chemicals.

Far from home and cut off from family and friends, Montreal’s Indigenous homeless population is the focus of No Address. Dreams of a better life in the big city can be met with harsh realities, as the individuals in this documentary recount. Often trying to flee circumstances created by colonialism and the effects of assimilation, the First Nations and Inuit people in this work share frank stories about their lives and the paths that took them to the streets of Montreal. Alanis Obomsawin presents an honest, stark portrayal of endemic homelessness while giving voice to those so often overlooked or made invisible on the streets of every city in Canada.

During the short Arctic summer on Baffin Island, the native Inuit enjoys four months of continuous daylight. But it is no time for relaxation, for provision must be made for the long, cold winter night ahead. In this film Idlouk, an Inuit hunter, tells of his life in this northern land. We watch as he stalks the seal so vital to his existence, and as he and other hunters set out in kayaks to harpoon the white whale and the narwhal. At camp we meet his wife, children and aged parents, each of whom has work to do in the unceasing struggle for survival in this harsh land.

Please note that this is an archival film that makes use of the word “Eskimo,” an outdated and offensive term. While the origin of the word is a matter of some contention, it is no longer used in Canada. The term was formally rejected by the Inuit Circumpolar Council in 1980 and has subsequently not been in use at the NFB for decades. This film is therefore a time-capsule of a bygone era, presented in its original version. The NFB apologizes for the offence caused.

When Canada was preparing to welcome the world to Expo 67 in Montreal, two artists who contributed their talents were Inuit stonecarvers Kumukluk Saggiak and Elijah Pudlat. They decorated a giant mural in the Canadian pavilion, Katimavik (the meeting place). This film shows the two carvers at work on their wall and also conveys some of their impressions of life in suburbia.

Please note that this is an archival film that makes use of the word “Eskimo,” an outdated and offensive term. While the origin of the word is a matter of some contention, it is no longer used in Canada. The term was formally rejected by the Inuit Circumpolar Council in 1980 and has subsequently not been in use at the NFB for decades. This film is therefore a time-capsule of a bygone era, presented in its original version. The NFB apologizes for the offence caused.

This animated short tells the story of Qalupalik, a part-human sea monster that lives deep in the Arctic Ocean and preys on children who do not listen to their parents or elders. That is the fate of Angutii, a young boy who refuses to help out in his family’s camp and who plays by the shoreline... until one day Qalupalik seizes him and drags him away. Angutii's father, a great hunter, must then embark on a lengthy kayak journey to try and bring his son home.

In this animated short, a self-important colonial explorer emerges from a sailing ship and plants a flag on the Arctic ice, as a bemused Inuit hunter looks on. Then the explorer plants another, and another, and another, while the hunter, clearly not impressed that his land has been “discovered,” quietly goes about his business. In this charming and humorous re-imagining of first contact between Inuit and European, Jonathan Wright brings us the story of a savvy hunter and the ill-equipped explorer he outwits.

Inspired by an Inuit poem first assigned to paper in 1927, this animated short evokes the beauty and power of nature, as well as the bond between mother and daughter. As her daughter looks on, an Inuit woman creates a wall hanging filled with images of the spectacular Arctic landscape and traditional Inuit objects and iconography. Soon the boundaries between art and reality begin to dissolve.

This beautiful short film captures the majesty of ice sculpted by wind and water. By using time-lapse imagery, Iqaluit filmmaker Ericka Chemko reveals the dynamic intertidal dance of water and ice in the Arctic.

Stories from Our Land: 1.5 gave 6 Nunavut filmmakers the opportunity to each create a 5-minute short. Each film had to be made without the use of interviews or narration while telling a northern story from a northern perspective. The project was a collaboration between the NFB and the Nunavut Film Development Corporation.

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.

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.

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 this evocative short documentary, Inuk singer-songwriter and humanitarian Susan Aglukark weaves together stories of artistry, family, and belonging as she explores the complex cultural shifts of the last 50 years of Inuit life. Turning her lens on the turbulence of colonial transition, director Nyla Innuksuk examines the forces that shaped Aglukark's voice and how that voice is now being translated for a new generation of Inuit artists.

The Covid pandemic strikes a tragically familiar chord for the Inuvialuit of the Mackenzie River Delta. In the early 19th century John Franklin and his crew infected their ancestors with deadly smallpox. Other devastating epidemics would follow. Historian Randal Pokiak returns to the ancient site of Kitigaaruk, a community abandoned after the great flu epidemic of 1918, to deliver a vivid cautionary tale.

As the global pandemic reaches into the Arctic Archipelago, Inuk filmmaker Carol Kunnuk documents how unfamiliar new protocols affect her family and community. Her vividly specific soundtrack juxtaposes snippets from local radio broadcasts, issuing health advisories in both Inuktitut and English, with the sweet sounds of children at play. A richly detailed and tender account of disruption and adjustment.

This classic short film shows how to make an igloo using only snow and a knife. Two Inuit men in Canada’s Far North choose the site, cut and place snow blocks and create an entrance--a shelter completed in one-and-a-half hours. The commentary explains that the interior warmth and the wind outside cement the snow blocks firmly together. As the short winter day darkens, the two builders move their caribou sleeping robes and extra skins indoors, confident of spending a snug night in the midst of the Arctic cold!

This documentary shows the inspiration behind Inuit sculpture. The Inuit approach to the work is to release the image the artist sees imprisoned in the rough stone. The film centres on an old legend about the carving of the image of a sea spirit to bring food to a hungry camp.

Please note that this is an archival film that makes use of the word “Eskimo,” an outdated and offensive term. While the origin of the word is a matter of some contention, it is no longer used in Canada. The term was formally rejected by the Inuit Circumpolar Council in 1980 and has subsequently not been in use at the NFB for decades. This film is therefore a time-capsule of a bygone era, presented in its original version. The NFB apologizes for the offence caused.

This short documentary looks at the government relocation of the Labrador Inuit and the effects on their culture and social structures.

Please note that this is an archival film that makes use of the word “Eskimo,” an outdated and offensive term. While the origin of the word is a matter of some contention, it is no longer used in Canada. The term was formally rejected by the Inuit Circumpolar Council in 1980 and has subsequently not been in use at the NFB for decades. This film is therefore a time-capsule of a bygone era, presented in its original version. The NFB apologizes for the offence caused.

This short documentary depicts the formation in 1959 of the first successful co-operative in an Inuit community in Northern Québec. The film describes how, with other Inuit of the George River community, the Annanacks formed a joint venture that included a sawmill, a fish-freezing plant and a small boat-building industry.

This short documentary studies life in the village of Kangirsujuaq, Nunavik. In this community on the edge of the Arctic Ocean, children’s laughter fills the streets while the old people ponder the passage of time. They are nomads of the wide-open spaces who are trying to get used to the strange feeling of staying put. While the teenagers lap up Southern culture and play golf on the tundra to kill time, the Elders are slowly dying, as their entire culture seems to fade away.

Elisapie Isaac, a filmmaker born in Nunavik, decides to return to her roots on this breathtaking land. To bridge the growing gap between the young and the old, she speaks to her grandfather, now deceased, and confides in him her hopes and fears. Grappling with isolation, family relationships, resource extraction, land-based knowledges, the influence of Southern culture and the ongoing impacts of colonialism on Inuit ways of life, Elisapie Isaac offers a nuanced portrait of the North.

Using life-like seal fur puppets, this animated short by Co Hoedeman tells the traditional Inuit tale of the owl and the lemming.

Using life-like seal fur puppets, this animated short by Co Hoedeman tells the traditional Inuit tale of the owl and the raven. Why did the raven’s feathers turn jet-black? And what did the owl have to do with it?

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kuugaruk.

In this episode, it is spring and a seal is caught and brought back to camp.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kuugaruk.

In this episode, it is spring and the man is hunting seal.

Inspired by an Inuit poem first assigned to paper in 1927, this animated short evokes the beauty and power of nature, as well as the bond between mother and daughter. As her daughter looks on, an Inuit woman creates a wall hanging filled with images of the spectacular Arctic landscape and traditional Inuit objects and iconography. Soon the boundaries between art and reality begin to dissolve.

In this animated short, a self-important colonial explorer emerges from a sailing ship and plants a flag on the Arctic ice, as a bemused Inuit hunter looks on. Then the explorer plants another, and another, and another, while the hunter, clearly not impressed that his land has been “discovered,” quietly goes about his business.

In this charming and humorous re-imagining of first contact between Inuit and European, Jonathan Wright brings us the story of a savvy hunter and the ill-equipped explorer he outwits.

This animated short tells the story of Qalupalik, a part-human sea monster that lives deep in the Arctic Ocean and preys on children who do not listen to their parents or elders. That is the fate of Angutii, a young boy who refuses to help out in his family's camp, opting instead to play by the shoreline. But one day, Qalupalik seizes him and drags him away. Angutii's father, a great hunter, must then embark on a lengthy kayak journey to try and bring his son home.

Shot during 3 seasons, this documentary tenderly portrays village life in Puvirnituq, on the shores of Hudson Bay in northern Quebec, as well as the elements that forge the character of its people: their history, the great open spaces, and their unflagging humour.

This film was produced as part of an emerging filmmaker competition for Indigenous filmmakers. It was directed by Bobby Kenuajuak of Puvirnituq, age 23.

In this feature-length documentary, 8 Inuit teens with cameras offer a vibrant and contemporary view of life in Canada’s North.

Combining figurative abstraction with magic realism, this animated short depicts a world in which whales fall out of the sky and fish turn into balloons. It is a black and white evocation of the real world, transformed by the director's special sense of whimsy. With bold lines reminiscent of the stark simplicity of Inuit art, this cautionary tale is a reminder of the interconnectedness of all things. We are all affected by the fate of the Arctic, which each year is disappearing a little farther into the ocean.

This short documentary is a portrait of Ulayok Kaviok, one of the last of a generation of Inuit, born and bred on the land. Ulayok and her family, like many Inuit today, strive to balance 2 very different worlds. Her skills in making the sealskin boots called kamik may soon be lost in the cultural transformation overtaking her community. Kamik offers a glimpse of those universes and the thread one woman weaves between them.

This short documentary is a portrait of Andrew Qappik, a world-renowned Inuit printmaker from Pangnirtung, Nunavut. Originally inspired by images in the comic books he read as a child, Andrew now finds his subjects in the stories, traditions and day-to-day events of his world.

In I Can Make Art Like Andrew Qappik, he captivates his student audience by creating a soapstone relief print before their very eyes. Then it's the kids' turn. They explore Andrew's symbolic imagery - and their own - as they each create a self-portrait relief point.

This documentary shows how an Inuit artist's drawings are transferred to stone, printed and sold. Kenojuak Ashevak became the first woman involved with the printmaking co-operative in Kinngait (formerly known as Cape Dorset). This film was nominated for the 1963 Documentary Short Subject Oscar®.

This adventure film features Scott McVay, an authority on whales, and filmmaker Bill Mason. The objective was to film the bowhead, a magnificent inhabitant of the cold Arctic seas brought to the edge of extinction by overfishing. With helicopter and Inuit guide, aqualungs and underwater cameras, the expedition searches out and meets the bowhead and beluga.

Please note that this is an archival film that makes use of the word “Eskimo,” an outdated and offensive term. While the origin of the word is a matter of some contention, it is no longer used in Canada. The term was formally rejected by the Inuit Circumpolar Council in 1980 and has subsequently not been in use at the NFB for decades. This film is therefore a time-capsule of a bygone era, presented in its original version. The NFB apologizes for the offence caused.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, it is full summer. The skin tents are up, and it is time to fish.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

Families travel across the sea ice. Before night falls, they build igloos. A boy practices throwing his spear at a figure he has made in the snow. A woman crimps the sole of a sealskin boot she is making.

Please note that this is an archival film that makes use of the word “Eskimo,” an outdated and offensive term. While the origin of the word is a matter of some contention, it is no longer used in Canada. The term was formally rejected by the Inuit Circumpolar Council in 1980 and has subsequently not been in use at the NFB for decades. This film is therefore a time-capsule of a bygone era, presented in its original version. The NFB apologizes for the offence caused.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, the men hunt for seal, while back at the camp a polar bear skin is pegged out to dry, and people nibble on fish from the cache.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series aimed to recreate the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, a hunter, travelling alone by dogsled snares a squirrel. At the camp, a qamutiq is made from a polar bear skin. The family breaks camp, and moves ashore for the summer.

An American elementary school program from the 1970s, Man: A Course of Study (MACOS), looked to the Inuit of the Canadian Arctic to help students see their own society in a new way. At its core was The Netsilik Film Series, an acclaimed benchmark of visual anthropology from the National Film Board that captured a year in the life of an Inuit family, reconstructing an ancient culture on the cusp of contact with the outside world. But the graphic images of the Netsilik people created a clash of values that tore rifts in communities across the U.S. and revealed a fragile relationship between politics and education. A fiery national debate ensued between academic and conservative forces. Through These Eyes looks back at the high stakes of this controversial curriculum. Decades later, as American influence continues to affect cultures worldwide, the story of MACOS resonates strongly.

Released in 1973, this collection assembles the first animated films to be made by Inuit artists at the NFB. Featured is work by Solomonie Pootoogook, Timmun Alariaq, Mathew Joanasie, and Itee Pootoogook Pilaloosie—all participants in the Kinngait (formerly Cape Dorset) Film Animation Workshop on Baffin Island, established to teach animation skills to local artists. The soundtrack features performances by Aggeok and Peter Pitseolok. Commentary is provided in a blend of Inuktitut and English.

This short documentary looks at early Canadian aviation through film footage shot by the Royal Canadian Air Force and the recollections of retired Air Vice-Marshal Thomas A. Lawrence, leader of the 1927-28 aerial survey expedition to Ungava Bay and Hudson Strait. The formidable challenge of flying under Arctic conditions, the hazards faced and the emergencies solved, often with the help of Inuit, make an absorbing chapter of northern frontier history.

Please note that this is an archival film that makes use of the word “Eskimo,” an outdated and offensive term. While the origin of the word is a matter of some contention, it is no longer used in Canada. The term was formally rejected by the Inuit Circumpolar Council in 1980 and has subsequently not been in use at the NFB for decades. This film is therefore a time-capsule of a bygone era, presented in its original version. The NFB apologizes for the offence caused.

This short documentary illustrates the impact of new developments on the Inuit of Baffin Island, as well as the local reaction to the decision to move the settlement of Aklavik across the Mackenzie River.

Please note that this is an archival film that makes use of the word “Eskimo,” an outdated and offensive term. While the origin of the word is a matter of some contention, it is no longer used in Canada. The term was formally rejected by the Inuit Circumpolar Council in 1980 and has subsequently not been in use at the NFB for decades. This film is therefore a time-capsule of a bygone era, presented in its original version. The NFB apologizes for the offence caused.

This animated short by Alethea Arnaquq-Baril tells a tragic and twisted story about the dangers of revenge. A cruel mother mistreats her son, feeding him dog meat and forcing him to sleep in the cold. A loon, who tells the boy that his mother blinded him, helps the child regain his eyesight. Then the boy seeks revenge, releasing his mother's lifeline as she harpoons a whale and watching her drown. Based on a portion of the epic Inuit legend "The Blind Boy and the Loon."

This short film, in which a hunter is pursued, bound up and carried to a cave, tells the legend of a river, and of how fog came to the land. The story is enacted by Inuit using katadjak or throatsinging. The audience is locked in an alien world of sights and sounds where human activity seems propulsed by primeval forces.

This short documentary depicts the vast expanses of the great Northwest. It illustrates the old fur trade, new mining developments, the importance of church missions, the welfare of First Nations and Inuit peoples and the role of air transportation in drawing this huge territory into the mainstream of Canadian life.

Please note that this is an archival film that makes use of the word “Eskimo,” an outdated and offensive term. While the origin of the word is a matter of some contention, it is no longer used in Canada. The term was formally rejected by the Inuit Circumpolar Council in 1980 and has subsequently not been in use at the NFB for decades. This film is therefore a time-capsule of a bygone era, presented in its original version. The NFB apologizes for the offence caused.

In this short film, hunter Joshua Atagooyuk stands by a seal's breathing hole. He hunches over, silent, waiting. The sun crosses the sky, hours pass, yet Atagooyuk remains, waiting for the right moment to strike.

Stories from Our Land: 1.5 gave 6 Nunavut filmmakers the opportunity to each create a 5-minute short. Each film had to be made without the use of interviews or narration while telling a northern story from a northern perspective. The project was a collaboration between the NFB and the Nunavut Film Development Corporation.

In the spirit of the 1949 NFB classic How to Build an Igloo, this short film records Dean Ittuksarjuat as he constructs the traditional Inuit home. From the first cut of the snow knife, to the carving of the entrance after the last block of snow has been placed on the roof, this is an inside-and-out look at the entire fascinating process.

Stories from Our Land: 1.5 gave 6 Nunavut filmmakers the opportunity to each create a 5-minute short. Each film had to be made without the use of interviews or narration while telling a northern story from a northern perspective. The project was a collaboration between the NFB and the Nunavut Film Development Corporation.

There’s a lot happening in the Arctic. Canadians are talking about environmental, geopolitical, military and cultural issues, and Stories from Our Land: 1.5 adds engaging voices to the discussion. The Stories program gave 6 Nunavut filmmakers the opportunity to create a 5-minute short that followed a couple of key guidelines: Each film had to be made without the use of interviews or narration, and it had to tell a northern story from a northern perspective.

Going Home
Abdoul Aziz Sakho fastens his rooftop sign - number 148 - to his cab and embarks on an evening of driving mostly familiar passengers to their destinations in and around Iqaluit. It's a routine night ... until Sakho picks up an unsettling fare.

Filmmaker Bjorn Simonsen lives in Iqaluit.

This short film portrays a family working together to make sleds. While the father expertly threads rope through runners and slats, expertly tying knots to hold them together, his wife and child work on their own stylized sleds. The film pays homage to the craft, while also capturing the sheer joy of downhill sled racing.

Stories from Our Land: 1.5 gave 6 Nunavut filmmakers the opportunity to each create a 5-minute short. Each film had to be made without the use of interviews or narration while telling a northern story from a northern perspective. The project was a collaboration between the NFB and the Nunavut Film Development Corporation.

In the spirit of the 1949 NFB classic How to Build an Igloo, this short film records Dean Ittuksarjuat as he constructs the traditional Inuit home. From the first cut of the snow knife, to the carving of the entrance after the last block of snow has been placed on the roof, this is an inside-and-out look at the entire fascinating process.

Stories from Our Land: 1.5 gave 6 Nunavut filmmakers the opportunity to each create a 5-minute short. Each film had to be made without the use of interviews or narration while telling a northern story from a northern perspective. The project was a collaboration between the NFB and the Nunavut Film Development Corporation.

In this feature-length documentary, 8 Inuit teens with cameras offer a vibrant and contemporary view of life in Canada’s North.

This animated short tells the story of Qalupalik, a part-human sea monster that lives deep in the Arctic Ocean and preys on children who do not listen to their parents or elders. That is the fate of Angutii, a young boy who refuses to help out in his family's camp, opting instead to play by the shoreline. But one day, Qalupalik seizes him and drags him away. Angutii's father, a great hunter, must then embark on a lengthy kayak journey to try and bring his son home.

This short documentary is a portrait of Inuit hunter and artist Lypa Pitsiulak, who decided to return to the land several years ago. His goal was to rediscover his culture, teach his family survival skills in the harsh Arctic environment, and pull himself and his family away from the negative influences of white culture. The film portrays his lifestyle, his love for his family, and some of the sources of his artistic inspiration. It also highlights his beautiful prints and sculptures, with their fantastic interweaving of figures from the animal, spirit and human worlds.

This documentary short depicts the traditional games of the Inuit as they are practised 800 km north of the Arctic Circle by youth in competition from communities across the North. The film describes the skills required to play them, the traditions behind the games, and the spirit of co-operation, as opposed to hard competition, that inspires the participants.

This short docu-fiction film tells the story of Tuktu, who is taken on a fishing trip to the ancient stone weir. There, he sees his father and other hunters spear fish in great numbers, and watches his father and his uncle make fire with an Inuit fire drill.

In this short docu-fiction film, strong and hardy Inuit hunters demonstrate and test their strength in boxing, tug-of-war, and other strenuous activities. We see and hear the drum dance, a demonstration of Inuit poetry and rhythm.

This short docu-fiction film illustrates how traditionally dogs were used by the Netsilik Inuit, in winter and summer. We see puppies and sled dogs used as pack animals. Eskimo dogs were also used for hunting, being particularly skilful at sniffing out seal blowholes when deep snow covered the winter sea ice.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series was an attempt to recreate the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, it is now late autumn and the family moves to the river valley.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, the family moves into an igloo and build a qamutik. When it is ready, the family heads down the river to the coast.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kuugaruk.

In this episode, it is now early autumn. A woman works on caribou skins; men return from their hunt with another caribou; and a boy picks berries and then plays at being a hunter.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kuugaruk.

In this episode, two men join the camp. The men build a row of inuksuit to deflect the oncoming caribou into the water, where they are harvested and floated ashore. A great feast follows.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kuugaruk.

In this episode, it is now late winter and the families stop their trek and make camp. The men cut blocks for an igloo while the women shovel the site. During the day, the men sit patiently on the ice, waiting for seals.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kuugaruk.

In this episode, women watch over the children as they play, make clothes, and repair the igloos. When the men return with their catch, everyone goes inside where work, story-telling and games keep everyone busy.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series aimed to recreate the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, work begins on a spacious community igloo. While the men return to their hunt, the women continue with their work and play games with the children. The men return with a seal which is shared by everyone.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, familes at the winter sea ice camp play games and drum dance inside the igloo. The next day, they set out again over the broad expanse of sea ice.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, the run-off is in full flow and the entire family lends a had in building a new kayak.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, work on the kayak continues. More skins are soaked; ribs are split and shaped. Finally, the kayak is ready and the men take it out on the water for a test.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, it is full summer. The skin tents are up, and it is time to fish.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, the fishing continues. The plentiful catch is stored in stone caches after the women have cleaned it. Some of the fish is cooked in a stone pot.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, the men are out hunting on the sea ice.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, the men are out hunting on the sea ice while the women work at drying sealskins, cooking and gathering moss.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series is about the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, the men return from hunting and families eat seal from the catch.

Filmed over a period of three years, from summer 1963 to the late winter of 1965, and released in 1967, the Netsilik series was an attempt to recreate the traditional lifestyle of Netsilingmiut living in the area around Kugaaruk.

In this episode, the man and woman are ice fishing.

Please note that this is an archival film that makes use of the word “Eskimo,” an outdated and offensive term. While the origin of the word is a matter of some contention, it is no longer used in Canada. The term was formally rejected by the Inuit Circumpolar Council in 1980 and has subsequently not been in use at the NFB for decades. This film is therefore a time-capsule of a bygone era, presented in its original version. The NFB apologizes for the offence caused.