Etthén Heldeli: Caribou Eaters(2018)

Goodbye, Hunter(fr)

For the Frigons, hunting is a family affair that forges and solidifies the bonds between generations. For many autumns, Louis-Henri has been tracking moose alongside Sasha, his grandson. On the other hand, at the dawn of his 81st birthday, old age reminds him that his career as a hunter is behind him. This year, Louis-Henri will not go hunting and Sasha will go without him for the first time. Goodbye, Hunter offers an intimate look at the moment of the passing of a long family tradition.

Watchers of the Land(en)

What does it mean to connect with your ancestral land? In the Northwest Territories of Canada, young people from the Lutsel K'e Dene First Nation journey across Tu Nedhe Lake (Great Slave Lake) with the Ni Hat'ni Dene guardians to learn about the home that their community relies on—a home that's being opened up as a new national park reserve within the Thaidene Nene Indigenous Protected Area. Now, looking after this land means that the Ni Hat'ni Dene guardians are preserving it not only for future generations here but also for the world.

Nose and Tina(en)

Nose and Tina are a couple in love. The film captures the domestic details of their life together and documents their hassles with work, money and the law. The unusual bit: He is employed as a brakeman, and she as a sex worker.

My Deer Hunter(fr)

My Deer Hunter is the meeting of Alain, man of the nature and passionate of hunting with the deer, at the moment where the nervousness of the first days of hunting settles down. It's a family reunion, a return to the source in the lands of Témiscouata.

The Hunters(en)

An ethnographic film that documents the efforts of four !Kung men (also known as Ju/'hoansi or Bushmen) to hunt a giraffe in the Kalahari Desert of Namibia. The footage was shot by John Marshall during a Smithsonian-Harvard Peabody sponsored expedition in 1952–53. In addition to the giraffe hunt, the film shows other aspects of !Kung life at that time, including family relationships, socializing and storytelling, and the hard work of gathering plant foods and hunting for small game.

Blown Away(en)

Cyclone Tracy 40 years on, exploring the myths and revealing new perspectives on one of the worst natural disasters in Australia's history.

Prey(fr)

Bunk #7(en)

Documentary about the production of Bunk #7.

Double M Country(en)

Carrie Davis was part of the child removal system near the end of the Sixties Scoop. With guidance from her uncle Emmett Sack and the community, Carrie reconnects to their land, language, and culture.

Box of Treasures(en)

In 1921 the Kwakiut'l people of Alert Bay, British Columbia, held their last secret potlatch. In 1980 at Alert Bay, the U'mista Cultural Centre (U'mista means "something of great value that has come back") opened its doors to receive and house the cultural treasures which were seized decades earlier and only then returned to the people. The center also took up activities such as recording stories told by elders so that some part of the past would always be alive and teaching children about their heritage in order to make them feel connected to their ancestors. This film documents the cultural significance of these events for today's Kwakiut'l people. It is an eloquent testimony to the persistence and complexity of Kwakiut'l society and to the struggle for redefining cultural identity for them.

Trick or Treaty?(en)

Legendary Canadian documentarian Alanis Obomsawin digs into the tangled history of Treaty 9 — the infamous 1905 agreement wherein First Nations communities relinquished sovereignty over their traditional territories — to reveal the deceptions and distortions which the document has been subjected to by successive governments seeking to deprive Canada’s First Peoples of their lands.

Natsik Hunting(en)

Mosha Michael made an assured directorial debut with this seven-minute short, a relaxed, narration-free depiction of an Inuk seal hunt. Having participated in a 1974 Super 8 workshop in Frobisher Bay, Michael shot and edited the film himself. His voice can be heard on the appealing guitar-based soundtrack…. Natsik Hunting is believed to be Canada’s first Inuk-directed film. – NFB

Atik, gardien du territoire(fr)

The Pretendians(en)

Anishinaabe author Drew Hayden Taylor investigates how — and why — Indigenous identity, culture and art are being appropriated by those who are not First Nations.

The Town That Cried Bigfoot(en)

In the bitter winter of 1978, four desperate council members from a small Virginia town hatched a daring Bigfoot hoax to save it from the brink of bankruptcy. But as the money grew, so did the greed-triggering the town's first unsolved murder.

My Pride(fr)

Spontaneous portrait of an endearing and cheerful teenager living in balance between traditionalism and modernity. She presents her regalia to us and we share her pride in being Innu.

Nin E Tepueian: My Cry(fr)

NIN E TEPUEIAN - MY CRY is a documentary tracks the journey of Innu poet, actress and activist, Natasha Kanapé Fontaine, at a pivotal time in her career as a committed artist. Santiago Bertolino's camera follows a young Innu poet over the course of a year. A voice rises, inspiration builds; another star finds its place amongst the constellation of contemporary Indigenous literature. A voice of prominent magnitude illuminates the road towards healing and renewal: Natasha Kanapé Fontaine.

Red Girl Rising(en)

Joyce Jonathan Crone—Mohawk matriarch, retired teacher, activist, humanitarian—reaches forward into her community of Huntsville, Ontario, opening hearts and bridging gaps for Indigenous education.

Sea Trip(es)

The imminent extinction of the vaquita porpoise and the totoaba, two species endemic to Baja California and sought after by the mafia for their swim bladders, which are highly prized in the East; victims of illegal fishing nets and in danger of extinction.

Women in the Shadows(en)

Filmed on location in Saskatchewan from the Qu'Appelle Valley to Hudson Bay, the documentary traces the filmmaker's quest for her Native foremothers in spite of the reluctance to speak about Native roots on the part of her relatives. The film articulates Métis women's experience with racism in both current and historical context, and examines the forces that pushed them into the shadows.