INDIGENOUS FILM PROGRAMME

1 REEL Uniting our Nations through Film WHO WE ARE REEL CANADA is a charitable organization whose mission is to introduce new audiences to the power and diversity of Canadian film, and engage them in a conversation about identity and culture. Showcasing works by Indigenous filmmakers from Canada is an integral part of that mission. Our travelling film festival has reached nearly a million students — and it just keeps growing! WHAT WE DO LESSON PLANS AND Our work is delivered via three core programmes, each of which incorporates incredible work created by RESOURCES Indigenous filmmakers: With a track record of thousands of successful school screenings, we can give you effective tools Our Films in Our Schools: For more than 13 years, to get your colleagues and students excited about we have helped teachers and students across Canada your event, and work with you to create a festival organize over two thousand screenings of Canadian film. that will resonate with your community.

Welcome to Canada: We introduce new Canadians We offer: to Canadian film and culture through festival events zz Film-specific lesson plans for all feature-length designed specifically for English-language learners of all films in this programme ages. zz Lesson plans for Indigenous and Native studies National Canadian Film Day (NCFD): An annual one- courses day event where Canadians from coast-to-coast-to- zz Lesson plans about Canadian film and coast get together to watch a great Canadian film storytelling for grades 9 to 12 English and — across all major platforms, online, and in theatres. media courses zz Games, quizzes and other resources to help teachers bring this important part of our culture to their students

Email [email protected] or call 1-855-733-5709 to start planning a festival or to access our resources.

1 Uniting our Nations through Film

WHAT IS THE INDIGENOUS FILM PROGRAMME? • A selection of Indigenous-made films by filmmakers from diverse Nations across Canada including Abenaki, Anishinaabe, , Dene, Gwich’in, Inuit, Métis, Mi’kmaq, Heilsuk, and Mohawk • We bring these films to students in grades 9-12 for either in-class viewing, or for larger screenings in front of multiple classrooms or an entire school • Films featured in the Indigenous Film Programme include something for everyone with documentaries, comedies, dramas, animation and experimental works to choose from • Everything we offer is absolutely FREE OF CHARGE

Benefits For Non-Indigenous Students WHY AN INDIGENOUS FILM Presenting Indigenous films in schools helps dispel myths and stereotypes by providing a more inclusive history of PROGRAMME? Canada, and also promotes better understanding and sensitivity to contemporary Indigenous experiences. Indigenous stories on film have often been told by non-Indigenous filmmakers, sometimes even with non- “I may not be Indigenous but I now understand Indigenous actors portraying Indigenous characters. that I have a role to play in changing how we as a This has resulted in a stifling of Indigenous and collective society view Canada’s history.” has contributed to stereotypical misrepresentations — Grade 11 student, Golden SS, Golden B.C. of Indigenous people in film and television. The presentation of films made by Indigenous artists in Benefits For Mixed Audiences schools provides opportunities for dialogue, education Movies from the Indigenous Film Programme can be and cultural exchange. both a mirror and a window as they reflect Indigenous experiences while also providing an opening for Benefits For Indigenous Students cross-cultural exchange and greater understanding. Research shows — and our audiences confirm — Presentation of Indigenous films can help your school that seeing oneself on film can be a profound and address the Truth and Reconciliation Commission’s transformative experience. When Indigenous stories are imperative to explore “Aboriginal peoples’ historical told by Indigenous filmmakers, the result is authentic, and contemporary contributions to Canada” (Truth and self-determined cultural expression. When First Nation, Reconciliation Commission of Canada: Calls to Action, Inuit and Métis students witness a true reflection of Section 62.i). their lives and experiences, the effect is empowering and “Education is the key to reconciliation, but only inspirational. a true and complete experience in education can “Watching a film about native women makes me pave the path to relationships built on mutual happy because I could relate to the things they said, respect and peaceful co-existence.” ­ did and thought.” — National Centre for Truth and Reconciliation, — Grade 12 student, W.F. Herman SS, Windsor, ON University of Manitoba

2 INTRODUCTION FROM ARIEL SMITH tānsi!

I am thrilled and privileged to join the REEL CANADA team as Manager of the Indigenous Film Programme.

REEL CANADA has a national focus and reach. However, I want to recognize and honour the fact that we operate in , , on the territory and treaty lands of the Mississaugas of the Credit, which is the traditional territory of the Anishinaabe, Haudenosaunee and Huron Wendat, and is subject to the Dish with Ariel Smith (nēhiyaw) Manager of the One Spoon Covenant. We are grateful to be on this land. Indigenous Film Programme, REEL CANADA Within commercial film and television production in Canada, Indigenous peoples have long been underrepresented as makers and misrepresented as subjects. REEL CANADA recognizes this fact and we are passionately dedicated to ensuring that Indigenous films are integrated and included throughout all of our core programmes.

We achieve this by building and nurturing relationships with Indigenous filmmakers, programmers and partner organizations that are based on respect and reciprocity. I would like to wholeheartedly thank our partner organizations and all of the members of our Indigenous Film Programme Advisory Committee for their dedication, commitment and wisdom.

REEL CANADA recognizes the importance of the calls to action made by the Truth and Reconciliation Commission (TRC), particularly those specific to education, art and Jack Blum, Executive Director media. The TRC calls for intercultural understanding and mutual respect. We seek Sharon Corder, Artistic Director to answer this call, using film to spark dialogue, build bridges and expand empathy REEL CANADA amongst young learners. The Indigenous Film Programme is a valuable resource for educators, students and community members across the country.

We believe that Indigenous-made content must be seamlessly integrated into all of INDIGENOUS FILM PROGRAMME ADVISORY COMMITTEE our programmes; however, there is also great value in highlighting Indigenous films, specifically through focused initiatives such as the Indigenous Film Programme. This programme and its accompanying catalogue serve as an opportunity to spotlight Danis Goulet and celebrate the wealth of incredible work being made by Indigenous filmmakers in Ronnie Dean Harris Canada today. Kawennáhere Devery Jacobs Jennifer Podemski I greatly look forward to helping you bring this exciting initiative into your school, Dr. Duke Redbird and warmly invite you to join us as we celebrate and honour Indigenous voices in the classroom. Jason Ryle Amanda Strong Kinanâskomitin, Janelle Wookey

Ariel Smith (nēhiyaw) Manager of the Indigenous Film Programme, REEL CANADA

REGISTERED CHARITABLE # 8508 92 36 5 RR0001 [email protected] • www.reelcanada.ca • 720 Bathurst Street, Suite 504, Toronto, Ontario M5S 2R4 • 416-642-5796 • 1-855-733-5709 • Fax: 647-557-2111

3 THEWe are committed to celebrating FILMS the work of Indigenous filmmakers and believe in the importance of Indigenous stories being told by Indigenous peoples on their own terms. We consider a film to be Indigenous made if an Indigenous director, writer or producer is involved.*

Please note: Our use of the term Indigenous is inclusive of Métis, Inuit and both Status and Non-Status peoples. LEGEND

Denotes films that are appropriate for English- ESL language learners.

GRADES 11–12 Denotes films that contain mature subject matter.

Denotes films that were produced by the National Film Board of Canada. NOTES ON FILM RATINGS Our catalogue lists the Ontario Film Review Board’s ratings for each film. To check the rating of a particular film in other provinces and territories, please consult the film’s page on our website, reelcanada.ca/films.

The rating “NR” denotes a film that has never received theatrical distribution and was therefore never rated by any provincial government film ratings agencies.

*The Indigenous Film Programme includes only films made by Indigenous people. The larger REEL CANADA catalogue also includes the films Indian Horse, Maïna, The Snow Walker and The Whale, all of which were made by non-Indigenous artists but focus on Indigenous subjects or stories. Although not made by Indigenous filmmakers, these works have been screened by Indigenous educators who have deemed them to be valuable learning resources. Go to reelcanada.ca/films to explore these and many other great Canadian films.

4 FEATURE FILMS

ANGRY INUK (2016) Director/Writer: Alethea Arnaquq-Baril (Inuk). Producers: Alethea Arnaquq-Baril, Bonnie Thompson. 85 min. PG We all know about the terrible “brutality” of the arctic seal hunt — or do we? Turns out there’s more to this story: families that need to be fed, a hunting practice that began centuries ago and a tradition central to the economy and food security of Inuit communities in the Canadian Arctic. Angry Inuk is a story that’s over 4,000 years old. The seal hunt is not exactly a laughing matter, but humour and technical savvy go a long way to debunk certain claims. Wryly tackling both misinformation and aggressive appeals to emotion, Inuk filmmaker ALETHEA ARNAQUQ-BARIL Arnaquq-Baril equips herself and her community with the powers of Arnaquq-Baril is an award-winning Inuk social media — and yes, #sealfies — to reframe a controversial topic as filmmaker whose work has screened on CBC a cultural issue in this 2016 Audience Award-winning Hot Docs hit. and APTN, and at festivals like Hot Docs and imagineNATIVE. Notable credits include Aviliaq/ “Angry Inuk delivers important information about an issue we tend to Entwined and Tunniit: Retracing the Lines of think we know everything about, and delivers a powerful emotional Inuit Tattoos. punch.” — Susan G. Cole, NOW magazine

“Angry Inuk was truly breathtaking.” — Grade 11 student, Southwood SS, Cambridge, ON

ATANARJUAT: THE FAST RUNNER (2001) Director: Zacharias Kunuk (Inuk). Screenwriter: Paul Apak Angilirq (Inuk). Starring: Natar Ungalaaq (Inuk), Sylvia Ivalu (Inuk), Peter-Henry Arnatsiaq (Inuk), Lucy Tulugarjuk (Inuk). 161 min. AA ( with English subtitles) Based on an ancient Inuit legend, Atanarjuat is an epic tale of love, betrayal and revenge. The beautiful Atuat (Ivalu) has been promised to the short-fused Oki (Arnatsiaq), the son of the tribe’s leader. However, she loves the good-natured Atanarjuat (Ungalaaq), a fast runner and excellent hunter. When Atanarjuat is forced to battle the jealous Oki for Atuat’s hand, the events that follow determine not only his fate, but ZACHARIAS KUNUK that of his people. An Officer of the Order of Canada, Kunuk Atanarjuat won 20 awards, including eight Genies and the Caméra d’Or is an Inuk director and producer. In 2015, at the 2001 Cannes Film Festival. Atanarjuat was selected as the number one Canadian film of all time, according to TIFF’s “I am not surprised that The Fast Runner has been a box office hit ... It Canada’s All-Time Top Ten List. His latest film is unlike anything most audiences will ever have seen, and yet it tells a is Maliglutit (Searchers). universal story.” — Roger Ebert, Chicago Sun-Times

NOTE: Due to the unusually long run time of this film, if you would like to screen Atanarjuat, please contact us to discuss the logistics.

5 BIRTH OF A FAMILY (2016) Director/Writer: Tasha Hubbard (Cree), Writer: Betty Ann Adam (Dene). Producer: Bonnie Thompson. 79 min. PG Four siblings, taken from their Dene mother’s care as infants and raised separately across North America, meet for the first time in this deeply moving documentary. They were among the estimated 20,000 Indigenous children who were taken from their homes between 1955 and 1985 and placed in the child welfare system as part of the . This policy was part of the same trend of forced assimilation as residential schools. Over several decades, Betty Ann has worked tirelessly to track down TASHA HUBBARD her siblings, all of whom have had very different life journeys. Now An award-winning filmmaker and an assistant they reunite, challenged by the sadness and comforted by the joys of professor in the University of Saskatchewan’s learning their full history. Despite the heartache of separation, their Department of English, Tasha’s solo writing/ directing project Two Worlds Colliding won a love uplifts them all as they move towards the birth of a new family. Gemini and a Golden Sheaf Award in 2005.

“I enjoyed watching a film about challenges faced by Indigenous families a lot more than just reading and then discussing articles. It’s a better way to learn and gave me a new balanced outlook.” — Student, Great Lakes SS, Sarnia, ON

CLUB NATIVE (2008) Director/Writer: (Mohawk). Producers: Catherine Bainbridge, Christina Fon, Linda Ludwick. 78 min. NR On the Mohawk reserve of , outside of , there are two unspoken rules: don’t marry a white person, and don’t have a child with one. The consequences of ignoring these rules can be dire — loss of membership on the reserve for yourself and your child. For those who incur them, the results can be devastating. In this honest and affecting doc, filmmaker Tracey Deer follows the stories of four Kahnawake women whose lives have been affected by these rules, shedding light on contemporary Indigenous identity and asking questions about how we all understand who we are. TRACEY DEER In 2008, Deer became the first Mohawk woman With her own family as a poignant case study, Deer’s film will strike to win a Gemini Award, for Best Documentary a chord with anyone who’s ever thought about ethnicity, culture or Writing on . Her debut doc was the award-winning , which was their place in the world. adapted into a dramatic TV series in 2014, with “... it’s a compassionate and compelling exploration of what it means Deer serving as writer, director and producer. to be Native, to be Canadian, to be a woman and to be in love.” — Katarina Gligorijevic, exclaim!

“You could hear a pin drop in the auditorium!” — Teacher, Maniwaki Woodland School, Maniwaki, QC 6 FEATURE FILMS (continued)

EMPIRE OF DIRT GRADES 11–12 (2013) Director: Peter Stebbings. Screenwriter: Shannon Masters (Cree). Producer: Jennifer Podemski (Saulteaux). Starring: Jennifer Podemski (Saulteaux), Cara Gee (Ojibwa), Shay Eyre (Cheyenne/Arapaho/Oglala Lakota/Mnicoujou Lakota). 99 min. 14A When single mom Lena (Gee) realizes that her daughter (Eyre) is in danger of succumbing to the same addiction issues she herself faced, she decides to take her daughter and leave the city to return home to her estranged mother (Podemski) in the rural Indigenous community of her youth. The homecoming forces Lena to deal with her past and raises issues that test all three generations of this family of spirited PETER STEBBINGS women. Powerful and inspiring, Empire of Dirt was nominated for five A longtime film and TV actor, Stebbings made , including Best Picture. his directing debut with Defendor, which was nominated for four Genie Awards, including “Empire of Dirt tells a traditional mothers-and-daughters story in a Best Screenplay. new way by making their Cree heritage and the role it has in their JENNIFER PODEMSKI lives and relationships the true heart of the drama.” — Linda Barnard, Jennifer Podemski is an award-winning film The Toronto Star and television producer and actor with a career spanning over 25 years. She is the creator and producer of APTN’s famed paranormal series The Other Side. “Being able to talk to Jennifer Podemski was an amazing experience that I will always remember.” — Grade 12 student, W.F. Herman SS, Windsor, ON

KANEHSATAKE: 270 YEARS OF RESISTANCE (1993) Director/Writer: (Abenaki). Producers: Wolf Koenig, Alanis Obomsawin (Abenaki). 119 min. PG Legendary documentary filmmaker Alanis Obomsawin has created a remarkable body of work chronicling the injustices against Indigenous communities. In July 1990, she spent 78 nerve-racking days filming the standoff between the Mohawks, the police and the Canadian army. The result is a powerful documentary about a historical moment that catapulted Indigenous issues into the international spotlight and challenged a nation to confront its own history and ongoing ALANIS OBOMSAWIN colonial processes. Obomsawin takes you to the frontlines to show the An Officer of the Order of Canada, Obomsawin has made over 50 documentaries on issues resilience of a people who are determined to protect their land at all affecting Indigenous people in Canada. Some costs. notable films include Rocks at Whiskey Trench, Hi-Ho Mistahey! and her latest, Our People Will Be Healed. “When you believe in something, and see something unjust, you just have to stand up and fight for it.” — Alanis Obomsawin, filmmaker

7 KAYAK TO KLEMTU ESL (2018) Director: Zoe Leigh Hopkins (Heiltsuk/Mohawk). Writers: Zoe Leigh Hopkins, Michael Sparaga. Producer: Daniel Bekerman. Starring: Ta’kaiya Blaney (Tla’amin), Evan Adams (Tla’amin), Lorne Cardinal (Cree). 90 min. PG When a prominent Kitasoo/Xai’Xais activist passes away, his 14-year- old niece Ella (Blaney) embarks on a kayak journey to take his ashes home to Klemtu. It’s a race against the clock as Ella tries to make it back in time to give a speech protesting a proposed pipeline that would cross Indigenous land. Ella is joined by her aunt, cousin and grumpy uncle (Cardinal), as the four paddle with all their might through the Inside Passage and past the ZOE LEIGH HOPKINS Hopkins is an alumna of the Sundance shores of the Great Bear Rainforest. Join this family on the adventure Institute’s Feature Film Program, and Kayak to of a lifetime as they learn about themselves and connect with the land Klemtu is her first feature. Currently, she lives around them. in her father’s community of Six Nations, where she teaches the online to students across Turtle Island.

“It encouraged Indigenous kids to pursue their dreams and stand up for what you believe in.” — Student, Kelvin HS, Winnipeg, MB

REEL INJUN (2009) Director: (Cree). Producers: Christina Fon, Catherine Bainbridge, Linda Ludwick. 86 min. PG is an enlightening documentary about the way Indigenous people have been depicted in film from the silent era to the present day. Chock-full of clips from hundreds of films and packed with interviews with famous Indigenous and non-Indigenous actors, directors and writers, Reel Injun is an entertaining and insightful look at how the powerful medium of film both reflects and influences culture. Director Neil Diamond takes the audience on a trip through time to explore the history of the “Hollywood Indian” and offers a refreshing, candid and personal analysis, tracing how these cinematic images have NEIL DIAMOND shaped and influenced the understanding of Indigenous culture and Diamond is known for several award-winning history. documentaries that focus on Indigenous life and issues. His debut film, Cree Spoken “Impeccably well researched and crafted, Reel Injun neatly walks the Here, won the Telefilm/APTN award for Best line in balancing entertainment and education.” Aboriginal Documentary. His latest film is Inuit Cree Reconciliation with filmmaker Zacharias — Todd Brown, ScreenAnarchy Kunuk.

“I know more about myself because of this film.” — Grade 8 student, John Oliver SS, , BC

8 FEATURE FILMS (continued)

RISE: SACRED WATER & RED POWER STANDING ROCK PARTS 1 & 2* (2017) Director/Writer: Michelle Latimer (Algonquin/Métis). Producers: Jarrett Martineau (nêhiyaw/Denesuline), Dean Perlmutter. With Sarain Fox (Anishinaabe) In this powerful new series from VICELAND, Michelle Latimer and host Sarain Fox travel to Indigenous communities across the Americas to meet people protecting their homelands and combating colonization. PART 1 45 min. NR The unfolding drama of Standing Rock is explored within the context of MICHELLE LATIMER other key moments in Native American history. Michelle Latimer’s The Underground won the best short film award at the 2014 PART 2 44 min. NR imagineNATIVE Film & Media Arts Festival. Over 5,000 Red Power warriors arrive in Standing Rock to stand in Her latest work is the documentary Nuuca, and she is currently adapting award-winning solidarity with other protestors, and halt the construction of the author ’s Son of a Trickster for Dakota Access Pipeline. the screen. “While watching Rise I felt like I wanted to *Parts 1 and 2 may be viewed separately or shown become a leader, become more involved in my together for a combined running time of 89 minutes. community, and help support my people.” — Student, R.B. Russell Vocational HS, Winnipeg, MB

THE SUN AT MIDNIGHT GRADES 11–12 (2016) Director/Writer: Kirsten Carthew. Producers: Kirsten Carthew, Amos Scott (Dene). Starring: Kawennáhere Devery Jacobs (Mohawk), Duane Howard (Nuu-chah-nulth). 93 min. PG Set in the stunning landscape of the Arctic Circle, this charming coming-of-age drama tells the story of an unexpected friendship between a hunter obsessed with finding a missing caribou herd and a teenage rebel who gets lost while on the run. After her mother dies, 16-year-old “urban princess” Lia (Jacobs – who won an award at the Whistler Film Festival for her performance) is sent to spend the summer with her Gwich’in grandmother in a small KIRSTEN CARTHEW community in the far north. Desperate to get back to city life, she The Sun At Midnight marks Kirsten Carthew’s steals a boat and heads south. directorial debut. Shorter form credits include: The YK Doc Project, Abe & Alfred and Fish out of As might be expected, she quickly gets lost, and is soon discovered by Water. Alfred (Howard), a Gwich’in hunter who reluctantly helps her navigate AMOS SCOTT the unfamiliar wilderness. Based in the Northwest Territories, Amos Scott is an emerging filmmaker and the creator, “A truly inspirational masterpiece that I hope everyone has a chance to producer and director of the APTN series Dene: see.” – Blake Priddle, CKLB Radio A Journey.

9 Festival. Tour. Institute

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INDIGENOUS CINEMA IN THE CLASSROOM

INDIGENOUS-MADE FILMS FOR LEARNERS OF ALL AGES Watch our curated playlists Ages 6–11, ages 12–14, ages 15–18, and professional learning for educators Designed to support curriculum

STREAM FOR FREE NFB.ca/education/indigenous-cinema SHORT FILMS ANIMATION THE GIFT THE MOUNTAIN OF SGAANA Terril Calder (Métis) 2011 2 min. Christopher Auchter (Haida) 2017 ᑐᒃᑐᒥᑦ/TUKTUMIT This stop-motion tale explores 10 min. Ippiksaut Friesen (Inuk) 2014 4 min. ᑐᒃᑐᒥᑦ / TUKTUMIT the historical question of whether A wondrous tale of a young man stolen This gorgeously rendered animation smallpox-infected blankets were by the spirit world, and the young explores the way traditional hunting given by European settlers to woman who comes to his rescue. in Nunavut has evolved so that it Indigenous populations unwittingly, can continue to play a vital role in or as a deadly “gift.” COMEDY contemporary Inuit culture. THE GRANDFATHER DRUM INDIAN ABORIGINALITY Michelle Derosier (Anishinaabe) Darryl Nepinak (Saulteaux) 2008 Dominique Keller, Tom Jackson (Cree) 2016 12 min. 2 min. 2007 5 min. In this stunning storybook In this amusing and powerful short, ABORIGINALITY A young boy is transported into animation, the forceful removal of the etymology of the word “Indian” his television to witness the power Naamowin’s healing drum from an is deconstructed at the Canadian of a hoop dance. Anishinabek community disrupts National Spelling Bee. the delicate balance between the AMAQQUT NUNAAT / sky-world and the underworld. THE COUNTRY OF WOLVES DRAMA Neil Christopher, Louise Flaherty THE GUEST ASSINI (Inuk) 2011 12 min. Nick Rodgers (Anishnabe) 2015 Gail Maurice (Cree/Métis) 2015 In this traditional Inuit story, two 5 min. 13 min. brothers are set adrift on ice floes A trapper collects a mysterious Seven-year-old Assini and her friends ASSINI while hunting for seal. They soon animal in the forest, but as he tries often play Cowboys and Indians. But find themselves in the country of to care for it, the beast quickly when Assini discovers that she herself is wolves, where all is not as it appears. becomes insatiable. an “Indian”, the game takes a new turn.

BIRCHBARK MIA’ AVILIAQ/ENTWINED John Hupfield (Anishinaabe) 2008 Amanda Strong (), Bracken Alethea Arnaquq-Baril (Inuk) 2014 4 min. Hanuse Corlett (Wuikinuxv-Klahoose) 15 min. (Inuktitut with English subtitles) Symbols of traditional knowledge 2015 8 min. In the 1950s, two Inuit women come alive and find themselves A young Indigenous street artist attempt to protect their relationship inside the pages of a book. struggles to return home after being when pressure from their community transformed into a salmon. forces them to marry men. BAREFOOT DANCERS OF THE GRASS Melanie Jackson (Métis/Saulteaux) THE ORPHAN AND THE BAREFOOT 2009 2 min. POLAR BEAR Danis Goulet (Cree/Métis) 2012 11 min. Spectacular stop-motion animation Neil Christopher, Louise Flaherty In a tight-knit Cree community in breathes life into a traditional dance. (Inuk) 2014 9 min. northern Saskatchewan, 16-year- In this adaptation of an Inuit legend, old Alyssa enjoys the attention that EMPTY a neglected orphan is adopted by a comes with pregnancy — until her Jackie Traverse (Anishinaabe) 2009 polar bear elder and learns the skills secret plan unravels. 5 min. he will need to survive under the bear’s guidance. GOD’S ACRE Set to a song by Little Hawk, this THE BLANKETING animated story is a daughter’s Trevor Mack (Tsilhqot’in) 2013 8 min. starkly honest tribute to her TRADITIONAL HEALING A fictional confrontation before the estranged mother. Raymond Caplin (Mi’kmaq) 2013 real-life smallpox outbreak in the 3 min. mid-1800s that nearly wiped out FIGHTING CHANCE In this beautiful animation, a woman’s the Tsilhqot’in First Nation of British Alexandra Lazarowich (Cree) 2011 sacred healing dance causes a miracle Columbia. 9 min. to occur in an otherwise bleak and An Indigenous youth who’s devastated environment. BOXED IN struggling with the intergenerational Shane Belcourt (Métis) 2009 4 min. effects of Canada’s Indian residential THE VISIT A woman of mixed ancestry struggles THE MOUNTAIN OF SGAANA Lisa Jackson (Anishinaabe) 2009 school system, takes advantage of with an Equal Opportunity form 3 min. the chance to turn his life around. that requires her to respond to the The charming “true” story of an dilemma “Ethnicity — Choose One.” FOUR FACES OF THE MOON encounter between extraterrestrials Amanda Strong (Michif) 2016 and a Cree family. GOD’S ACRE 13 min. Kelton Stepanowich (Métis) 2016 A filmmaker travels back through WALK-IN-THE-FOREST 15 min. Diane Obomsawin (Abenaki) 2009 time, experiencing pivotal moments A man living alone on his family’s 3 min. in her family’s history. ancestral Cree lands is forced to A medicine man walks in the woods FOUR FACES OF THE MOON choose between abandoning his home and discovers an intriguing secret or adapting to rising water levels. 11 world. SHORT FILMS THROAT SONG* LE CHEMIN ROUGE / (Continued) DRAMA Miranda de Pencier. Executive producers: RED PATH KAJUTAIJUQ: THE SPIRIT Alethea Arnaquq- Baril (Inuk), Qajaaq Thérèse Ottawa (Atikamekw) 2015 Ellsworth (Inuk) 2011 16 min. 15 min. SAVAGE THAT COMES A young Inuit woman with a Scott Brachmayer, Co-Producer/ (French with English subtitles) troubled past begins to connect Co-Writer: Nyla Innuksuk (Inuk) 2014 This moving documentary tells the with other victims of violence from 15 min. story of Tony Chachai, a young man her community and reclaims her who goes on a journey to reconnect Part Inuit legend, part thriller, an voice along the way. arctic hunter tries to live by the with his Atikamekw roots by traditional skills his grandfather * Throat Song deals with difficult dancing in powwows. taught him — but they are difficult subject matter (abuse and suicide) for a modern man to apply, and the THE CREATOR’S GAME price of failure is high. THE UNDERGROUND Candace Maracle (Mohawk) 2011 Michelle Latimer (Algonquin/Métis) 41 min. STOLEN QAGGIQ / GATHERING PLACE 2014 14 min. Denied entry into Europe because Zacharias Kunuk (Inuk) 1989 In this gritty and poetic short, an of their Haudenosaunee passports, 58 min. Iranian man struggling to fit into the Iroquois Nationals lacrosse team was forced to forfeit their shot (Inuktitut with English subtitles) North American life finds comfort at the World Championship. A year Conflicts arise when families in an in the cockroaches that inhabit later, the team fights to bring the Inuit camp build a communal igloo his home. Based on the novel title and national sovereignty to to celebrate the coming of spring Cockroach by Rawi Hage. their people. with games, singing and drum dancing. WAKENING CREE CODE TALKERS LE CHEMIN ROUGE Danis Goulet (Cree/Métis) 2013 9 min. Alexandra Lazarowich (Cree) 2016 SAVAGE Set in the near future, a lone Cree 14 min. Lisa Jackson (Anishinaabe) 2009 wanderer roams through an urban This documentary film reveals the 6 min. wasteland overseen by a brutal role of Cree code talker Charles This “residential school musical” military occupation, searching for an ‘Checker’ Tomkins, who used the Cree uses song and dance to depict a ancient and dangerous creature. language during the Second World little girl’s dehumanizing journey War to confound and defeat the Axis. into the residential school system, WAPAWEKKA as well as her mother’s pain. Danis Goulet (Cree/Métis) 2010 CRY ROCK 16 min. Banchi Hanuse () 2016 CREE CODE TALKERS SPIRIT OF THE BLUEBIRD Josh and his father visit their family 29 min. Jesse Gouchey (Cree), Xstine Cook cabin in Saskatchewan for the last Less than fifteen Nuxalk-language 2011 6 min. time, confronting the generational speakers and storytellers are left in A personal and poetic tribute differences between their Cree Bella Coola, B.C. This thoughtful film by Cree artist Gouchey to Gloria heritage and Josh’s urban lifestyle explores what is lost from a culture Black Plume, a woman who was when a language threatens to go murdered in in March of extinct. 1999. DOCUMENTARY 7 MINUTES DE FACE OU DE PROFIL / SNARE Tasha Hubbard (Cree) 2016 7 min. FACE OR PROFILE Lisa Jackson (Anishinaabe) 2013 CRY ROCK Marie’s walk home from university Sharon Fontaine (Innu) 2014 4 min. takes seven minutes, but when she 5 min. Spare and visually arresting is followed home by a stranger in a Told from 16-year-old Sharon’s point with a haunting soundtrack, this van, those seven minutes feel like of view, this charming short uses performance piece captures an eternity. her wit and humour to reflect on the brutality of violence against society’s use of online avatars. Indigenous women, as well as the possibility of healing and grace. AGAINST THE GRAIN Curtis Mandeville (Métis) 2009 24 min. HONEY FOR SALE Amanda Strong (Michif) 2009 7 min. Survivors of the Indian residential STOLEN A honeybee’s tenuous life is school system attempt to cope with WAKENING Kawennáhere Devery Jacobs documented in this poetic and its impact on their personal lives (Mohawk) 2017 7 min. thoughtful meditation on the and communities. A good primer This powerful short offers a glimpse for discussions of the Truth and fragility of human existence. into the life of Sheena, a troubled Reconciliation Commission report. 14-year-old Indigenous girl who INUIT HIGH KICK yearns for life and freedom away Alethea Arnaquq-Baril (Inuk) 2010 from the girls’ home she’s been 3 min. placed in. A stunning slow-motion visual examination of an athlete performing the traditional Inuit HONEY FOR SALE high kick. 12 SHORT FILMS THE ROUTES DOCUMENTARY (Continued) James McDougall (Anishinaabe) 2014 EXPERIMENTAL LELUM’ (HOME) 4 min. INDIGO MÉMÉRE MÉTISSE Asia Youngman (Cree/Iroquois/ A man cycles through his memories Amanda Strong (Michif) 2014 9 min. Carrier/Métis) 2017 9 min. of the local women who have gone Inspired by Indigenous stories and missing in his Anishinaabe community. Witness the beauty and strength vividly realized through stop-motion of the land through the eyes of animation, a woman trapped empowered Indigenous youth (Lelum’ THIS RIVER in a cluttered space is freed by is the Hul’qumi’num word for ‘home’). Erika MacPherson, Katherena “Grandmother Spider,” who still has Vermette (Métis) 2016 19 min. some important webs to weave. THE LIFE YOU WANT An Indigenous perspective on the Michelle Derosier (Anishinaabe) devastating experience of searching INUKSHOP 2011 34 min. for a missing loved one, told Jobie Weetaluktuk (Inuk) 2009 2 min. OVERBURDEN In the isolated northern town of through two stories that exemplify Inuk filmmaker Weetaluktuk mixes Fort Hope, Ontario, many residents the resilience and activism borne archival reels with new footage to are addicted to prescription drugs. out of the need to do something. make this commentary on cultural One brave community member appropriation. admits her problem and applies for UTE KANATA / treatment. HERE IN CANADA LITTLE THUNDER Virginie Michel (Innu) 2016 Nance Ackerman, Alan Syliboy MÉMÉRE MÉTISSE 2 min. (Mi’kmaq) 2009 3 min. Janelle Wookey (Métis) 2008 30 min. This poignant take on “O Canada” Inspired by the Mi’kmaq legend “The A young filmmaker explores her adapts the national anthem to reflect Stone Canoe”, this coming-of-age THREE THOUSAND family’s past as she schemes to the reality of Indigenous peoples, story follows a boy who reluctantly convince her grandmother to accept resulting in a rallying song for all. sets out on a canoe trip by himself, her heritage, uncovering a legacy of as a rite of passage into adulthood. shame and the profound courage TWILIGHT DANCERS* needed to overcome it. Paola Marino, Theola Ross (Cree) MOBILIZE 2017 16 min. Caroline Monnet (Algonquin) 2015 MR. SANDERSON Indigenous teenagers use dance 2 min. Ray Sanderson, Terrie McIntosh as a tool to heal from the trauma Repurposed NFB footage is used to (Ojibwe) 2014 9 min. of a suicide epidemic in the small, explore the perpetual negotiation An intimate portrait of the remote community of Pimicikamak between the modern and the inspirational Ray Sanderson, a single Cree Nation. traditional by a people always TWILIGHT DANCERS moving forward. father blinded by gun violence *Twilight Dancers deals with who pleads for us to look at things difficult subject matter (suicide) differently. THREE THOUSAND Asinnajaq (Inuk) 2017 14 min. MOHAWK GIRLS WAYS OF YESTERDAY Historic footage of Inuit is woven Elliott Simon (Anishinaabe) 2014 6 min. Tracey Deer (Mohawk) 2005 55 min. into a stunning animation to shine a Through breakdance and rap, Elliott Three teens from the Kahnawake new light over the past, present and and Curtis share their life experiences Indigenous community wrestle not future. and try to motivate and inspire only with decisions about their Indigenous kids to follow their dreams. THE ROUTES futures, but also the challenges of WAVE A RED FLAG maintaining and embracing their Adam Garnet Jones (Cree/Métis) 2009 Mohawk identity. WHERE THE RIVER WIDENS 3 min. A whimsical, wordless exploration Zach Greenleaf (Mi’gmaq) 2014 of Indigenous identity, community OVERBURDEN 5 min. and culture. Neil McArthur, Warren Cariou A lyrical ode to the hard work, (Métis) 2009 15 min. determination and kinship of the Indigenous communities in fishermen of Gesgapegiag First NOUS NOUS SOULEVERONS / defend the environment, their health Nation. WE WILL RISE UP and their way of life in the face of a Natasha Kanapé Fontaine (Innu) WHERE THE RIVER WIDENS destructive oil recovery enterprise. 2015 4 min. sets out on a canoe trip by himself, Through an inspired spoken word as a rite of passage into adulthood. “I never knew people piece and beautiful forest imagery, RELEASED in Canada made such Innu poet Natasha Kanapé Fontaine important films!” calls us to rise up and bring light to Chantal Rondeau (Northern Tutchone) the world. 2015 10 min. — Grade 11 student, A traditional artist and former drug East River CI, addict is released from prison and Winnipeg, MB finds comfort in her passion and NOUS NOUS SOULEVERONS talent for embroidery. 13 The reviews are in! “Our students and staff cannot stop talking about this awesome experience.” — Ngozi Okongwu, teacher, Middlefield CI, Markham, ON

“REEL CANADA is really essential. For students to have access to film, and Canadian film especially — for them to see their own stories, especially in a country that gets so much other cinema — it’s just amazing.” — Danis Goulet, Cree/Métis filmmaker

“This is eye-opening and critical and everyone should have the chance to have a programme like this.” — Gr. 10 student, Maniwaki Woodland School, Maniwaki, QC

“The kind of dialogue REEL CANADA makes possible is so important for...young Canadians.” — Janelle Wookey, Métis filmmaker

“I think it inspires us all to tell our stories — we have a lot of stories as First Nations people — and it is important for First Nations filmmakers to tell our stories.” — Student, Winnipeg Aboriginal Youth Leadership Programme, Winnipeg, MB

“Thank you, REEL CANADA, for advocating for Aboriginal storytelling. We have much that we want to share with the world.” — Roseanne Supernault, Cree/Métis filmmaker

“This programme has the potential to highlight and shift perspectives on Aboriginal issues.” — Principal, Southwood Secondary School, Cambridge, ON

“I would ... like to applaud REEL CANADA for the efforts in creating specific programming around Indigenous films and creators to further the dialogue between Canadians and the First Peoples of Turtle Island.” — Jesse Wente, Ojibway programmer and film critic PARTNER ORGANIZATIONS

REEL CANADA’s Indigenous Film Programme is generously supported by:

720 Bathurst Street, Suite 504 | Toronto, Ontario M5S 2R4 416-642-5796 1-855-733-5709 [email protected] reelcanada.ca @REELCANADA

Front and back cover images: Angry Inuk, courtesy of the National Film Board of Canada