In the Kitcisakik community, the Algonquin language is dying out, just four generations after the federal government's assimilation policy came into effect.
Since 2004, Wapikoni Mobile has been giving Indigenous youth the opportunity to speak out using video and music.
This short documentary offers an intimate portrait of Augusta Evans, an 88-year-old Secwépmec woman who has spent her life in the hills of the Williams Lake area of British Columbia, where she lives alone in a log cabin without running water or electricity. Born the daughter of a Chief, Augusta was forced to attend residential school and lost her treaty status when she wed her non-Indigenous husband. After seeing a woman lose her life in childbirth, Augusta taught herself midwifery from a book and delivered many babies, including her own daughter, whom she birthed alone in her cabin. Having lived through many losses and now surviving on a $250 monthly pension that barely covers wood and groceries, Augusta is a cherished member of her community, where she shares her knowledge and songs, and laments that the young people are not learning their language.
Released in 1971, this lyrical short documentary marked the directorial debut of legendary Abenaki director Alanis Obomsawin. Filmed at a residential school in northern Ontario, it is composed entirely of drawings by young Cree children and stories told by the children themselves. Listening has been at the core of Obomsawin’s practice since the very beginning. “Documentary film,” she said in a 2017 interview, “is the one place that our people can speak for themselves. I feel that the documentaries that I’ve been working on have been very valuable for the people, for our people to look at ourselves… and through that be able to make changes that really count for the future of our children to come.”
Fifteen-year-old Buckley (Buckley Petawabano) attends residential school, where he longs for his home and dreams of fishing and hunting. Yet when he returns to the reserve for the summer he feels like a stranger, unable to speak his Cree language or live off the land like his father and brothers. Johnny (Johnny Yesno), an Indigenous caretaker at the school, takes Buckley under his wing, introducing him to Indigenous history, culture, and knowledge. After finding Buckley’s frozen body in the snow, Johnny pieces together the events of the boy’s short life and tragic death, which left him unable to find a place for himself between the white and Indigenous worlds. Featuring the soulful music of Willie Dunn, Cold Journey's narrative is similar to the true story of Charlie Wenjack, a young Anishinaabe boy who froze to death running away from residential school in 1966. The film was made with members of the Indian Film Crew and features Chief Dan George.
This revealing portrait of NFB filmmaker Alanis Obomsawin was shown at a gala ceremony in 2008, where Obomsawin received the Governor General's Performing Arts Award for Lifetime Artistic Achievement. Her work has captured some of the most startling events in Canadian history, including the armed standoff between the Canadian Army and Mohawk warriors in 1993. Her films cross a spectrum of social issues, but they are always human. Obomsawin explains in the interview, "For me, a real documentary is when you're really listening to somebody; they are the ones that will tell you what the story is, not you."
A tribute to Indigenous women everywhere, this short documentary focuses on 5 women from across Canada. Of varied ages and backgrounds, they have achieved success in a variety of careers: as the Yukon legislature's first Indigenous woman minister (Margaret Joe), as a deck hand on a fishing boat (Corinne Hunt), as a teacher (Sophie MacLeod), as a lawyer (Roberta Jamieson), and as a band council chief (Sophie May Pierre - St. Mary’s Indian Band of the Ktunaxa Nation off the Ktunaxa Nation).
Each of these women talks about how she got to where she is today while emphasizing the importance of Indigenous culture - its values, art, and spiritual beliefs - in helping her to develop a sense of self and seeing through rough times, including residential school experiences.
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.
The men of Shoal Lake 40 tell the story of life in the community from their perspective, in the lead-up to their annual powwow. Lorne Redsky works the outdated pump house; there is no money to fix basic systems and bottled water is required for everyday use. As Lorne focuses his energy on the monumental task of getting clean water to the powwow, community member Kavin Redsky prepares his regalia for dancing, a deeply personal process connected to his healing journey. The two men embody the powerful gifts of community, traditional culture, and medicines, which have given the people of Shoal Lake 40 the resilience to continue the fight for Freedom Road
This story begins over a century ago, when the City of Winnipeg decides that the water surrounding the traditional Anishinaabe territory of what is now Shoal Lake 40 First Nation will be diverted and used as Winnipeg’s primary water source. The community, their ancient burial grounds, environment, and ways of life are forever disrupted, and access to opportunities and essential services are severed. Enforced residential schooling and a tainted water supply compound the devastating impact. Community leader and former combat engineer Daryl Redsky sheds light on how generations of complex planning, cultural preservation and mobilization have led us to the current moment—and to the construction of Freedom Road.
In 1963, Lena Wandering Spirit became one of the more than 150,000 Indigenous children who were removed from their families and sent to residential school. Jay Cardinal Villeneuve’s short documentary Holy Angels powerfully recaptures Canada’s colonialist history through impressionistic images and the fragmented language of a child. Villeneuve met Lena through his work as a videographer with the Truth and Reconciliation Commission. Filmed with a fierce determination to not only uncover history but move past it, Holy Angels speaks of the resilience of a people who have found ways of healing—and of coming home again.
As the Chair of the Truth and Reconciliation Commission, Senator Murray Sinclair was a key figure in raising global awareness of the atrocities of Canada’s residential school system. With determination, wisdom and kindness, Senator Sinclair remains steadfast in his belief that the path to actual reconciliation between Indigenous and non-Indigenous people requires understanding and accepting often difficult truths about Canada’s past and present. Alanis Obomsawin shares the powerful speech the Senator gave when he accepted the WFM-Canada World Peace Award, interspersing the heartbreaking testimonies of former students imprisoned at residential schools. The honouring of Senator Sinclair reminds us to honour the lives and legacies of the tens of thousands of Indigenous children taken from their homes and cultures, and leaves us with a profound feeling of hope for a better future.
In this haunting and visually stunning fairy tale-drama, two First Nations children struggle to find their way back to a home that may be lost forever.
This early work from Pierre Perrault, made in collaboration with René Bonnière, chronicles summer activities in the Innu communities of Unamenshipu (La Romaine) and Pakuashipi. Shot by noted cinematographer Michel Thomas-d’Hoste, it documents the construction of a traditional canoe, fishing along the Coucouchou River, a procession marking the Christian feast of the Assumption, and the departure of children for residential schools—an event presented here in an uncritical light. Perrault’s narration, delivered by an anonymous male voice, underscores the film’s outsider gaze on its Indigenous subjects. The film is from Au Pays de Neufve-France (1960), a series produced by Crawley Films, an important early Canadian producer of documentary films.
Alexis Joveneau, a Catholic priest with the Missionary Oblates of Mary Immaculate, worked in the Innu community of Unamenshipu (La Romaine) between 1960 and 1985, and appears in five NFB productions: Attiuk (1960), Ka Ke Ki Ku (1960), Le goût de la farine (1977), Le pays de la terre sans arbre ou le Mouchouânipi (1980) and La grande allure II (1985). Joveneau is seen in several scenes of Ka Ke Ki Ku, teaching Innu children and providing Innu-aimun/French translation.
In November 2017, during Canada’s National Inquiry into Missing and Murdered Indigenous Women and Girls, a number of Innu women from Unamenshipu testified that they had been sexually and physically abused by Joveneau, who died in 1992. Many other women subsequently came forward with similar allegations, and on March 29, 2018, a request for a class action was filed in Quebec Superior Court on behalf of the women against the Missionary Oblates of Mary Immaculate. The class action was authorized on November 16, 2021. The Oblates named in the suit include Alexis Joveneau, Omer Provencher, Edmond Brouillard, Raynald Couture and Édouard Meilleur.”
Uprooted at age 5 or 6 to study in White schools, the children of the Wemotaci community are now scarred adults trying to recover their Atikamekw identity.
Since 2004, Wapikoni Mobile has been giving young Aboriginals the opportunity to speak out using video and music. This short documentary was made with the guidance of these travelling studios and is part of the 2007 Selection - Wapikoni Mobile DVD.
For five or six months at a time, Frank Ladouceur lives alone, trapping muskrat in the vast, desolate wilderness of northern Alberta. His family last visited him there some 14 years ago, and Frank’s own visits to the family home in Fort Chipewyan are few and far between. This is the story of an independent Métis man who is remarkably determined and self-sufficient, and who is ceaselessly called to return to the bush. Early experiences at Holy Angels residential school are recounted by his daughter. A Christmas play at the local school is presented in Cree. After a family Christmas meal, the fiddle and guitar are taken out and the Red River Jig begins.
In her first feature-length documentary, released in 1977, Alanis Obomsawin honours the central place of women and mothers within Indigenous cultures. An album of Indigenous womanhood, the film portrays proud matriarchal cultures that for centuries have been pressured to adopt the standards and customs of the dominant society. Tracing the cycle of Indigenous women’s lives from birth to childhood, puberty, young adulthood, maturity and old age, the film reveals how Indigenous women have fought to regain a sense of equality, instilled cultural pride in their children and passed on their stories and language to new generations.
This film follows the aftermath of the Oka crisis, which brought Indigenous rights into sharp focus. After the barricades came down, the Royal Commission on Aboriginal Peoples was created, and travelled to more than 100 communities and heard from more than 1,000 representatives. For two-and-a-half years, teams of Indigenous filmmakers followed the Commission on its journey.
This feature documentary profiles an Indigenous community coming to terms with a legacy of sexual abuse, incest and family violence. The film follows the Ditidaht First Nation over a seven-year period, after a respected elder is found guilty of sexual assault. Award-winning filmmaker Maurice Bulbulian records the community's stories, becoming a part of their healing process. With the hope and courage of participants, the powerful interviews in this film play a key role in helping the community overcome the cycle of abuse. The continuing, devastating effects of the residential school system are also revealed; in this system, physical, emotional and sexual abuse were all too often routine. The Nitinaht Chronicles contains strong language, including graphic sexual detail. Please preview before showing to an audience.
The Nitinaht Chronicles is a searing portrait of a small Indigenous community on Canada's west coast struggling to come to terms with a legacy of sexual abuse, incest and family violence. Seven years in the making, the film is a first-hand look at the extraordinary efforts of the people of Nitinaht to overcome the cycle of physical and sexual abuse that touched the lives of nearly all the members of the community.
The Nitinaht Chronicles is a searing portrait of a small Indigenous community on Canada's west coast struggling to come to terms with a legacy of sexual abuse, incest and family violence. Seven years in the making, the film is a first-hand look at the extraordinary efforts of the people of Nitinaht to overcone the cycle of physical abuse that touched the lives of nearly all the members of the community.
The Nitinaht Chronicles is a searing portrait of a small Indigenous community on Canada's west coast struggling to come to terms with a legacy of sexual abuse, incest and family violence. Seven years in the making, the film is a first-hand look at the extraordinary efforts of the people of Nitinaht to overcome the cycle of physical and sexual abuse that touched the lives of nearly all the members of the community.
This short film from 1958 compiles 3 short reportages on different ways kids are schooled in remote areas. To School by Boat follows children of isolated fishing hamlets along a stretch of British Columbia coastline as they travel to school by sea-going bus. In Classroom on Rails, we hop along a railway coach that brings school to children in a logging area of northern Ontario. Northern Schooldays introduces us to First Nations children educated in a residential school in Moose Factory.
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.
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.
An intimate portrait of Marie Leo, a Sto:lo woman who was adopted into a Líl̓wat family as a baby. Marie’s gentle narrative of her remarkable early childhood demonstrates a deep connection to culture, land and family that continues to endure. This short is part of the L’il’wata series. In the early 1970s, at the outset of her documentary career, Alanis Obomsawin visited the Líl̓wat Nation, an Interior Salish First Nation in British Columbia, and created a series of shorts that provide personal narratives about Líl̓wat culture, histories and knowledge.
An intimate portrait of Marie Leo, a Sto:lo woman who was adopted into a Líl̓wat family as a baby. Marie’s gentle narrative of her remarkable early childhood demonstrates a deep connection to culture, land and family that continues to endure. This short is part of the L’il’wata series. In the early 1970s, at the outset of her documentary career, Alanis Obomsawin visited the Líl̓wat Nation, an Interior Salish First Nation in British Columbia, and created a series of shorts that provide personal narratives about Líl̓wat culture, histories and knowledge.
The Road Forward, a musical documentary by Marie Clements, connects a pivotal moment in Canada’s civil rights history—the beginnings of Indian Nationalism in the 1930s—with the powerful momentum of First Nations activism today. The Road Forward’s stunningly shot musical sequences, performed by an ensemble of some of Canada’s finest vocalists and musicians, seamlessly connect past and present with soaring vocals, blues, rock, and traditional beats. A rousing tribute to the fighters for First Nations rights, a soul-resounding historical experience, and a visceral call to action.
This short film traces Pete Standing Alone's personal journey from cultural alienation to pride and belonging. As a spiritual elder, teacher, and community leader of the Kainai Nation of Southern Alberta, Pete works with youth to repair the cultural and spiritual destruction wrought by residential schools. At age 81, he has come full-circle in his dedication to preserving the traditional ways of his people.
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 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.
In this layered short film, filmmaker Janine Windolph takes her young sons fishing with their kokum (grandmother), a residential school survivor who retains a deep knowledge and memory of the land. The act of reconnecting with their homeland is a cultural and familial healing journey for the boys, who are growing up in the city. It’s also a powerful form of resistance for the women.
Featuring archival images and compelling interviews, this documentary captures Rhonda Larrabee's quest to unearth the Indigenous heritage her mother felt forced to hide from her. Now, as proud Chief of the New Westminster Band, she works tirelessly to revitalize the Qayqayt First Nations. Tribe of One was produced as part of Reel Diversity, an initiative organized in partnership with CBC Newsworld.
For generations, the suffering of residential school Survivors has radiated outward, impacting Indigenous families and communities. Dr. Jules Arita Koostachin’s deeply personal documentary WaaPaKe (Tomorrow) moves beyond intergenerational trauma, with an invitation to unravel the tangled threads of silence and unite in collective freedom and power.
This school, organized by concerned parents, broke with tradition by introducing subjects that are of particular relevance to its pupils. Traditional Indigenous stories, traditions, languages and crafts balance the program of academic subjects required by the Ontario Ministry of Education. The experience of the children at Wandering Spirit is contrasted with the very different life experienced by their parents, educated in the old residential schools.
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.
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.