Bill Reid

This documentary follows Haida artist Bill Reid, from British Columbia. A jeweller and wood carver, he works on a traditional Haida totem pole. We watch the gradual transformation of a bare cedar trunk into a richly carved pole to stand on the shores of the town of Skidegate, in the Queen Charlotte Islands of B.C.

In this revealing study of Norval Morrisseau, filmed as he works among the lakes and woodlands of his ancestors, we see a remarkable Indigenous artist who emerged from a life of obscurity in the North American bush to become one of Canada's most renowned painters. Morrisseau the man is much like his paintings: vital and passionate, torn between his Ojibway heritage and the influences of the white man's world. Jack Pollock, the Toronto art gallery owner who discovered Morrisseau's paintings in the early 1960s, comments on what makes them so unique.

When internationally renowned Haida carver Robert Davidson was only 22 years old, he carved the first new totem pole on British Columbia’s Haida Gwaii in almost a century. On the 50th anniversary of the pole’s raising, Haida filmmaker Christopher Auchter steps easily through history to revisit that day in August 1969, when the entire village of Old Massett gathered to celebrate the event that would signal the rebirth of the Haida spirit.

The film centres on Arthur Shilling, an Ojibwa artist from the Rama Reserve on Lake Couchiching, Ontario. Shilling's artistic evolution is traced, as is his move to Toronto and the difficulties he encountered there. Also discussed is the illness that caused Shilling to re-evaluate his artistic goals. Interviews with the artist and others interested in his paintings are juxtaposed with examples of paintings.

This feature-length documentary traces the journey of the Haisla people to reclaim the G'psgolox totem pole that went missing from their British Columbia village in 1929. The fate of the 19th century traditional mortuary pole remained unknown for over 60 years until it was discovered in a Stockholm museum where it is considered state property by the Swedish government.

In this follow-up to his 2003 film, Totem: the Return of the G'psgolox Pole, filmmaker Gil Cardinal documents the events of the final journey of the G'psgolox Pole as it returns home to Kitamaat and the Haisla people, from where it went missing in 1929.

This film profiles a number of Mi’kmaq and Maliseet artists from Nova Scotia and New Brunswick, showing their similarities and differences, samples of their work and the sources of their inspiration. It offers a remarkable look at Indigenous art and spirituality in Atlantic Canada.

This documentary, by filmmaker Carol Geddes, is a unique portrait of George Johnston, a photographer who was himself a creator of portraits and a keeper of his culture. Johnston cared deeply about the traditions of the Tlingit people, and he recorded a critical period in the history of the Tlingit nation. As Geddes says, his legacy was "to help us dream the future as much as to remember the past."

This short documentary serves as a portrait of Lawrence Paul Yuxweluptun, one of Canada's most important painters. We meet him at the Bisley Rifle Range in Surrey, England, where he's literally shooting the Indian Act in a performance piece called "An Indian Shooting the Indian Act." It's in protest of the ongoing effects of the Act's legislation on Indigenous people. We then follow him back to Canada, for interviews with the artist and a closer look at his work.

This vignette shows the ceremonial totem-pole raising by the Nisgha Nation at Ayanish.

This full-length documentary examines the work of Krzysztof Wodiczko, an artist who has taken his art out of museums to project it onto the sides of buildings. The film explores Wodiczko’s philosophy of art as social contract and shows examples of his provocative work, which has lit up walls from London's Trafalgar Square to Zion Square in Jerusalem.