Charley Squash Goes to Town

This ultra-short film is an unapologetic confrontation of cultural appropriation and everything that's wrong with hipsters in headdresses. The takeaway? Just don't do it.

Naked Island is a series of 14 super-short and incisive films that expose the dark underbelly of modern-day society.

Since its inception in 1976, Toronto Council Fire Native Cultural Centre has been a place in which the urban Indigenous community could feel safe, learn and grow. Council Fire uses cultural teachings and creates space to restore Indigenous identity, especially for its youth. At the core of Council Fire’s history and teachings is the drum, which they refer to as “our mother.” In Full Circle, we get to know the members of the Toronto Council Fire Youth Program as they embark on new journeys. We meet a drum group that lays down tracks at a professional recording studio and a group of young dancers who showcase their moves at a dance studio.

Urban.Indigenous.Proud is a film project partnership between the Ontario Federation of Indigenous Friendship Centres and the National Film Board of Canada.

A day in the lives of Indigenous students at N’Swakamok Alternative School, Places to Gather and Learn emphasizes the value and necessity of Indigenous alternative and community spaces.  This short follows students as they learn and share their stories, aspirations, obstacles and accomplishments. Run in partnership with the N’Swakamok Indigenous Friendship Centre, and as a satellite of Sudbury Secondary School, N’Swakamok Alternative School offers students a supportive and culturally activated space to gain life skills as they pursue their academic and personal goals.

Urban.Indigenous.Proud is a film project partnership between the Ontario Federation of Indigenous Friendship Centres and the National Film Board of Canada.

This short film offers a snap-shot of life in Fort Frances, Ontario, as some of its community members prepare to gather in a special place that will bond their hearts and minds. By engaging in ceremony and celebrating their language, culture and land, the people are creating “Zaagi’idiwin”—a symbol of their truth, their story and their own reconciliation, which is community-defined, beautiful and inspiring.

Urban.Indigenous.Proud is a film project partnership between the Ontario Federation of Indigenous Friendship Centres and the National Film Board of Canada.

Released in 1969, These Are My People… was the first NFB film made entirely by an Indigenous crew. It was co-directed by Roy Daniels, Willie Dunn, Michael Kanentakeron Mitchell and Barbara Wilson—members of the Indian Film Crew (IFC), an all-Indigenous unit established in 1968 as part of Challenge for Change, a broader organizational initiative to use media to effect social change. One of the first Canadian documentaries to foreground an Indigenous perspective on the history of Indigenous–settler relations, it features Standing Arrow and Tom Porter, from the Kanien’kéhaka (Mohawk) community of Akwesasne, who discuss longhouse religion, culture, government and the impacts of settler arrival on their way of life.

Long before Canada became a country, every nation on Turtle Island had its own unique version of a stick-ball game. The most popular one on this continent has always been lacrosse, a game that was gifted to the First Nations by the birds and four-legged animals, and played for centuries as a medicine game. This short film explores how the medicine game that has been passed down from generation to generation by the Haudenasaunee at the Fort Erie Native Friendship Centre is helping to revive their cultures and restore their communities. Young people have always been at the centre of community for many First Nations societies, and this documentary shares the wisdom of cultivating the spirit of belonging in youth, revealing how this is helping to shape a new future.

Urban.Indigenous.Proud is a film project partnership between the Ontario Federation of Indigenous Friendship Centres and the National Film Board of Canada.

Some Stories follows a group of Indigenous youth from the Nipissing (Nbisiing) region who come together through the North Bay Indigenous Friendship Centre and explore the importance and impact of stories in their lives.

Urban.Indigenous.Proud is a film project partnership between the Ontario Federation of Indigenous Friendship Centres and the National Film Board of Canada.

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 film discusses topics of trauma and abuse. Viewer discretion is advised.

Meneath: The Hidden Island of Ethics dives deeply into the innate contrast between the Seven Deadly Sins (Lust, Gluttony, Greed, Sloth, Wrath, Pride and Envy) and the Seven Sacred Teachings (Love, Respect, Wisdom, Courage, Truth, Honesty and Humility), as embodied in the life of a precocious Métis baby. Brought to life by Terril Calder’s darkly beautiful stop-motion animation, her inner turmoil of abuse is laid bare with unflinching honesty. Convinced she’s soiled and destined for Hell, Baby Girl receives teachings that fill her with strength and pride, and affirm a path towards healing. Calder’s tour-de-force unearths a hauntingly familiar yet hopeful world that illuminates the bias of colonial systems

Renowned Métis author and screenwriter Maria Campbell explores themes of cultural identity, sexual assault and the familial impact of colonialism in The Red Dress, echoing the themes of her seminal memoir, Halfbreed.

Kelly is a Métis man without treaty or hunting rights, struggling to sustain his traditional life. His daughter Theresa longs for a red dress from France that she believes will give her power and strength, as the bear claw once did for her great-grandfather Muskwa. When Theresa escapes an assault and Kelly turns his back on his daughter, he realizes that he must reconnect with his culture in order to make things right. Today, the red dress is a powerful symbol recognizing over 1000 missing and murdered Indigenous women in Canada.

This short documentary from 1955 presents a discussion of the status of Indigenous peoples in Canada at that time. The focus of the film is on integrating into a non-Indigenous Canadian society.

It should be noted that this film is a product of the time it was produced.