Don't Blink

This is a combination of stop-motion puppet and drawn animation. We observe a forlorn woman on a Halifax dock, whose loneliness is lifted by the passing of a fishing trawler. A metaphor on the connectiveness of water and water's capacity as a medium of freedom.

Produced as part of the first edition of the NFB’s Hothouse apprenticeship. Theme was "Water and Our Relationship to It".

Shoal Lake 40 youth share what it’s like to be forced to live away from their close-knit families and community to attend high school in Kenora, Ontario. The community’s school provides courses up to the Grade 8 level only, so there are no other options for young people who want to continue their education. Some of the young men are able to work on the construction of the road, a rare opportunity to have a good job in the community. The pride of the youth in doing this work is palpable, and they express the gratification that comes with providing safety for their Elders and opportunities for future generations. Despite the systemic and personal racism they’ve already experienced, Freedom Road gives the youth a sense of optimism and instills hope in them for the future of their community and their own ability to contribute.

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.

Ride the commuter train with this animated short that questions what goes on it the hearts of minds of the train's silent passengers. Filmmakers Lewis Trondheim and Jean Matthieu Tanguy take a common, humdrum experience and turn it into a captivating journey tinged with some delicious, deadpan humour.

This film is part of the Comic Strip Chronicles, a collection of shorts celebrating the strong affinity between comic strips and animated film. Inspired by moments of everyday life, these films showcase the playful imaginations of renowned artists Guy Delisle, Zviane, Aude Picault, Lewis Trondheim, and Jean Matthieu Tanguy. Produced by the NFB, Canal+, and Sacrebleu.

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

Shoal Lake 40 women talk about their struggles, and those of their parents and grandparents, in trying to raise their families in a hazardous state of enforced isolation. Everyone in the community has a harrowing story of a loved one falling through the ice while trying to get across the lake, with pregnant women and new mothers fearing for their babies and having no choice but to make the trek in dangerous conditions. The film shows the key role of the community’s women in demanding funding for the road from three levels of government, and how their reconnection to culture and ceremony give them the strength to keep going.

The Elders of Shoal Lake 40 prepare a feast as part of their annual Fall Harvest, where they share traditional knowledge and teachings with the people of the community. As they prepare bannock, fish and meat, they plaintively recount traumatic experiences from their childhoods, including being hidden from residential school and remembering those who lost or risked their lives trying to cross the ice. When the Elders talk about their responsibility in caring for community members and passing their knowledge on to the next generation, they illuminate the powerful source of the community’s continued endurance and strength.

This short animation is bleak and apparently grim, but it is an assertive statement on self-determination and the fundamental need for both dark and light. This is the first professional film by Jo Meuris.

Produced as part of the first edition of the NFB’s Hothouse apprenticeship. Theme was "Water and Our Relationship to It".

A reflection on the fate of humanity in the Anthropocene epoch, White Noise is a roller-coaster of a film, a whirlwind of sounds and images. The fourth feature-length work by Simon Beaulieu, this film essay plunges viewers into a subjective sensory adventure—a direct physical encounter with the information overload of daily life. White Noise transforms the imminent collapse of our civilization into a visceral aesthetic experience.

In conversations with passionate sociologist and political thinker Jean Pichette, the filmmaker views the forced downtime stemming from the current crisis as an opportunity to rethink our modes of existence and our relationship to others, nature, science, the economy, art, politics—in short, everything that makes us human.

These vignettes from 1952 covered various aspects of life in Canada and were shown in theatres across the country. Subjects included a floating laboratory ship from the National Research Council, a visit by a group of Canadian veterans revisiting Normandy plus events at Toronto's Maple Leaf Gardens.