Etlinisigu'niet (Vidés de leur sang)

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.

This feature-length documentary chronicles the Sundance ceremony brought to Eastern Canada by William Nevin of the Elsipogtog First Nation of the Mi'kmaq. Nevin learned from Elder Keith Chiefmoon of the Blackfoot Confederacy in Alberta. Under the July sky, participants in the Sundance ceremony go four days without food or water. Then they will pierce the flesh of their chests in an offering to the Creator. This event marks a transmission of culture and a link to the warrior traditions of the past.

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.

Released in 1968 and often referred to as Canada’s first music video, The Ballad of Crowfoot was directed by Willie Dunn, a Mi’kmaq/Scottish folk singer and activist who was part of the historic Indian Film Crew, the first all-Indigenous production unit at the NFB. The film is a powerful look at colonial betrayals, told through a striking montage of archival images and a ballad composed by Dunn himself about the legendary 19th-century Siksika (Blackfoot) chief who negotiated Treaty 7 on behalf of the Blackfoot Confederacy. The IFC’s inaugural release, Crowfoot was the first Indigenous-directed film to be made at the NFB.

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.

Follow the Eagle is a short film that reminds us of the importance of our elders, especially in the inner city. It focuses on the Elders-in-Training project, created to help next-generation Elders take on their role. Slo-Pitch introduces us to Brian Arrance, an HIV-positive Cree man. Brian introduces us to the Downtown Eastside Slo-Pitch League, which provides family-oriented recreation in the heart of the city and shares how he's found fun and support in the League. These two short documentaries were produced as part of program aimed at providing Indigenous people with the opportunity, and skills, to tell their stories.

This short film, crafted entirely out of NFB archival footage by First Nations filmmaker Caroline Monnet, takes us on an exhilarating journey from the Far North to the urban south, capturing the perpetual negotiation between the traditional and the modern by a people moving ever forward.

Part of the Souvenir series, it's one of four films by First Nations filmmakers that address Indigenous identity and representation, reframing Canadian history through a contemporary lens.

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 this feature-length documentary, Indigenous filmmaker and artist Alanis Obomsawin chronicles the determination and tenacity of the Listuguj Mi'kmaq people to use and manage the natural resources of their traditional lands. The film provides a contemporary perspective on the Mi'kmaq people's ongoing struggle and ultimate success, culminating in the community receiving an award for Best Managed River from the same government that had denied their traditional rights.

This short film was created by a group of Indigenous filmmakers at the NFB in 1972 and is essentially a song by Willie Dunn sung by Bob Charlie and illustrated by John Fadden: "Who were the ones who bid you welcome and took you by the hand, inviting you here by our campfires, as brothers we might stand?"

The song expresses bitter memories of the past, of trust repaid by treachery, and of friendship debased by exploitation upon the arrival of European colonists.

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.