J'aurai ta peau

Skin for Skin is a dark allegory of greed and spiritual reckoning set during the early days of the fur trade.

In 1823, the Governor of the largest fur-trading company in the world travels across his Dominion, extracting ever-greater riches from the winter bounty of animal furs. In his brutal world of profit and loss, animals are slaughtered to the brink of extinction until the balance of power shifts, and the forces of nature exact their own terrible price.

With nods to Melville and Coleridge, directors Kevin D.A. Kurytnik & Carol Beecher have created a visually stunning contemporary myth about the cost of arrogance and greed.

This very short animation from the Canada Vignettes series illustrates the hardships of voyageurs' lives in the early Canadian fur trade.

Part of the Daughters of the Country series, this film, set in the 1850s, unfolds against the backdrop of the Hudson's Bay Company's monopoly of the fur trade. In protest, some Métis engage in trade with the Americans. Madeleine, the Métis common-law wife of a Hudson's Bay Company clerk, is torn between loyalty to her husband and loyalty to her brother, a freetrader. Even more shattering, a change in company policy destroys Madeleine's happy and secure life, forcing her to re-evaluate her identity.

This short film tells the tale of the men who drove big freighter canoes into the wilderness in the days when the fur trade was Canada's biggest business. The film recreates scenes of the early 19th century with a soundtrack by an all-male chorus.

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 story of the Jesuit martyrs who lived with the Wendat converts in the region near what is now Midland, Ontario. The film is of wide interest since it reconstructs a period of Canadian history, especially of Indigenous life, at the very beginning of European settlement. The village and the Jesuits' buildings are exact models from archeologists' reconstructions. The story is based on the Jesuit Relations, the actual journals of mission life that still make for thrilling reading.

(Please note that Mission of Fear was produced in 1965 and reflects the attitudes and thinking of its era. To modern audiences, parts of the film may be perceived as offensive, but it must be seen as a cultural product of the era in which it was produced. The perspectives of Canadians (and the NFB) have evolved and become more conscious of Indigenous rights, realities and points of view since the making of the film. Through its rich collection of Indigenous-made films, available at Indigenous Cinema, the NFB continues to strive to challenge stereotypes about Indigenous people and accurately depict the diverse experiences of Indigenous communities. )

Part of the Daughters of the Country series, this dramatic film features a young Ojibwa girl from 1770 who marries a Scottish fur trader and leaves home for the shores of Georgian Bay. Although the union is beneficial for her tribe, it results in hardship and isolation for Ikwe. Values and customs clash until, finally, the events of a dream Ikwe once had unfold with tragic clarity.

A vivid recollection of the free west of the North American Indigenous Peoples and the vast herds of buffalo that once thundered across the plains. From paintings of the mid-1800s, the animation camera creates a most convincing picture of the buffalo hunt, both as the Indigenous People and, disastrously, the white hunters practised it.

Ce court métrage d'animation 2D raconte l'histoire d'un monstre qui rôde dans une maison, telle une ombre insaisissable venue troubler le sommeil d'un gamin et de ses deux sœurs. Avec une terrifiante habileté, il s'infiltre tour à tour dans leurs pensées pour réveiller leurs plus grandes peurs. Pour l'adolescente, la pire crainte serait de ne pas correspondre à l'idéal de beauté véhiculé par les médias.

D'où viennent ces monstres qui nourrissent leur sentiment d'insécurité? Pourquoi exercent-ils tant de pouvoir? Conçu pour de jeunes spectateurs, ce film d'animation plein d'humour favorisera les échanges sur l'origine des angoisses suscitées par l'image corporelle. Film sans paroles.

Woolly's Gift takes youngsters step by step through the making of fabric for Annie's new dress. Students see Annie and her family shear Wooly, a mother sheep, and wash the wool. They see the wool carded, spun into yarn, dyed and woven, how leftover wool was bartered, and the daily activities of a pioneer girl.

This documentary, part of a series from the late 1960s, focuses on the contest for the continental interior. It examines the American advantages and the problems plaguing Canada internally. It also looks at the Oregon and Maine boundaries, American anti-monarchism, and a potential sign of a "transcontinental nation to come."

See also: The Friendly Fifties and the Sinister Sixties (1850–1863) and The Triumphant Union and the Canadian Confederation (1863-1867).