Ilaqutariit Inughuit qimussimik ingerlaarput Kalaallit Nunaanni sikumi isorartoorsuarmi. Ingerlaarfissualli aakkiartorpoq, qimmillu siku aserortertoq nakkarfigisarpaat, nakkarfigisarlugu Issittumi imartaq nilleqisoq.
Angalaqatigiinni utoqqartap Navaranap, akueriartuaalerpaa Issittumi inuiaat tamarmik allanngoriartornermik siornatigut aqqusaarsimanngisaannakkaminnik aqqusaarneqalersut. 1860-ikkunni Navaranap siulersua takorluuillaqqissorsuaq – angakkorsuaq Canadami Baffin Island-imeersoq, Qitdlarssuarmik atilik – angalanermut tusaamaneqaqisumut ilaavoq, naggueqatigiit Inuit Kalaallit Nunaannut ingerlaarnerannik kinguneqartumik. Tassa taassuma angakkorsuup nunassaminik ujaasinerata aakkut naggueqatigiinnerit uummaarissut, sakkunillu atortunillu ineriartortitsinerit, Navaranap siulianut nunassarsiortunut katinngaserpai. Ukiut 150-it sinnerlugit qaangiummata Navarana siulersuarmi nunaanut angalavoq, attaveqarfiginiarlugit Canadamiittut ungasissukkut illooraqqiutini.
Navaranapangalaqatigaiilaqutariitnunanisumiiffinnimarlunniassigiinngitsuneersut, ukiumoortumik piniariarlutik angalaneranni. Isiginnaarpai qanoq taakkua aatsigut naggueqatigiit Inuit, allanngorarnernut avataaneersunit sunniutaasunut, piniarnermilu ileqqutoqqanut sunniuteqartunut qimarratigisinnaanngisaminnut, assigiinngunik periuseqarlutik imminnut tulluarsartarsimanerat. Misilittakkani aallaavigalugit neriuuteqarpoq inuiaqatimi ataannarnissaanut matuersaat toqqagassanut eqqortunut ammaassisinnaasoq nassaarisinnaassallugu.
Navarana eqqarsaatersortinneqarpoq neriuuteqalersinneqarlunilu inuiaqatigiit taakkua suli imminnut ataqatigiinneraniit, minnerunngitsumillu siulersuarmi ersigisaqaratik angalasarsimasunit kingornussassaanit, ukiuni issittumi inuusut inuiaat oqaluttuarisaanerminni inuiaqatigiittut avatangiisitigullu aatsaat taama unammillerneqarnerisa nalaanni.
Click here for the Inuktitut version, Katinniq
Click here for the English version, Vanishing Point
This feature documentary tells the story of 2 Inuit communities of the circumpolar north—one on Canada’s Baffin Island, the other in Northwest Greenland—that are linked by a migration led by an intrepid shaman. Navarana, an Inughuit elder and descendant of the shaman, draws inspiration and hope from the ties that still bind the 2 communities to face the consequences of rapid social and environmental change.
Click here for the Inuktitut version, Katinniq
Click here for the Greenlandic version, Katinngat
ᕿᒧᔅᓯᖅ ᐅᓯᔪᖅ ᐃᓄᒡᕼᐅᐃᑦ ᐃᓚᒌᓂᑦ ᐃᖏᕐᕋᕗᑦ ᓯᕕᑐᔪᒃᑯᑦ ᓯᑯᒃᑯᑦ ᐊᑯᑭᑦᑐᓂᑦ. ᓯᑰᑉ ᐊᑖ ᐊᐅᑉᐸᓕᐊᑎᓪᓗᒍ --- ᕿᒻᒦᑦ ᒪᐅᕙᑉᐳᑦ ᐃᖏᕐᕋᓂᕐᒥᓂ, ᐃᒫᓚᐅᖅᐸᑦᑐᑎ. ᓇᕙᕋᓇ, ᐃᓐᓇᖅ ᐊᒻᒪᓗ ᖃᒧᑎᒥᑦ ᐃᑭᒪᔪᖅ, ᐊᖏᕈᑎᖃᖅᑯᖅ ᓂᕆᐅᓇᓐᖏᑦᑐᓂᑦ ᐊᓯᔾᔨᐸᓪᓕᐊᔪᓂᑦ ᐅᑭᐅᖅᑕᖅᑐᒥᐅᑕᓕᒫᓄᑦ ᓴᖅᑭᐅᒪᔪᓂᑦ.
1860-ᖏᓐᓂᑦ ᓇᕙᕋᓇᐅᑉ ᓯᕗᕚᖓ ᑕᑯᓐᓇᒐᖃᓲᖅ --- ᐊᖓᒃᑯᖅ ᕿᑭᖅᑖᓗᒻᒥᐅᑕᖅ, ᑲᓇᑕᒥ ᐊᑎᓕᒃ ᕿᓪᓚᖅᓱᐊᒥᑦ --- ᐃᖏᕐᕋᓚᐅᖅᓯᒪᕗᖅ ᐊᔾᔨᐅᖏᑦᑐᒃᑯᑦ ᑲᔾᔮᓇᖅᑐᒃᑯᑦ, ᓯᕗᒃᑲᑕᖅᑐᓂ ᐃᓅᖃᑎᖏᓐᓂᑦ ᐊᑯᑭᑦᑐᓕᐊᖅᑐᑎ. ᑖᔅᓱᒪ ᐊᖓᒃᑰᑉ ᐃᓚᒌᓕᖅᑐᑎ ᑭᖑᕚᖃᓕᖅᑐᓂ ᓇᕙᕋᓇᒃᑯᓐᓂᑦ ᑐᓴᖃᑦᑕᐅᑎᓕᕆᓂᒃᑯᓪᓗ ᐊᒻᒪᐃᓪᓗᓂ. ᐊᕐᕌᒍᐃᑦ 150 ᐅᖓᑖᓄᑦ, ᓇᕙᕋᓇ ᕿᓪᓚᖅᓱᐊᑉ ᐃᖏᕐᕋᕕᒥᓂᖓᓂᑦ ᑐᔾᔭᐃᓯᒪᕗᖅ ᐅᑎᒧᖔᖅ ᑲᓇᑕᒧᑦ ᐊᒻᒪᓗ ᐳᓚᕋᓕᖅᑐᓂ ᑲᓇᑕᒥᐅᑕᓄᑦ ᐃᓪᓗᒃᑯᖏᓐᓄᑦ.
ᓇᕙᕋᓇ ᐃᓚᒥᓂ ᐃᓚᖃᖅᑐᓂ ᑕᒪᒃᑮᓂᑦ ᐊᑯᑭᑦᑐᕐᒥᐅᓂᑦ ᑲᓇᑕᒥᐅᓂᓪᓗ ᐊᕐᕌᒍᑕᒫᖅᓯᐅᑎᖏᓐᓂᑦ ᐊᓯᕙᖃᑎᖃᖅᑯᖅ. ᑕᑯᔭᖃᖅᑯᕐᓗ ᐊᔾᔨᒌᓐᖏᓐᓂᖏᓐᓂᑦ ᐊᑦᑐᖅᑕᐅᓯᒪᓂᖏᑦ ᓯᓚᑎᒥᓄᑦ ᐊᒻᒪᓗ ᕿᒪᐃᓐᓇᕋᔅᓴᐅᖏᑦᑐᓂᑦ ᐊᓯᔾᔨᖅᑐᓂᑦ ᐊᓯᕙᕐᓂᕆᕙᑦᑕᖏᑕ ᐱᔾᔪᓯᖏᓐᓄᑦ. ᐊᑐᖅᓯᒪᔭᖏᑎᒍᑦ, ᓇᕙᕋᓇ ᓂᕆᐅᑉᐳᖅ ᓇᓗᓇᐃᔭᖅᓯᒪᑦᑎᐊᖅᑐᓂ ᐊᒻᒪᓗ ᐱᓪᓗᐊᑕᓂᑦ ᓱᓕᔪᓂᑦ ᓴᖅᑮᔪᒫᖅᑐᑦ ᐃᓱᒪᓕᐅᕈᑎᑦᑎᐊᕙᐅᓗᓯ ᐊᓐᓇᐅᒪᓂᒃᑯᑦ.
ᖁᕕᐊᓲᑎᖃᖅᑯᖅ ᑖᒃᑯᐊ ᓄᓇᓖᒃ ᑲᓲᑎᕙᓐᓂᖏᓐᓄᒃ, ᓇᕙᕋᓇ ᐱᔪᓐᓇᓂᕐᒥᑦ ᓂᕆᐅᓐᓂᖃᕐᓂᒥᓪᓗ ᒪᑭᒪᔾᔪᑎᖃᖅᐸᑉᐳᖅ ᓯᕗᕚᖏᑕ ᐆᒻᒪᔾᔭᕆᓚᐅᕐᓂᖏᓐᓄᑦ ᐅᓪᓗᒥᐅᓕᖅᑐᖅ ᓯᓚᕐᔪᐊᕐᒥᑦ ᐅᑭᐅᖅᑕᖅᑐᒥᑦ ᐃᓄᐃᑦ ᐅᓇᒻᒥᓇᖅᑐᓂᑦ ᐊᑐᖅᑕᒥᒍᑦ ᐃᓅᖃᑎᒌᓐᓂᒃᑯᑦ ᐊᒻᒪᓗ ᐊᕙᑎᓕᕆᓂᒃᑯᑦ.
Click here for the English version
Click here for the Greenlandic version, Katinngat
This animated short tells the story of a ferocious polar bear turned to stone by an Inuk shaman. The tale is based on emerging filmmaker Echo Henoche's favourite legend, as told to her by her grandfather in her home community of Nain, Nunatsiavut, on Labrador's North Coast. Hand-drawn and painted by Henoche in a style all her own, Shaman is the first collaboration between the Labrador artist and the NFB.
This documentary looks at the hazards of uranium mining in Canada. Toxic and radioactive waste pose environmental threats while the traditional economic and spiritual lives of the Indigenous people who occupy this land have been violated. Given our limited knowledge of the associated risks, this film questions the validity of continuing the mining operations.
This short film from the Canada Vignettes series chronicles the history of Labrador's Inuit and the role of the Moravian missionaries.
Please note that this is an archival film that makes use of the word “Eskimo,” an outdated and offensive term. While the origin of the word is a matter of some contention, it is no longer used in Canada. The term was formally rejected by the Inuit Circumpolar Council in 1980 and has subsequently not been in use at the NFB for decades. This film is therefore a time-capsule of a bygone era, presented in its original version. The NFB apologizes for the offence caused.
Dancing Around the Table: Part One provides a fascinating look at the crucial role Indigenous people played in shaping the Canadian Constitution. The 1984 Federal Provincial Conference of First Ministers on Aboriginal Constitutional Matters was a tumultuous and antagonistic process that pitted Prime Minister Pierre Elliot Trudeau and the First Ministers—who refused to include Indigenous inherent rights to self-government in the Constitution—against First Nations, Inuit and Métis leaders, who would not back down from this historic opportunity to enshrine Indigenous rights.In a now infamous exchange, Kwakwaka’wakw lawyer and lead negotiator Bill Wilson states that he has two children who want to become lawyers and prime minister. When he says that they are Indigenous women, the male audience bursts into laughter, and Trudeau replies, “Tell them I’ll stick around until they’re ready.” Over 30 years later, Bill Wilson’s daughter, Jody Wilson-Raybould, became Canada’s first Indigenous minister of justice and attorney general in the government of Prime Minister Justin Trudeau. The conference was Pierre Elliott Trudeau’s last constitutional meeting before he resigned and the process was handed over to his successor, Brian Mulroney.
This short documentary serves as a quiet elegy for a way of life, which exists now only in the memories of those who experienced it. Bonnie Ammaaq and her family remember it vividly. When Bonnie was a little girl, her parents packed up their essentials, bundled her and her younger brother onto a long, fur-lined sled and left the government-manufactured community of Igloolik to live off the land, as had generations of Inuit before them.
In this short film, Inuk artist Asinnajaq plunges us into a sublime imaginary universe—14 minutes of luminescent, archive-inspired cinema that recast the present, past and future of her people in a radiant new light.Diving into the NFB’s vast archive, she parses the complicated cinematic representation of the Inuit, harvesting fleeting truths and fortuitous accidents from a range of sources—newsreels, propaganda, ethnographic docs, and work by Indigenous filmmakers. Embedding historic footage into original animation, she conjures up a vision of hope and beautiful possibility.
Dancing Around the Table: Part Two charts the battle to enshrine Indigenous rights in the Canadian Constitution, capturing a key moment in Canada’s history from the perspective of Indigenous negotiators. The 1985 conference, chaired by Prime Minister Brian Mulroney, was the fourth and final meeting to determine an amendment to Indigenous rights as defined in the Constitution. The provincial premiers again refuse to reach an agreement with the First Nations, Metis and Inuit leaders, even though the majority of Canadians supported the inclusion of Indigenous rights to self-government.Director Bulbulian captures the pride and determination of Indigenous leaders and community members who refuse to back down on this historic opportunity to enshrine their rights, and the arrogance of the First Ministers who are fighting to keep power within the federal and provincial governments. The film takes us to Indigenous communities, where ceremony and traditional practices affirm the connection to the earth and its animals, and are the source of the strength and resilience shown by the Indigenous people around the table.
This feature documentary introduces us to the Copper Inuit of the Coronation Gulf region of Canada's Northwest Territories, one of the last aboriginal groups to be contacted by people from outside. When Doctor R.D. Martin arrived in Coppermine in 1929, he had to deal with one of the consequences of that contact: a full-blown tuberculosis epidemic.
This short documentary studies life in the village of Kangirsujuaq, Nunavik. In this community on the edge of the Arctic Ocean, children’s laughter fills the streets while the old people ponder the passage of time. They are nomads of the wide-open spaces who are trying to get used to the strange feeling of staying put. While the teenagers lap up Southern culture and play golf on the tundra to kill time, the Elders are slowly dying, as their entire culture seems to fade away.
Elisapie Isaac, a filmmaker born in Nunavik, decides to return to her roots on this breathtaking land. To bridge the growing gap between the young and the old, she speaks to her grandfather, now deceased, and confides in him her hopes and fears. Grappling with isolation, family relationships, resource extraction, land-based knowledges, the influence of Southern culture and the ongoing impacts of colonialism on Inuit ways of life, Elisapie Isaac offers a nuanced portrait of the North.
Ages 12 to 18
Geography - Human Geography
Geography - The Arctic
Indigenous Studies - Identity/Society
Media Education - Documentary Film
Vanishing Point emphasizes how important ancestry is to personal identity, and how family history and culture are intertwined. How are the journeys of Qitdlarssuaq and Navarana intertwined? “More and more, life runs on gasoline and sugar” (36:00): discuss how this quote, and the grocery store clip that follows, highlight the tension between maintaining tradition and modernization. Vanishing Point is considered “cinéma vérité”: what are the qualities of this filmmaking technique and how is it an appropriate description for this film?