Katinniq

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

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 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.

This short documentary is a portrait of Andrew Qappik, a world-renowned Inuit printmaker from Pangnirtung, Nunavut. Originally inspired by images in the comic books he read as a child, Andrew now finds his subjects in the stories, traditions and day-to-day events of his world.

In I Can Make Art Like Andrew Qappik, he captivates his student audience by creating a soapstone relief print before their very eyes. Then it's the kids' turn. They explore Andrew's symbolic imagery - and their own - as they each create a self-portrait relief point.

During the short Arctic summer on Baffin Island, the native Inuit enjoys four months of continuous daylight. But it is no time for relaxation, for provision must be made for the long, cold winter night ahead. In this film Idlouk, an Inuit hunter, tells of his life in this northern land. We watch as he stalks the seal so vital to his existence, and as he and other hunters set out in kayaks to harpoon the white whale and the narwhal. At camp we meet his wife, children and aged parents, each of whom has work to do in the unceasing struggle for survival in this harsh land.

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.

This documentary pokes fun at the ways in which Inuit people have been treated as “exotic” documentary subjects by turning the lens onto the strange behaviours of Qallunaat (the Inuit word for white people). The term refers less to skin colour than to a certain state of mind: Qallunaat greet each other with inane salutations, repress natural bodily functions, complain about being cold, and want to dominate the world. Their odd dating habits, unsuccessful attempts at Arctic exploration, overbearing bureaucrats and police, and obsession with owning property are curious indeed.

A collaboration between filmmaker Mark Sandiford and Inuit writer and satirist Zebedee Nungak, Qallunaat! brings the documentary form to an unexpected place in which oppression, history, and comedy collide.

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.

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.

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.