Naissance d'une famille

In this deeply moving feature-length documentary, three sisters and a brother meet for the first time. Removed from their young Dene mother during the infamous Sixties Scoop, they were separated as infants and adopted into families across North America.

Betty Ann, Esther, Rosalie, and Ben were only four of the 20,000 Indigenous Canadian children taken from their families between 1955 and 1985, to be either adopted into white families or live in foster care. As the four siblings piece together their shared history, their connection deepens, and their family begins to take shape.

On August 9, 2016, a young Cree man named Colten Boushie died from a gunshot to the back of his head after entering Gerald Stanley’s rural property with his friends. The jury’s subsequent acquittal of Stanley captured international attention, raising questions about racism embedded within Canada’s legal system and propelling Colten’s family to national and international stages in their pursuit of justice. Sensitively directed by Tasha Hubbard, nîpawistamâsowin: We Will Stand Up weaves a profound narrative encompassing the filmmaker’s own adoption, the stark history of colonialism on the Prairies, and a vision of a future where Indigenous children can live safely on their homelands.

Released in 1969, These Are My People… was the first NFB film made entirely by an Indigenous crew. It was co-directed by Roy Daniels, Willie Dunn, Michael Kanentakeron Mitchell and Barbara Wilson—members of the Indian Film Crew (IFC), an all-Indigenous unit established in 1968 as part of Challenge for Change, a broader organizational initiative to use media to effect social change. One of the first Canadian documentaries to foreground an Indigenous perspective on the history of Indigenous–settler relations, it features Standing Arrow and Tom Porter, from the Kanien’kéhaka (Mohawk) community of Akwesasne, who discuss longhouse religion, culture, government and the impacts of settler arrival on their way of life.

ohpahowi-pīsimohk kēkā-mitātaht ēhakimiht, nēhiyāsis ēhisiyihkāsot Colten Boushie ēkīnipahiht ēpāskisoht nāway ostikwānihk ēkīsipihtokwēpayicik Gerald Stanley otaskīm wiya asci owīcēwākana. owiyasiwēwak kāwīyasiwātahkik ēwako itwēwak namoya ēmāyinikēt Stanley pikwihtē askiy pēhtācikātēw, kakwēcihikēmonāniwiw iyikohk pakwāsiwēwin ēhitakohk anita kanāta wiyasiwēwinihk ēkwa Colten opēyakohēmāwa ōta askiy ēkwa misiwihtē askiy nīpawistamwak kwayask kapaminikawiyak wiyasiwēwinihk isi. kwayask nansihkāc atoskātam Tasha Hubbard, nīpawistamāsowin: We Will Stand Up ita ēhācimot kākīhotiniht, pēhci-nāway ēwako ōma opaminikēwin ōta kāpaskwāk, ēkwa tān’si ōte nīkān kēsi miyopimātisicik iyiniwawāsisak ōta ēnehiyawāstēk.

māyitōtamowin wāpahcikātēw ōta cikāscēpayis. kwēyāci kiwihtamākawin ēwako pāmayēs kakanawāpahtaman ōma.

Richard Cardinal died by his own hand at the age of 17, having spent most of his life in a string of foster homes and shelters across Alberta. In this short documentary, Abenaki director Alanis Obomsawin weaves excerpts from Richard’s diary into a powerful tribute to his short life. Released in 1984—decades before the Truth and Reconciliation Commission—the film exposed the systemic neglect and mistreatment of Indigenous children in Canada’s child welfare system. Winner of the Best Documentary Award at the 1986 American Indian Film Festival, the film screened at New York’s Museum of Modern Art in 2008 as part of an Obomsawin retrospective, and continues to be shown around the world.

This documentary is an inquiry into what came to be known as Saskatoon's infamous "freezing deaths," and the schism between a fearful, mistrustful Indigenous community and a police force harbouring a harrowing secret.

One frigid night in January 2000 Darrell Night, an Indigenous man was dumped by two police officers in -20° C temperatures in a barren field on the city outskirts. He survives the ordeal but is stunned to hear that the frozen body of another Indigenous man was discovered in the same area. Days later, another victim, also Native, is found. When Night comes forward with his story, he sets into motion a chain of events: a major RCMP investigation into several suspicious deaths, the conviction of the two constables who abandoned him and the reopening of an old case, leading to a judicial inquiry.

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.

Mary Two-Axe Earley: I Am Indian Again shares the powerful story of Mary Two-Axe Earley, who fought for more than two decades to challenge sex discrimination against First Nations women embedded in Canada’s Indian Act and became a key figure in Canada’s women’s rights movement.

Using never-before-seen archival footage and audio recordings, Mohawk filmmaker Courtney Montour engages in a deeply personal conversation with the late Mohawk woman who challenged sexist and genocidal government policies that stripped First Nations women and children of their Indian status when they married non-Indian men.

Montour speaks with Cree activist Nellie Carlson, Mary’s lifelong friend and co-founder of Indian Rights for Indian Women, and meets with three generations in Mary’s kitchen in Kahnawà:ke to honour the legacy of a woman who galvanized a national network of allies to help restore Indian status to thousands of First Nations women and children.

Mary Two-Axe Earley: Skonkwehón:we Á:re kaká:raton ne Mary Two-Axe Earley akoká:ra, ísi’ nón: ne teiohseráhsen iakohskehnhà:’on taié:tahste’ tsi shakotikenhrón:nis konnonkwehón:we né:ne í:kare’ Kakoráhsera’ aoianerénhsera’ Indian Act nok tsi wa’ehsennowáhnha’ né: Canada’s women’s rights movement.

Né:ne iah nonwén:ton ónhka teiakotkáhthon kí:ken wateweièn:ton karahstánion nok kawennarahstánion wátston, Ienien’kehá:ka iekararáhstha’ Courtney Mountor teiotíhthare’ ne Ienien’kehá:ka iakonkwe’kénha né:ne iakohskehnhà’:on taié:tahste’ tsi shakotikenhrón:nis tsonathonwí:sen nok Kakoráhsera’ tsi nihotiianerenhserò:ten’ tsi ronte’niéntha’ ahonwanáhton’te’ nonkwehón:we. Nè:’e arihón:ni wahónhton’te’ ne onkwehón:we ahontatena’tónhkhwake’ ne konnonkwehón:we nok ronwatiien’okòn:’a tsi wahotíniake’ ne iah tehonnonkwehón:we.

Montour teiotíhthare’ Iehrhakón:ha iakorihwahskéhnhen Nellie Carlson, ne Mary akwáh ákta tsi ionátshi tánon’ iakotahsnié:nen tsi tionatáhsawe’ ne Indian Rights for Indian Women, nok áhsen nikahwatsiratátie’ tehonatátken ne Mary tsi iekhonnià:tha’ ne Kahnawà:ke, né: ká:ti’ ahshakotihsennakará:tate’ ní:kon iakoterihwakanonnì:’on tsi tiakotenenhratáhsawe’ aontahontén:rohwe’ akaia’takehnhahtsherénhawe’ aonsonteríhsi’ tsi rotirihón:ni ne tóhsa ahontatena’tónhkhwake’ onkwehón:we ne ioshentsheró:ton nihá:ti konnonkwehón:we nok ronwatiien’okòn:’a.

Acclaimed Métis filmmaker Christine Welsh brings us a compelling documentary that puts a human face on a national tragedy – the epidemic of missing or murdered Indigenous women in Canada. The film takes a journey into the heart of Indigenous women's experience, from Vancouver's skid row, down the Highway of Tears in northern BC, and on to Saskatoon, where the murders and disappearances of these women remain unsolved.

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.