This short documentary offers an intimate portrait of Augusta Evans, an 88-year-old Secwépmec woman who has spent her life in the hills of the Williams Lake area of British Columbia, where she lives alone in a log cabin without running water or electricity. Born the daughter of a Chief, Augusta was forced to attend residential school and lost her treaty status when she wed her non-Indigenous husband. After seeing a woman lose her life in childbirth, Augusta taught herself midwifery from a book and delivered many babies, including her own daughter, whom she birthed alone in her cabin. Having lived through many losses and now surviving on a $250 monthly pension that barely covers wood and groceries, Augusta is a cherished member of her community, where she shares her knowledge and songs, and laments that the young people are not learning their language.
Set in the dramatic and alluring landscape of the north, Arctic Defenders tells the remarkable story that began in1968 with a radical Inuit movement that changed the political landscape forever. It lead to the largest land claim in western civilization, orchestrated by young visionary Inuit with a dream - the governance of their territory - the creation of Nunavut. The story reveals Canada’s misguided attempts at sovereignty in the north and finds hope and inspiration from determined people who changed the rules of the game.
The NFB and its community partner, the Ottawa-Carleton District School Board, present a Virtual Classroom with acclaimed documentary filmmaker and social activist Alanis Obomsawin and community activists Gabrielle Fayant and Brock Lewis. Recorded live at the OCDSB’s Aboriginal Learning Center, and moderated by CBC journalist and author Waubgeshig Rice, the event focusses on the topic of social justice in Indigenous communities and the positive shifts brought about by Indigenous youth. The panellists come together to talk about the hot-button social issues that young people in Indigenous communities are facing, with an emphasis on the various ways in which these youth are working to overcome these challenges.
This short documentary depicts the formation in 1959 of the first successful co-operative in an Inuit community in Northern Québec. The film describes how, with other Inuit of the George River community, the Annanacks formed a joint venture that included a sawmill, a fish-freezing plant and a small boat-building industry.
This short documentary depicts the formation in 1959 of the first successful co-operative in an Inuit community in Northern Québec. The film describes how, with other Inuit of the George River community, the Annanacks formed a joint venture that included a sawmill, a fish-freezing plant and a small boat-building industry.
In her award-winning documentary, director Alethea Arnaquq-Baril joins a new tech-savvy generation of Inuit as they campaign to challenge long-established perceptions of seal hunting. Armed with social media and their own sense of humour and justice, this group is bringing its own voice into the conversation and presenting themselves to the world as a modern people in dire need of a sustainable economy.
Filmed on the great Mackenzie River, this short fiction film recreates the amazing voyage of the man who gave his name to it. Following the path outlined in Mackenzie's journal, the film depicts his arduous journey by canoe all the way to the salt water of the Arctic Ocean - one of the great epics of northern exploration.
From father to son, the Poucachiche family goes out hunting beaver, one of the traditional activities that mark the seasons for the Algonquin of Lac Simon. Since 2004, the travelling studios of Wapikoni Mobile have enabled Quebec First Nations youth to express themselves through videos and music. This short film was made in 2008.
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.
This documentary short is an introduction to the Bella Bella (Heiltsuk) of Campbell Island, 500 km North of Vancouver on the Pacific Coast. Since the coming of settlers, these fishing people have watched their ancient Heiltsuk culture and their independence all but disappear. Today, in an energetic attempt to become self-sufficient, they are regaining both - successfully combining economic development with cultural revival.
We hear the Heiltsuk language spoken in the film (Haíɫzaqvḷa).
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 very short film from the Canada Vignettes series documents the annual pilgrimage that members of Saskatchewan’s Métis Catholic community make to St. Laurent, a village in the Duck Lake area that became the Métis nation’s spiritual centre at the time of the 1885 Northwest Rebellion.
This short documentary by Colin Low is an invitation to a gathering of the Káínaa of Alberta - as the Sun Dance is captured on film for the first time. The film shows how the theme of the circle reflects the bands' connection to wildlife and also addresses the predicament of the young generation, those who have relinquished their ties with their own culture but have not yet found a firm place in a changing world.
An introduction to four Indigenous painters whose work in recent years has stirred interest in Canada and abroad. Despite the artists' differing styles and origins, their canvases reflect their common heritage. The guide in the film is Tom Hill, a Seneca man who knows art and the Indigenous tradition and encourages his subjects to talk about their own origins and objectives. The painters are Norval Morrisseau, Allen Sapp, Alex Janvier, and Daphne Odjig.
An NFB crew filmed a group of three families, Cree hunters from Mistassini. Since times predating agriculture, this First Nations people have gone to the bush of the James Bay and Ungava Bay area to hunt. We see the building of the winter camp, the hunting and the rhythms of Cree family life.
This animated short illustrates how at one time horses provided man with unprecedented mobility and how the arrival of the iron horse brought this era to an end.
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.
Danny Williams was the charismatic and unflinching Premier of Newfoundland and Labrador from 2003 to 2010. By the time he left office, he had become the most popular—and controversial—Canadian politician of his era.
Laced with humour and revealing back-room anecdotes, Danny is the story of how Williams turned a “have not” into a “have” province. Known as a fighter, Williams famously took on prime ministers and Big Oil to ensure that benefits from the province’s abundant natural resources flowed back to its people. His mantra “no more giveaways” was key to his unprecedented popularity, but pride in his province made Williams a hero to its people.
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.
Animated drawings illustrate the life and explorations of Samuel de Champlain, founder of Québec City. The film follows Champlain from his first ambitions to map the New World and discover a passage to the sea, to his later dreams for New France.
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 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.
The yellowed pages of a travel journal, a letter unearthed by chance, photographs recovered from a company's dusty archives: These are but a few of the scattered materials used to reconstruct the fascinating and little known adventure of Revillon Brothers, a Parisian merchant of elegant furs, who came to Canada at the turn of the century to enter into the fur trade. But the adventure comes to an end in 1936 when Revillon's great rival, the Hudson's Bay Company, buys out the French company. Victorious, the Hudson's Bay Company, is the only of the two to be remembered in the history books. In between the words of the few remaining witnesses to a lost history, in the memories of descendants of employees and in specialists' passion for the fragments recovered, a world long thought vanished is recreated in front of our eyes. In French with English subtitles.
The Elders of Shoal Lake 40 prepare a feast as part of their annual Fall Harvest, where they share traditional knowledge and teachings with the people of the community. As they prepare bannock, fish and meat, they plaintively recount traumatic experiences from their childhoods, including being hidden from residential school and remembering those who lost or risked their lives trying to cross the ice. When the Elders talk about their responsibility in caring for community members and passing their knowledge on to the next generation, they illuminate the powerful source of the community’s continued endurance and strength.
Shoal Lake 40 women talk about their struggles, and those of their parents and grandparents, in trying to raise their families in a hazardous state of enforced isolation. Everyone in the community has a harrowing story of a loved one falling through the ice while trying to get across the lake, with pregnant women and new mothers fearing for their babies and having no choice but to make the trek in dangerous conditions. The film shows the key role of the community’s women in demanding funding for the road from three levels of government, and how their reconnection to culture and ceremony give them the strength to keep going.
This story begins over a century ago, when the City of Winnipeg decides that the water surrounding the traditional Anishinaabe territory of what is now Shoal Lake 40 First Nation will be diverted and used as Winnipeg’s primary water source. The community, their ancient burial grounds, environment, and ways of life are forever disrupted, and access to opportunities and essential services are severed. Enforced residential schooling and a tainted water supply compound the devastating impact. Community leader and former combat engineer Daryl Redsky sheds light on how generations of complex planning, cultural preservation and mobilization have led us to the current moment—and to the construction of Freedom Road.
Shoal Lake 40 youth share what it’s like to be forced to live away from their close-knit families and community to attend high school in Kenora, Ontario. The community’s school provides courses up to the Grade 8 level only, so there are no other options for young people who want to continue their education. Some of the young men are able to work on the construction of the road, a rare opportunity to have a good job in the community. The pride of the youth in doing this work is palpable, and they express the gratification that comes with providing safety for their Elders and opportunities for future generations. Despite the systemic and personal racism they’ve already experienced, Freedom Road gives the youth a sense of optimism and instills hope in them for the future of their community and their own ability to contribute.
The men of Shoal Lake 40 tell the story of life in the community from their perspective, in the lead-up to their annual powwow. Lorne Redsky works the outdated pump house; there is no money to fix basic systems and bottled water is required for everyday use. As Lorne focuses his energy on the monumental task of getting clean water to the powwow, community member Kavin Redsky prepares his regalia for dancing, a deeply personal process connected to his healing journey. The two men embody the powerful gifts of community, traditional culture, and medicines, which have given the people of Shoal Lake 40 the resilience to continue the fight for Freedom Road
This short documentary by celebrated filmmaker Alanis Obomsawin is a portrait of Eugene "Gene Boy" (pronounced Genie Boy) Benedict, from Odanak Indian Reserve (near Montreal, Quebec). At 17, he enlisted in the US Marines and was sent to the frontlines of the Vietnam War. This film is the account of his 2 years of service and his long journey back to Odanak afterwards.
This animated short tells the story of Edouard Beaupré, a.k.a. the Willow Bunch Giant. At 2.5 m (8’ 3”), he was the tallest Canadian in history. Born in 1881 in a small Métis community south of Moose Jaw, Saskatchewan, his life was tragically cut short in 1904 while he was “on display” at the St. Louis World’s Fair.