Scenario Writer
Director
Director
Renowned Haida artist Bill Reid shares his thoughts on artistry, activism and his deep affection for his homeland in this heartwarming tribute from Alanis Obomsawin to her friend's life, legacy and roots.
Producer
Murray Sinclair's acceptance speech for an award in honor of his role as chair of the Truth and Reconciliation Commission of Canada, intercut with the testimonies of survivors of the Indian residential school system.
Writer
Murray Sinclair's acceptance speech for an award in honor of his role as chair of the Truth and Reconciliation Commission of Canada, intercut with the testimonies of survivors of the Indian residential school system.
Director
Murray Sinclair's acceptance speech for an award in honor of his role as chair of the Truth and Reconciliation Commission of Canada, intercut with the testimonies of survivors of the Indian residential school system.
Self
Vocal Coach
After marrying a settler, Mary Two-Axe Earley lost her legal status as a First Nations woman. Dedicating her life to activism, she campaigned to have First Nations women's rights restored and coordinated a movement that continues to this day. Kahnawake filmmaker Courtney Montour honours this inspiring leader while drawing attention to contemporary injustices that remain in this era of truth and reconciliation.
Researcher
The story of a young boy forced to spend all five years of his short life in hospital while the federal and provincial governments argued over which was responsible for his care, as well as the long struggle of Indigenous activists to force the Canadian government to enforce “Jordan’s Principle” — the promise that no First Nations children would experience inequitable access to government-funded services again.
Narrator (voice)
The story of a young boy forced to spend all five years of his short life in hospital while the federal and provincial governments argued over which was responsible for his care, as well as the long struggle of Indigenous activists to force the Canadian government to enforce “Jordan’s Principle” — the promise that no First Nations children would experience inequitable access to government-funded services again.
Producer
The story of a young boy forced to spend all five years of his short life in hospital while the federal and provincial governments argued over which was responsible for his care, as well as the long struggle of Indigenous activists to force the Canadian government to enforce “Jordan’s Principle” — the promise that no First Nations children would experience inequitable access to government-funded services again.
Writer
The story of a young boy forced to spend all five years of his short life in hospital while the federal and provincial governments argued over which was responsible for his care, as well as the long struggle of Indigenous activists to force the Canadian government to enforce “Jordan’s Principle” — the promise that no First Nations children would experience inequitable access to government-funded services again.
Director
The story of a young boy forced to spend all five years of his short life in hospital while the federal and provincial governments argued over which was responsible for his care, as well as the long struggle of Indigenous activists to force the Canadian government to enforce “Jordan’s Principle” — the promise that no First Nations children would experience inequitable access to government-funded services again.
Self
Na década de 1970, Merata Mita (1942-2010) rompeu barreiras de raça, classe e gênero para se tornar a primeira mulher maori a escrever e dirigir um longa-metragem. Ela se tornou uma das cineastas mais conhecidas da Nova Zelândia e uma voz poderosa para os povos indígenas de todo o mundo. Neste filme, o filho mais novo de Merata, Hepi, cria um retrato íntimo de sua falecida mãe. Com base em imagens do trabalho da diretora, bem como em entrevistas com ela antes de pegar uma câmera, Hepi captura Merata como cineasta, mãe, esposa e mentora.
Quebec, on the cusp of the 1960s. The province is on the brink of momentous change. Deftly selecting clips from nearly 200 films from the National Film Board of Canada archives, director Luc Bourdon reinterprets the historical record, offering us a new and distinctive perspective on the Quiet Revolution.
Narrator (voice)
The Nishiyuu walkers made the trek from Whapmagoostui in Quebec to Ottawa, a 1,600-kilometre journey whose roots date back millennia. At the heart of legendary director Alanis Obomsawin’s latest short documentary, her 51st film in 50 years of filmmaking, is the idea of walking as activism, as well as a symbol of decolonization and an embrace of the traditional.
Producer
The Nishiyuu walkers made the trek from Whapmagoostui in Quebec to Ottawa, a 1,600-kilometre journey whose roots date back millennia. At the heart of legendary director Alanis Obomsawin’s latest short documentary, her 51st film in 50 years of filmmaking, is the idea of walking as activism, as well as a symbol of decolonization and an embrace of the traditional.
Director
The Nishiyuu walkers made the trek from Whapmagoostui in Quebec to Ottawa, a 1,600-kilometre journey whose roots date back millennia. At the heart of legendary director Alanis Obomsawin’s latest short documentary, her 51st film in 50 years of filmmaking, is the idea of walking as activism, as well as a symbol of decolonization and an embrace of the traditional.
Director
Legendary documentary filmmaker Alanis Obomsawin provides a glimpse of what action-driven decolonization looks like in Norway House, one of Manitoba's largest First Nation communities.
Director
The new film from celebrated documentarian Alanis Obomsawin (Kanehsatake: 270 Years of Resistance) chronicles the events following the filing of a human-rights complaint by a group of activists, which charged that the federal government's woefully inadequate funding of services for Indigenous children constituted a discriminatory practice.
Director
Legendary Canadian documentarian Alanis Obomsawin digs into the tangled history of Treaty 9 — the infamous 1905 agreement wherein First Nations communities relinquished sovereignty over their traditional territories — to reveal the deceptions and distortions which the document has been subjected to by successive governments seeking to deprive Canada’s First Peoples of their lands.
Self
Alanis Obomsawin talks about how she got her start at the NFB and the overarching importance of sound/story in her work.
Writer
Alanis Obomsawin tells the story of Shannen’s Dream, a national campaign to provide equitable access to education for First Nations children, in safe and suitable schools. She brings together the voices of those who have successfully brought the Dream all the way to the United Nations in Geneva.
Director
Alanis Obomsawin tells the story of Shannen’s Dream, a national campaign to provide equitable access to education for First Nations children, in safe and suitable schools. She brings together the voices of those who have successfully brought the Dream all the way to the United Nations in Geneva.
Narrator
Mohawk Chief John Norton and 80 Grand River warriors hold off American soldiers until reinforcements arrive and the Battle of Queenston Heights is won (1812).
Writer
Alanis Obomsawin’s documentary The People of the Kattawapiskak River exposes the housing crisis faced by 1,700 Cree in Northern Ontario, a situation that led Attawapiskat’s band chief, Theresa Spence, to ask the Canadian Red Cross for help. With the Idle No More movement making front page headlines, this film provides background and context for one aspect of the growing crisis.
Director
Alanis Obomsawin’s documentary The People of the Kattawapiskak River exposes the housing crisis faced by 1,700 Cree in Northern Ontario, a situation that led Attawapiskat’s band chief, Theresa Spence, to ask the Canadian Red Cross for help. With the Idle No More movement making front page headlines, this film provides background and context for one aspect of the growing crisis.
Producer
Amid a severe housing crisis that made international headlines in 2011, the federal government imposed third-party management on the Attawapiskat First Nation. In response, the First Nation’s leadership filed a challenge in federal court, claiming the appointment was unreasonable, contrary to law and harmful to community members. Alanis Obomsawin documents the remarkable judicial review that ensued in April 2012 in this companion work to her feature documentary The People of the Kattawapiskak River.
Writer
Amid a severe housing crisis that made international headlines in 2011, the federal government imposed third-party management on the Attawapiskat First Nation. In response, the First Nation’s leadership filed a challenge in federal court, claiming the appointment was unreasonable, contrary to law and harmful to community members. Alanis Obomsawin documents the remarkable judicial review that ensued in April 2012 in this companion work to her feature documentary The People of the Kattawapiskak River.
Director
Amid a severe housing crisis that made international headlines in 2011, the federal government imposed third-party management on the Attawapiskat First Nation. In response, the First Nation’s leadership filed a challenge in federal court, claiming the appointment was unreasonable, contrary to law and harmful to community members. Alanis Obomsawin documents the remarkable judicial review that ensued in April 2012 in this companion work to her feature documentary The People of the Kattawapiskak River.
Producer
Six months following the events of her documentary The People of the Kattawapiskak River, Alanis Obomsawin returns to the Cree community of Attawapiskat in northern Ontario, whose severe housing crisis in 2011 made international headlines. While the public outcry resulted in some short-term relief for the most in need, Obomsawin reveals that the crisis persists in the isolated First Nation. Relief homes sent to the community are not equipped to deal with the harsh winter, as overcrowding and homelessness remain daily realities. Despite their ordeals, the residents of Attawapiskat remain strong, united in love and a belief that a better future must be achieved.
Writer
Six months following the events of her documentary The People of the Kattawapiskak River, Alanis Obomsawin returns to the Cree community of Attawapiskat in northern Ontario, whose severe housing crisis in 2011 made international headlines. While the public outcry resulted in some short-term relief for the most in need, Obomsawin reveals that the crisis persists in the isolated First Nation. Relief homes sent to the community are not equipped to deal with the harsh winter, as overcrowding and homelessness remain daily realities. Despite their ordeals, the residents of Attawapiskat remain strong, united in love and a belief that a better future must be achieved.
Director
Six months following the events of her documentary The People of the Kattawapiskak River, Alanis Obomsawin returns to the Cree community of Attawapiskat in northern Ontario, whose severe housing crisis in 2011 made international headlines. While the public outcry resulted in some short-term relief for the most in need, Obomsawin reveals that the crisis persists in the isolated First Nation. Relief homes sent to the community are not equipped to deal with the harsh winter, as overcrowding and homelessness remain daily realities. Despite their ordeals, the residents of Attawapiskat remain strong, united in love and a belief that a better future must be achieved.
Producer
As the only First Nations student in an all-white 1940s school, eight-year old Wato is keenly aware of the hostility towards her. She deeply misses the loving environment of the reserve she once called home, and her isolation is sharpened by her father’s serious illness. When Wato’s teacher reads from a history book describing First Nations peoples as ignorant and cruel, it aggravates her classmates’ prejudice. Shy and vulnerable Wato becomes the target of their bullying and abuse. Alone in her suffering, she finds solace and strength in the protective world of her magical dreams.
Writer
As the only First Nations student in an all-white 1940s school, eight-year old Wato is keenly aware of the hostility towards her. She deeply misses the loving environment of the reserve she once called home, and her isolation is sharpened by her father’s serious illness. When Wato’s teacher reads from a history book describing First Nations peoples as ignorant and cruel, it aggravates her classmates’ prejudice. Shy and vulnerable Wato becomes the target of their bullying and abuse. Alone in her suffering, she finds solace and strength in the protective world of her magical dreams.
Director
As the only First Nations student in an all-white 1940s school, eight-year old Wato is keenly aware of the hostility towards her. She deeply misses the loving environment of the reserve she once called home, and her isolation is sharpened by her father’s serious illness. When Wato’s teacher reads from a history book describing First Nations peoples as ignorant and cruel, it aggravates her classmates’ prejudice. Shy and vulnerable Wato becomes the target of their bullying and abuse. Alone in her suffering, she finds solace and strength in the protective world of her magical dreams.
Narrator
The story of a young Micmac girl whose name means "the light from the dawn."
Writer
This feature documentary by Alanis Obomsawin is a thoughtful tribute to Norman Cornett, a McGill University professor celebrated by scores of students appreciative of his unconventional yet powerful teaching methods who was controversially dismissed from his teaching duties in 2007.
Director
This feature documentary by Alanis Obomsawin is a thoughtful tribute to Norman Cornett, a McGill University professor celebrated by scores of students appreciative of his unconventional yet powerful teaching methods who was controversially dismissed from his teaching duties in 2007.
Herself
From cinema-verite; pioneers Albert Maysles and Joan Churchill to maverick movie makers like Errol Morris, Werner Herzog and Nick Broomfield, the world's best documentarians reflect upon the unique power of their genre. Capturing Reality explores the complex creative process that goes into making non-fiction films. Deftly charting the documentarian's journey, it poses the question: can film capture reality?
Self
Portrait of NFB filmmaker Alanis Obomsawin.
Director
A portrait of Eugene "Gene Boy" (pronounced Genie Boy) Benedict, from Odanak Indian Reserve (near Montreal, Quebec). At 17, adrift and beginning to lose his way, he accepted a dare and 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.
Producer
Having dedicated nearly four decades to chronicling the lives of Canada's First Nations, Alanis Obomsawin returns to the village where she was raised to tell her own people's history of prosperity, displacement, endurance, and revitalization.
Writer
Having dedicated nearly four decades to chronicling the lives of Canada's First Nations, Alanis Obomsawin returns to the village where she was raised to tell her own people's history of prosperity, displacement, endurance, and revitalization.
Director
Having dedicated nearly four decades to chronicling the lives of Canada's First Nations, Alanis Obomsawin returns to the village where she was raised to tell her own people's history of prosperity, displacement, endurance, and revitalization.
Writer
A young Native girl, rejected by her classmates, is comforted and counselled by the animals of the forest.
Director
A young Native girl, rejected by her classmates, is comforted and counselled by the animals of the forest.
Cinematography
In this feature documentary, Aboriginal filmmaker and artist Alanis Obomsawin chronicles the determination and tenacity of the Listuguj Mi'gmaq people to use and manage the natural resources of their traditional lands. Our Nationhood provides a contemporary perspective on the Mi'gmaq people's ongoing struggle and ultimate success, culminating in the community receiving an award for Best Managed River from the same government that had denied their traditional rights.
Writer
In this feature documentary, Aboriginal filmmaker and artist Alanis Obomsawin chronicles the determination and tenacity of the Listuguj Mi'gmaq people to use and manage the natural resources of their traditional lands. Our Nationhood provides a contemporary perspective on the Mi'gmaq people's ongoing struggle and ultimate success, culminating in the community receiving an award for Best Managed River from the same government that had denied their traditional rights.
Director
In this feature documentary, Aboriginal filmmaker and artist Alanis Obomsawin chronicles the determination and tenacity of the Listuguj Mi'gmaq people to use and manage the natural resources of their traditional lands. Our Nationhood provides a contemporary perspective on the Mi'gmaq people's ongoing struggle and ultimate success, culminating in the community receiving an award for Best Managed River from the same government that had denied their traditional rights.
Narrator (voice)
In the summer of 2000, federal fishery officers appeared to wage war on the Mi'gmaq fishermen of Burnt Church, New Brunswick. Why would officials of the Canadian government attack citizens for exercising rights that had been affirmed by the highest court in the land? Alanis Obomsawin casts her nets into history to provide a context for the events on Miramichi Bay.
Writer
In the summer of 2000, federal fishery officers appeared to wage war on the Mi'gmaq fishermen of Burnt Church, New Brunswick. Why would officials of the Canadian government attack citizens for exercising rights that had been affirmed by the highest court in the land? Alanis Obomsawin casts her nets into history to provide a context for the events on Miramichi Bay.
Director
In the summer of 2000, federal fishery officers appeared to wage war on the Mi'gmaq fishermen of Burnt Church, New Brunswick. Why would officials of the Canadian government attack citizens for exercising rights that had been affirmed by the highest court in the land? Alanis Obomsawin casts her nets into history to provide a context for the events on Miramichi Bay.
Narrator
The fourth film in Alanis Obomsawin's landmark series on the Oka crisis uses a single, shameful incident as a lens through which to examine the region's long history of prejudice and injustice against the Mohawk population.
Writer
The fourth film in Alanis Obomsawin's landmark series on the Oka crisis uses a single, shameful incident as a lens through which to examine the region's long history of prejudice and injustice against the Mohawk population.
Director
The fourth film in Alanis Obomsawin's landmark series on the Oka crisis uses a single, shameful incident as a lens through which to examine the region's long history of prejudice and injustice against the Mohawk population.
Director
This documentary by acclaimed filmmaker Alanis Obomsawin introduces us to Randy Horne, a high steel worker from the Mohawk community of Kahnawake, near Montreal. As a defender of his people's culture and traditions, he was known as "Spudwrench" during the 1990 Oka crisis. Offering a unique look behind the barricades at one man's impassioned defence of sacred territory, the film is both a portrait of Horne and the generations of daring Mohawk construction workers that have preceded him.
Producer
This documentary short by Alanis Obomsawin tells the story of Kahentiiosta, a young Kahnawake Mohawk woman arrested after the Oka Crisis' 78-day armed standoff in 1990. She was detained 4 days longer than the other women. Her crime? The prosecutor representing the Quebec government did not accept her indigenous name.
Writer
This documentary short by Alanis Obomsawin tells the story of Kahentiiosta, a young Kahnawake Mohawk woman arrested after the Oka Crisis' 78-day armed standoff in 1990. She was detained 4 days longer than the other women. Her crime? The prosecutor representing the Quebec government did not accept her indigenous name.
Director
This documentary short by Alanis Obomsawin tells the story of Kahentiiosta, a young Kahnawake Mohawk woman arrested after the Oka Crisis' 78-day armed standoff in 1990. She was detained 4 days longer than the other women. Her crime? The prosecutor representing the Quebec government did not accept her indigenous name.
Writer
In July 1990, a dispute over a proposed golf course to be built on Kanien’kéhaka (Mohawk) lands in Oka, Quebec, sets the stage for a historic confrontation that would grab international headlines and sear itself into the Canadian consciousness.
Script
In July 1990, a dispute over a proposed golf course to be built on Kanien’kéhaka (Mohawk) lands in Oka, Quebec, sets the stage for a historic confrontation that would grab international headlines and sear itself into the Canadian consciousness.
Producer
In July 1990, a dispute over a proposed golf course to be built on Kanien’kéhaka (Mohawk) lands in Oka, Quebec, sets the stage for a historic confrontation that would grab international headlines and sear itself into the Canadian consciousness.
Narrator (voice)
In July 1990, a dispute over a proposed golf course to be built on Kanien’kéhaka (Mohawk) lands in Oka, Quebec, sets the stage for a historic confrontation that would grab international headlines and sear itself into the Canadian consciousness.
Director
In July 1990, a dispute over a proposed golf course to be built on Kanien’kéhaka (Mohawk) lands in Oka, Quebec, sets the stage for a historic confrontation that would grab international headlines and sear itself into the Canadian consciousness.
Writer
Alanis Obomsawin turns her lens to Le Patro Le Prévost, a recreational centre in the Villeray quarter of Montreal. On the eve of its 80th anniversary in 1989, Le Patro is a vital focal point in the predominantly working-class neighbourhood. Beloved by the many generations who use the facilities and partake in activities daily, Le Patro encourages a strong sense of togetherness through principles of cooperation, respect and sharing. Obomsawin presents a tender portrait of a neighbourhood of diverse residents and the community centre many of them consider a second home.
Director
Walker is a young Aboriginal foster child whose only playmate is his dog. Jamie is a lonely young white boy who is afraid of dogs, and has some strange ideas about Aboriginal people. Walker ignores the racist jeering and taunting of the bigger boys and reaches out to Jamie. Together, they find friendship and understanding. Walker challenges racist attitudes toward Aboriginal people, and shows how children from different backgrounds can form friendships. This film is part of the Playing Fair series.
Producer
Alanis Obomsawin turns her lens to Le Patro Le Prévost, a recreational centre in the Villeray quarter of Montreal. On the eve of its 80th anniversary in 1989, Le Patro is a vital focal point in the predominantly working-class neighbourhood. Beloved by the many generations who use the facilities and partake in activities daily, Le Patro encourages a strong sense of togetherness through principles of cooperation, respect and sharing. Obomsawin presents a tender portrait of a neighbourhood of diverse residents and the community centre many of them consider a second home.
Script
Alanis Obomsawin turns her lens to Le Patro Le Prévost, a recreational centre in the Villeray quarter of Montreal. On the eve of its 80th anniversary in 1989, Le Patro is a vital focal point in the predominantly working-class neighbourhood. Beloved by the many generations who use the facilities and partake in activities daily, Le Patro encourages a strong sense of togetherness through principles of cooperation, respect and sharing. Obomsawin presents a tender portrait of a neighbourhood of diverse residents and the community centre many of them consider a second home.
Director
Alanis Obomsawin turns her lens to Le Patro Le Prévost, a recreational centre in the Villeray quarter of Montreal. On the eve of its 80th anniversary in 1989, Le Patro is a vital focal point in the predominantly working-class neighbourhood. Beloved by the many generations who use the facilities and partake in activities daily, Le Patro encourages a strong sense of togetherness through principles of cooperation, respect and sharing. Obomsawin presents a tender portrait of a neighbourhood of diverse residents and the community centre many of them consider a second home.
Producer
This feature-length documentary by Alanis Obomsawin examines the plight of Native people who come to Montreal searching for jobs and a better life. Often arriving without money, friends or jobs, a number of them quickly become part of the homeless population. Both dislocated from their traditional values and alienated from the rest of the population, they are torn between staying and returning home.
Script
This feature-length documentary by Alanis Obomsawin examines the plight of Native people who come to Montreal searching for jobs and a better life. Often arriving without money, friends or jobs, a number of them quickly become part of the homeless population. Both dislocated from their traditional values and alienated from the rest of the population, they are torn between staying and returning home.
Director
This feature-length documentary by Alanis Obomsawin examines the plight of Native people who come to Montreal searching for jobs and a better life. Often arriving without money, friends or jobs, a number of them quickly become part of the homeless population. Both dislocated from their traditional values and alienated from the rest of the population, they are torn between staying and returning home.
Producer
This short documentary by Alanis Obomsawin takes us to Poundmaker's Lodge, a treatment centre in St. Albert, Alberta, that welcomes Native people troubled by addiction to drugs and alcohol. Named after a 19th-century Native leader, the centre offers a space where Natives can come together for mutual support, partake in healing rituals like the sweat lodge, and rediscover their traditions. The film shows the despair of a people dispossessed of land, culture, language and dignity, and their strength and courage in overcoming substance abuse.
Writer
This short documentary by Alanis Obomsawin takes us to Poundmaker's Lodge, a treatment centre in St. Albert, Alberta, that welcomes Native people troubled by addiction to drugs and alcohol. Named after a 19th-century Native leader, the centre offers a space where Natives can come together for mutual support, partake in healing rituals like the sweat lodge, and rediscover their traditions. The film shows the despair of a people dispossessed of land, culture, language and dignity, and their strength and courage in overcoming substance abuse.
Director
This short documentary by Alanis Obomsawin takes us to Poundmaker's Lodge, a treatment centre in St. Albert, Alberta, that welcomes Native people troubled by addiction to drugs and alcohol. Named after a 19th-century Native leader, the centre offers a space where Natives can come together for mutual support, partake in healing rituals like the sweat lodge, and rediscover their traditions. The film shows the despair of a people dispossessed of land, culture, language and dignity, and their strength and courage in overcoming substance abuse.
Writer
This short documentary is a moving tribute to Richard Cardinal, a Métis adolescent who committed suicide in 1984. Taken from his home at the age of 4 due to family problems, he spent the rest of his 17 short years moving in and out of 28 foster homes, group homes and shelters in Alberta. A sensitive, articulate young man, Richard Cardinal left behind a diary upon which this film is based.
Director
This short documentary is a moving tribute to Richard Cardinal, a Métis adolescent who committed suicide in 1984. Taken from his home at the age of 4 due to family problems, he spent the rest of his 17 short years moving in and out of 28 foster homes, group homes and shelters in Alberta. A sensitive, articulate young man, Richard Cardinal left behind a diary upon which this film is based.
Narrator
Incident at Restigouche is a 1984 documentary film by Alanis Obomsawin, chronicling a series of two raids on the Listuguj Mi'gmaq First Nation (Restigouche) by the Sûreté du Québec in 1981, as part of the efforts of the Quebec government to impose new restrictions on Native salmon fishermen. Incident at Restigouche delves into the history behind the Quebec Provincial Police (QPP) raids on the Restigouche Reserve on June 11 and 20, 1981. The Quebec government had decided to restrict fishing, resulting in anger among the Micmac Indians as salmon was traditionally an important source of food and income. Using a combination of documents, news clips, photographs and interviews, this powerful film provides an in-depth investigation into the history-making raids that put justice on trial.
Producer
Incident at Restigouche is a 1984 documentary film by Alanis Obomsawin, chronicling a series of two raids on the Listuguj Mi'gmaq First Nation (Restigouche) by the Sûreté du Québec in 1981, as part of the efforts of the Quebec government to impose new restrictions on Native salmon fishermen. Incident at Restigouche delves into the history behind the Quebec Provincial Police (QPP) raids on the Restigouche Reserve on June 11 and 20, 1981. The Quebec government had decided to restrict fishing, resulting in anger among the Micmac Indians as salmon was traditionally an important source of food and income. Using a combination of documents, news clips, photographs and interviews, this powerful film provides an in-depth investigation into the history-making raids that put justice on trial.
Writer
Incident at Restigouche is a 1984 documentary film by Alanis Obomsawin, chronicling a series of two raids on the Listuguj Mi'gmaq First Nation (Restigouche) by the Sûreté du Québec in 1981, as part of the efforts of the Quebec government to impose new restrictions on Native salmon fishermen. Incident at Restigouche delves into the history behind the Quebec Provincial Police (QPP) raids on the Restigouche Reserve on June 11 and 20, 1981. The Quebec government had decided to restrict fishing, resulting in anger among the Micmac Indians as salmon was traditionally an important source of food and income. Using a combination of documents, news clips, photographs and interviews, this powerful film provides an in-depth investigation into the history-making raids that put justice on trial.
Director
Incident at Restigouche is a 1984 documentary film by Alanis Obomsawin, chronicling a series of two raids on the Listuguj Mi'gmaq First Nation (Restigouche) by the Sûreté du Québec in 1981, as part of the efforts of the Quebec government to impose new restrictions on Native salmon fishermen. Incident at Restigouche delves into the history behind the Quebec Provincial Police (QPP) raids on the Restigouche Reserve on June 11 and 20, 1981. The Quebec government had decided to restrict fishing, resulting in anger among the Micmac Indians as salmon was traditionally an important source of food and income. Using a combination of documents, news clips, photographs and interviews, this powerful film provides an in-depth investigation into the history-making raids that put justice on trial.
Narrator
On a beautiful summer’s day in Nunavik, a family enjoys the pleasures of berry picking and fishing as the sound of two Elders throat-singing fills the environment.
Script
On a beautiful summer’s day in Nunavik, a family enjoys the pleasures of berry picking and fishing as the sound of two Elders throat-singing fills the environment.
Director
On a beautiful summer’s day in Nunavik, a family enjoys the pleasures of berry picking and fishing as the sound of two Elders throat-singing fills the environment.
Script
Wild rice is an important source of food and revenue for many Anishinaabe people, who sometimes travel hundreds of kilometres to harvest the grain in the region around Kenora, Ontario.
Director
Wild rice is an important source of food and revenue for many Anishinaabe people, who sometimes travel hundreds of kilometres to harvest the grain in the region around Kenora, Ontario.
Producer
This film is an album of Native womanhood, portraying a proud matriarchal society that for centuries has been pressured to adopt different standards and customs. All of the women featured share a belief in the importance of tradition as a source of strength in the face of change.
Writer
This film is an album of Native womanhood, portraying a proud matriarchal society that for centuries has been pressured to adopt different standards and customs. All of the women featured share a belief in the importance of tradition as a source of strength in the face of change.
Narrator (voice)
This film is an album of Native womanhood, portraying a proud matriarchal society that for centuries has been pressured to adopt different standards and customs. All of the women featured share a belief in the importance of tradition as a source of strength in the face of change.
Director
This film is an album of Native womanhood, portraying a proud matriarchal society that for centuries has been pressured to adopt different standards and customs. All of the women featured share a belief in the importance of tradition as a source of strength in the face of change.
A performing arts film by Alanis Obomsawin, it documents efforts to raise funds for the James Bay Cree and was made at a time when Cree territory was threatened by hydro-electric projects. Amisk represents early work by Obomsawin, a trailblazer in Canadian Aboriginal film.
Director
A performing arts film by Alanis Obomsawin, it documents efforts to raise funds for the James Bay Cree and was made at a time when Cree territory was threatened by hydro-electric projects. Amisk represents early work by Obomsawin, a trailblazer in Canadian Aboriginal film.
Indian Maiden
A young woman arrives to Montreal to find love. A fortune teller tells her that a wealthy man meant for her is right around the corner so she goes looking even among her odd rag tag group roommates.
Producer
Close-up photographs of baskets, tools and utensils used in the past and still used today by the L'ilawat of Canada. Printed notes describe the use of each item
Director
Close-up photographs of baskets, tools and utensils used in the past and still used today by the L'ilawat of Canada. Printed notes describe the use of each item
Director
In a series of playful portraits, Líl̓wat children and youth go about their daily duties at the community’s summer camp outside Mount Currie, B.C. Infused with a sense of love, togetherness and pride, this short documentary is a remarkable visual archive of a Líl̓wat community through the beautiful faces of their young people. This short is part of the L’il’wata series. In the early 1970s, at the outset of her documentary career, Alanis Obomsawin visited the Líl̓wat Nation, an Interior Salish First Nation in British Columbia, and created a series of shorts that provide personal narratives about Líl̓wat culture, histories and knowledge.
Director
The farming practices of residents of the Líl̓wat Nation near Mount Currie, B.C., are presented in a series of snapshots that illustrate the fertility of their territory and the people’s deep connection to their land. This short is part of the L’il’wata series. In the early 1970s, at the outset of her documentary career, Alanis Obomsawin visited the Líl̓wat Nation, an Interior Salish First Nation in British Columbia, and created a series of shorts that provide personal narratives about Líl̓wat culture, histories and knowledge.
Director
Elder Marie Leo recounts her experiences going through puberty. Growing up on the Líl̓wat Nation near Mount Currie, B.C., Marie details the important process of preparing for womanhood. The various tasks and duties she undertakes demonstrate a complex, beautiful journey a young Líl̓wat person undergoes as they welcome adulthood and increased responsibilities. This short is part of the L’il’wata series. In the early 1970s, at the outset of her documentary career, Alanis Obomsawin visited the Líl̓wat Nation, an Interior Salish First Nation in British Columbia, and created a series of shorts that provide personal narratives about Líl̓wat culture, histories and knowledge.
Director
An intimate portrait of Marie Leo, a Sto:lo woman who was adopted into a Líl̓wat family as a baby. Marie’s gentle narrative of her remarkable early childhood demonstrates a deep connection to culture, land and family that continues to endure. This short is part of the L’il’wata series. In the early 1970s, at the outset of her documentary career, Alanis Obomsawin visited the Líl̓wat Nation, an Interior Salish First Nation in British Columbia, and created a series of shorts that provide personal narratives about Líl̓wat culture, histories and knowledge.
Director
Expert fishers for their entire lives, Líl̓wat Elders Cora and Daniel Wells share their deep knowledge of salmon fishing, cleaning and smoking.
Director
A series of still images follows master Líl̓wat basket maker Mathilda Jim, from the harvesting of materials to the creation of a functional work of art. Told in the Lil̓wat7úl language, this short documentary evokes the powerful connection between language, knowledge and culture.
Director
Accompanied by a song in the Lil̓wat7úl language, we follow a woman as she makes gwùshum, a Líl̓wat dessert and a very special treat. From the harvesting of the xúsum (soapberries or salmonberries) to the construction of the corn-husk whisk, a dish is created that is equal measures mouthwatering and awe-inspiring.
Self
Alanis Obomsawin, a North American Indian who earns her living by singing and making films, is the mother of an adopted child. She talks about her life, her people, and her responsibilities as a single parent. Her observations shake some of our cultural assumptions.
Director
The people of the L'íl'wat First Nation record their personal narratives about their culture, history, education, and the impact of residential schools.
Music
First Nations documentary
Director
The remarkable construction of the venerable snowshoe is demonstrated from start to finish. Atikamekw Elders Mariane and Athanas Jacob take us into the forest to select the tree that will become a fresh new pair of snowshoes.
Director
François Néwashish was the only one in his family from the Atikamekw community of Manawan not to go to residential school. He recollects a story of hunting with his father and how the spirit of the partridge protects children.
Director
Utilizing engineering ingenuity that is centuries old, Atikamekw elders Agatha and Cézar Néwashish build a small-scale version of a birch-bark canoe. With their expert hands, a stunning work of art is created.
Director
Through a series of still images, the bright, inquisitive and beautiful faces of the children from the Atikamekw community of Manawan are seen at play and at rest.
Translator
Atikamekw elder Cézar Néwashish continues to recount the history of the community of Manawan that first began in The History of Manawan: Part One. As Christianity and European customs take deeper root in the community – abetted by residential schools and aggressive assimilationist government policies – seemingly irreversible changes to significant customs begin to unfold. Despite these struggles, the people carry on. This short is part of the Manawan series directed by Alanis Obomsawin.
Producer
Atikamekw elder Cézar Néwashish continues to recount the history of the community of Manawan that first began in The History of Manawan: Part One. As Christianity and European customs take deeper root in the community – abetted by residential schools and aggressive assimilationist government policies – seemingly irreversible changes to significant customs begin to unfold. Despite these struggles, the people carry on. This short is part of the Manawan series directed by Alanis Obomsawin.
Director
Atikamekw elder Cézar Néwashish continues to recount the history of the community of Manawan that first began in The History of Manawan: Part One. As Christianity and European customs take deeper root in the community – abetted by residential schools and aggressive assimilationist government policies – seemingly irreversible changes to significant customs begin to unfold. Despite these struggles, the people carry on. This short is part of the Manawan series directed by Alanis Obomsawin.
Translator
“It’s not how it used to be.” The words of Cézar Néwashish resonate throughout this short documentary that explores the history of the Atikamekw community of Manawan, Quebec. Less than a century old in name, Manawan embodies the experiences of so many Indigenous communities across Canada. Where once they practised their customs freely on a vast territory, the arrival of the Europeans would eventually mean the restriction of their cultural practices and confinement to a reserve named Manawan.
Producer
“It’s not how it used to be.” The words of Cézar Néwashish resonate throughout this short documentary that explores the history of the Atikamekw community of Manawan, Quebec. Less than a century old in name, Manawan embodies the experiences of so many Indigenous communities across Canada. Where once they practised their customs freely on a vast territory, the arrival of the Europeans would eventually mean the restriction of their cultural practices and confinement to a reserve named Manawan.
Director
“It’s not how it used to be.” The words of Cézar Néwashish resonate throughout this short documentary that explores the history of the Atikamekw community of Manawan, Quebec. Less than a century old in name, Manawan embodies the experiences of so many Indigenous communities across Canada. Where once they practised their customs freely on a vast territory, the arrival of the Europeans would eventually mean the restriction of their cultural practices and confinement to a reserve named Manawan.
Director
Elders Mariane and Athanas Jacob – of the Atikamekw community of Manawan – demonstrate a moose-call horn constructed from bark. The beautiful horn is a vital tool in attracting moose, an essential animal in their culture and community.
Narrator (voice)
A study of life at Christmas time in Moose Factory, an old settlement mainly composed of Cree families on the shore of James Bay, composed entirely of children's crayon drawings and narrated by children.
Writer
A study of life at Christmas time in Moose Factory, an old settlement mainly composed of Cree families on the shore of James Bay, composed entirely of children's crayon drawings and narrated by children.
Director
A study of life at Christmas time in Moose Factory, an old settlement mainly composed of Cree families on the shore of James Bay, composed entirely of children's crayon drawings and narrated by children.
Writer
A greedy little blue jay carries away whatever his beak can grasp. Berries, birds' eggs (nests and all), and even the sun in the sky go into his secret cache.
