Tuktu and the Trials of Strength

This documentary closely follows a group of people living in the Bering Strait and delves into the fundamental aspects of their daily lives, their survival, and the contrast between their traditions and the modern world. With extraordinary imagery, Bering portrays exceptionally well a community fighting to preserve its culture in this mythical part of the world.

In this feature-length documentary, 8 Inuit teens with cameras offer a vibrant and contemporary view of life in Canada's North. They also use their newly acquired film skills to confront a broad range of issues, from the widening communication gap between youth and their elders to the loss of their peers to suicide. In Inuktitut with English subtitles.

The rarely seen lives of an Arctic tribe who try to continue to honor their way of life 80 miles above the Arctic Circle on a fragile barrier island disappearing due to climate change.

As the global pandemic reaches into the Arctic Archipelago, Inuk filmmaker Carol Kunnuk documents how unfamiliar new protocols affect her family and community. Her vividly specific soundtrack juxtaposes snippets from local radio broadcasts, issuing health advisories in both Inuktitut and English, with the sweet sounds of children at play. A richly detailed and tender account of disruption and adjustment.

This classic short film shows how to make an igloo using only snow and a knife. Two Inuit men in Canada’s Far North choose the site, cut and place snow blocks and create an entrance--a shelter completed in one-and-a-half hours. The commentary explains that the interior warmth and the wind outside cement the snow blocks firmly together. As the short winter day darkens, the two builders move their caribou sleeping robes and extra skins indoors, confident of spending a snug night in the midst of the Arctic cold!

It is taking decades for Canada to come to terms with its history in the Arctic, and with its relationship to all its indigenous people. “Kikkik” is the story of government mistakes and neglect, of starvation, murder, freezing death, but, in the end, a kind of justice that helps restore our faith in human decency. In 1958, the Inuit woman Kikkik was charged with murder and criminal negligence leading to the death of her child. Her trial and our visit back to the place and to Kikkik’s children confront us with a legacy that’s still a challenge for Canada.

In 2020, unable to travel, Ico Costa left a small camera with Ailucha and Domy, two young Mozambicans from the city of Inhambane, and asked them to film their daily lives. The result: working, playing, walking, hanging around, smoking, listening to music, singing, dancing, feeling desire – being teenagers.

On a Summer afternoon, Pedro packs the last few boxes before having to leave his apartment in New York. 12 years ago, Pedro and Ana had arrived in America from Portugal, in search of a dream. Now, Ana's voice describes, from the other side of the ocean, that same country to which they are returning. As the rooms are emptied, Pedro bids farewell to one life, welcoming another. But the dream that brought him will remain forever in the city that never sleeps, awaiting his return.

This documentary shows how an Inuit artist's drawings are transferred to stone, printed and sold. Kenojuak Ashevak became the first woman involved with the printmaking co-operative in Cape Dorset. This film was nominated for the 1963 Documentary Short Subject Oscar.

The Living Stone is a 1958 Canadian short documentary film directed by John Feeney about Inuit art. It shows the inspiration behind Inuit sculpture. The Inuit approach to the work is to release the image the artist sees imprisoned in the rough stone. The film centres on an old legend about the carving of the image of a sea spirit to bring food to a hungry camp. It was nominated for an Academy Award for Best Documentary Short.

Is there an audience for Latin American movies? These are some of the questions posed by an Ecuadorian filmmaker whose latest movie was a commercial flop. He embarks on a query to find answers to his questions and relief for his despair. His research leads him to a giant contraband market in the port city of Guayaquil, where pirated movies from all over the world are sold for one dollar each. Here, he discovers a number of Ecuadorian low budget movies produced by amateurs, with titles he had never heard of before: from action packed productions to evangelical melodramas.

This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.

It is late autumn and the Eskimos travel through soft snow and build karmaks, shelters with snow walls and a roof of skins, in the river valley. The geese are gone but some musk-ox are seen. The man makes a toy sleigh from the jawbones of a caribou and hitches it to a puppy. Next day the women gather stocks of moss for the lamp and the fire. The men fish through the ice with spears. The woman cooks fish while the men cache the surplus. Then the family eats in the karmak. The men build an igloo and the household goods are moved in. They begin the complicated task of making a sleigh, using the skins from the tent, frozen fish, caribou antlers and sealskin thong. The woman works at a parka, using more caribou skin, and the children play. Now the sled is ready to load and soon the family is heading downriver to the coast.

The time is early autumn. The woman wakes and dresses the boy. He practices with his sling while she spreads a caribou skin to dry. The boy picks berries and then the men come in their kayak with another caribou. This is skinned, and soon night falls. In the morning, one man leaves with his bow while the other makes a fishing mannick, a bait of caribou meat. The woman works at the skins, this time cleaning sinews and hanging them to dry. The man repairs his arrows and then sets a snare for a gull. The child stones the snared gull and then plays hunter, using some antlers for a target. His father makes him a spinning top. Two men arrive at the camp and the four build from stones a long row of manlike figures, inukshult, down toward the water. They wait for caribou and then chase them toward the stone figures and so into the water where other men in kayaks spear them. The dead animals are floated ashore and skinned.

Two Eskimo families travel across the wide sea ice. Before night falls they build small igloos and we see the construction in detail. The next day a polar bear is seen basking in the warming sun. A woman lights her seal oil lamp, carefully forming the wick from moss. The man repairs his snow goggles. Another man arrives dragging a polar bear skin. The boy has made a bear-shaped figure from snow and practices throwing his spear. Then he tries his bow. Now, with her teeth, the woman crimps the sole of a sealskin boot she is making. The men are hunting seal through the sea-ice in the bleak windy weather. The wind disturbs the "tell-tales," made of eider down or a hair loop on a bone, that signal when a seal rises to breathe. A hunter strikes, kills and drags his catch up and away. At the igloo the woman scrapes at a polar bear skin and a man repairs a sled. In the warming weather the igloo is topped with furs and a snow shelter is built to hide the sled from the sun.

Late June, and much of the land is bare. There are sounds of running water, and melt ponds shine everywhere. The woman carries heather and moss to camp and the man makes a whirling bullroarer for the boy. Another child pretends to drive a dog sled. A woman is working sinews into bowstrings, while another is busy with a seal skin. A woman prepares to cook a meal and a man makes a bow from bone and sinews. It is a demanding task to combine such materials into a strong supple weapon; the result is pleasing to the man. The next day the men move out on the sea ice with a dog to look for seal pups.

Full summer, and the tundra is bare; skin tents are up and it is time to attend to the fishing as the fish move upstream. The men are in the river, lifting stones and placing them to form enclosures to trap the fish. A woman skins a duck and then braids her hair in the old way, stiffly around sticks. From a bladder she makes a balloon for the child. The men are fishing with the three-pronged leisters, spearing the fish and stringing them on a thong, until it is as much as a man can do to drag his catch from the water. The woman works quickly, cleaning the fish, and then all enjoy bits of the fresh raw fish.

More signs of winter's end as more wildlife returns. The family makes an excursion for fresh fish from a lake. They build a karmak and move in the furs, cooking troughs, etc. The woman sets up her lamp, spreads the furs and attends to the children. There are signs of returning wildlife. The man moves out on the lake ice and chips a hole for fishing. He baits his hook and lowers it jigging the line to attract the fish. Crouched by the hole, he persists with his purpose and takes some fish, as does his wife who has joined him. Both remain at the hole through a severe blizzard. 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. This film is therefore a time capsule of a bygone era, presented in its original version. The NFB apologizes for the offence caused.

In this documentary, we are invited to the mind of the elderly Hiam, a Palestinian woman from Nazareth. The mundanity of everyday life gives us a few sentimental glimpses of Hiam's past and present through the eyes of the filmmaker Juna Suleiman, her granddaughter.

A Chinese Canadian son sets out to make a film on his mother, who was once known as the first ever Chinese Opera Singer to have performed Pingju Opera in English in late 1980's China.