My Pride

Joyce Jonathan Crone—Mohawk matriarch, retired teacher, activist, humanitarian—reaches forward into her community of Huntsville, Ontario, opening hearts and bridging gaps for Indigenous education.

This early work from Pierre Perrault, made in collaboration with René Bonnière, chronicles summer activities in the Innu communities of Unamenshipu (La Romaine) and Pakuashipi. Shot by noted cinematographer Michel Thomas-d’Hoste, it documents the construction of a traditional canoe, fishing along the Coucouchou River, a procession marking the Christian feast of the Assumption, and the departure of children for residential schools—an event presented here in an uncritical light. Perrault’s narration, delivered by an anonymous male voice, underscores the film’s outsider gaze on its Indigenous subjects. The film is from Au Pays de Neufve-France (1960), a series produced by Crawley Films, an important early Canadian producer of documentary films.

The people of Unamenshipu (La Romaine), an Innu community in the Côte-Nord region of Quebec, are seen but not heard in this richly detailed documentary about the rituals surrounding an Innu caribou hunt. Released in 1960, it’s one of 13 titles in Au Pays de Neufve-France, a series of poetic documentary shorts about life along the St. Lawrence River. Off-camera narration, written by Pierre Perrault, frames the Innu participants through an ethnographic lens. Co-directed by René Bonnière and Perrault, a founding figure of Quebec’s direct cinema movement.

The world's largest island has been part of Denmark since 1721, but a significant majority of the 56.000 inhabitants now want independence. They feel their culture and language is threatened and is the main reason for the many suicides among young people. But the Danish speaking Greenlanders feel discriminated and want to keep the ties to Denmark. The film follows four strong young Greenlanders, who each in their own way insist on taking responsibility for the future of their country. The documentary explores the difficult balance between the right to self-determination and xenophobic nationalism. Between traditional culture and globalization.

What if you are made to feel ashamed when you speak your "mother tongue" or ridiculed because of your accent? "Pidgin: The Voice of Hawai'i" addresses these questions through its lively examination of Pidgin - the language spoken by over half of Hawai'i's people.

De la rivière à la mer

Three intrepid women battle for Indigenous women's treaty rights.

Resilience is dedicated to those whose lives have been fragmented by intergenerational trauma, but who wish to break the cycle.

Take a breathtaking train a ride through Nothern Quebec and Labrador on Canada’s first First Nations-owned railway. Come for the celebration of the power of independence, the crucial importance of aboriginal owned businesses and stay for the beauty of the northern landscape.

The Metaphor That Became a Room is a psychological drama exploring identity, communication, and the struggle for self-understanding. Divided into two parts, the film first delves into the protagonist’s frustration with the urge to persuade others, realizing that over-explaining only distorts meaning. A note from the past echoes a hard truth: “Someone’s unwillingness to understand will always outweigh your effort.” In A Symphony of Unfinished Selves, the narrative shifts inward, revealing the protagonist’s fractured identity. Trapped in a metaphorical room built from illusions and contradictions, he reflects on his dual persona—the social facade and the hidden, lost self. The film questions how we see ourselves versus how others see us and whether true self-recognition is possible. Through minimalist dialogue and layered symbolism, the film captures the silent tension between who we are, who we appear to be, and who we long to become.

I was about seven years old the first time someone called me \"black\" on the street. I turned around to see who they were talking to, until I realized they were talking to me.

7-year-old Sasha has always known that she is a girl. Sasha’s family has recently accepted her gender identity, embracing their daughter for who she truly is while working to confront outdated norms and find affirmation in a small community of rural France.

Smoke Traders is an inside look at the world of the Mohawk tobacco trade.

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.

Documentary about the production of Bunk #7.

Cyclone Tracy 40 years on, exploring the myths and revealing new perspectives on one of the worst natural disasters in Australia's history.

Filmmaker and educator Janine Windolph ventures from Saskatchewan to Quebec with her two teens and younger sister, tracing their familial origins to the Cree First Nation of Waswanipi. Against the scenic backdrop of these Traditional Lands, Elders offer newfound interdependence and hands-on learning, transforming this humble visit into a sensory-filled expression of reclamation and resilience. Our Maternal Home lovingly establishes a heart-centred form of resistance to confront and heal from the generational impacts of cultural disconnection, making space for what comes next.

The story of three Turkish men. They all grew up in Switzerland and all got deported after various criminal offenses.

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.

How are biographies charted? How is identity constructed? Can we relive our past, reinvent it, rearrange or recycle it? Can we really know who we are if we ignore where do we come from?