Pigmeos: la agonía del dios verde

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.

Funeral Bororo

Stan Hill Jr. is a Haudenosaunee artist living in Miawpukek First Nation Reserve, Conne River, Newfoundland. In “The Bear Inside a Whale,” he and his family discuss racism, identity, religion, creation and art, along with the cultural extinction of the Beothuk of Newfoundland. Throughout the film, we follow Stan carving a bear out of a whale vertebra. And we visit The Rooms (museum) in St. John’s, Newfoundland, where Stan talks about viewing and reclaiming Indigenous artefacts.

A searing examination of the contamination that sparked an international catastrophe and the decades’ long battle with some of the world’s largest chemical companies for justice and compensation.

Barry Barclay was a New Zealand/Aotearoa director of documentaries and feature films. He is regarded as one of the world's first, and very influential, Indigenous film makers. The film The Camera on The Shore is a feature length introduction to Barry, and to his film making.

In Mumbai, once an island city linked by the sea, modern bridges and land reclamation have reshaped the landscape, disrupting the lives of its original communities.

Helena is 17 years old and studies in Finland. Her father, a Swede, and her mother, indigenous Kichwa of Sarayaku, live at the heart of the Amazon in Ecuador.

This documentary examines the battle strategies of citizens, scientists, loggers, environmentalists and First Nations people who are fighting over the liquidation of public forests and, with it, a way of life.

A vision from Limbo, where the canoeist of the eternal lake floats in his boat, between sleep and wakefulness. When he sleeps, he dreams of the everyday of a parallel time. when he wakes up, the same song haunts him again and again. his boat, “ara” (time, in guarani) travels through time like a shooting star.

For over 50 years, the Kahnawake Mohawks, of Quebec, Canada occupied a 10 square block area in the North Gowanus section of Brooklyn, which became known as Little Caughnawaga. The men, skilled ironworkers, came to New York in search of work and brought their wives, children and often, extended family with them. The story of the Mohawk ironworkers is an important one and is one that has been told and continues to be told through documentaries, newspaper and magazine articles. Yet the stories of Kahnawake Mohawk women who lived in Brooklyn have gone untold.

An undercover documentary film produced and directed by British filmmaker Dominic Brown, about the struggle of the indigenous Sahrawi people of Western Sahara. The documentary covers the current human rights and political situation of the Sahrawi. There are several interviews recorded with human rights victims including an elderly lady who had been attacked in her home the previous day by Moroccan security forces. There is also a focus given to the alleged vested interests of countries in the region, particularly France. The film states that the French Government's close relationship with Morocco, their trade deals and their use of veto over the terms of the UN mission in Western Sahara are major factors.

Mr. Greene recollects Navajo history through interviews with ancient tribesmen and reports on contemporary conditions, with emphasis on the progress being made at Rough Rock School in contrast with a BIA boarding school in Utah. Rough Rock is the "experimental" institution set up to give the Native Americans direct control of the process by which their children can be educated to function, productively and with a sense of identification, in two totally different worlds.

When a massive Chinese factory complex attempts a high-stakes expansion in rural Ethiopia, three women in search of prosperity have their faith in industrialization tested to the limit. Filmed over four years with singular access, Made in Ethiopia lifts the curtain on China’s historic but misunderstood impact on Africa, and explores contemporary Ethiopia at a moment of profound crisis. The film was awarded the Jury Special Mention at Tribeca Festival.

In decades past, Native American artists who wanted to sell to mainstream collectors had little choice but to create predictable, Hollywood-style western scenes. Then came a generation of painters and sculptors led by Allan Houser (or Haozous), a Chiricahua Apache artist with no interest in stereotyped imagery and a belief that his own rich heritage was compatible with modernist ideas and techniques. Narrated by actor Val Kilmer and originally commissioned as part of an exhibit of Houser’s work at the Oklahoma History Center, this program depicts the artist’s tribal ancestry, his rise to regional and national acclaim, and the continuing success of his sons as they expand upon and depart from their father’s achievements. Key works are documented, as is Houser’s tenure at the Santa Fe–based Institute of American Indian Arts.

Indigenous chief Juma Xipaia fights to protect tribal lands despite assassination attempts. Her struggle intensifies after learning she's pregnant, while her husband, Special Forces ranger Hugo Loss, stands by her side.

A group of people bows down as a ritual for religious ceremonies. This community shares a belief named Sapta Drama, one of the native religions in Indonesia that uses bowing down as a worshiping medium.

First Nations fight to end grizzly bear trophy hunting in the Great Bear Rainforest in British Columbia. The Heiltsuk, Kitasoo Xai'xais and Gitga'at First Nations enforce a ban by using Coastal Guardian Watchmen, while the Raincoast Conservation Foundation purchases trophy hunting licenses in the area to prevent a hunt from taking place. The film offers unique access to Canada's First Nations and a breathtaking view of the majestic animals inhabiting the Great Bear Rainforest, including the elusive Spirit Bear.

Os Carajá

Innu

Between 1907 and 1909, Robert Lohmeyer (1879-1959), a German pioneer of color photography, traveled through the German colonies in Africa and portrayed their landscapes and native peoples in color for the first time, thus fulfilling a laudable purpose; but also laying the foundations for an enduring racist vision of the entire continent.