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In a dark, ambiguous environment, minuscule particles drift slowly before the lens. The image focuses to reveal spruce trees and tall pines, while Innu voices tell us the story of this territory, this flooded forest. Muffled percussive sounds gradually become louder, suggesting the presence of a hydroelectric dam. The submerged trees gradually transform into firebrands as whispers bring back the stories of this forest.
By retracing the mixed heritage of First Nations peoples and Quebecers, painting a modern portrait, and sketching a human geography, this film helps us (re)discover the beauty and strength of our common territory: the Americas.
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.
Pouvoir Oublier is a political documentary first constructed from the words of the speakers whose lives changed on the tragic day of May 10, 1972 in Sept-Îles. Their word will be juxtaposed with archival material from the events, some of which are unpublished, which will reflect the collective euphoria in which Sept-Îles and all of Quebec were then bathed.
“Those Who Come, Will Hear” proposes a unique meeting with the speakers of several indigenous and inuit languages of Quebec – all threatened with extinction. The film starts with the discovery of these unsung tongues through listening to the daily life of those who still speak them today. Buttressed by an exploration and creation of archives, the film allows us to better understand the musicality of these languages and reveals the cultural and human importance of these venerable oral traditions by nourishing a collective reflection on the consequences of their disappearance.
Documentary filmed at the end of the Manic-Outardes hydroelectric projects on the North Shore of the St. Lawrence (1978) to pay tribute to the men and women who participated, for 20 years, in the first collective project in modern Quebec. Le Temps de la Manic allows us to follow live the moving end of this era in the company of Jean-Noël Laprise nicknamed “the Switch”, Andrée Laprise (Grenier) his partner, their 4 children Carole, Serge, Yvan and Hélène, by Édouard Hovington and Véronique Hovington, by Camille Brisson, Léo Boisclair, Denis Ouellet, Gérard Debigaré and Fernande Buissière. Everyone has experienced the time of the Manic adventure from the inside. The Prime Minister, Mr. René Lévesque, also appears in the film.
In 1999, Innu community members who, 40 years previously, had been forcibly relocated from their remote northern region of Labrador to established settlements in the province, return to Hebron to reminisce and reckon with the destructive impact the relocation had on their traditional ways of life and Indigenous identity. This film serves as a companion piece to Carol Brice Bennett’s book "IkKaumajannik Piusivinnik – Reconciling With Memories," and stands as the only known audio-visual document of the reunion of a resettled community in Newfoundland & Labrador.
NIN E TEPUEIAN - MY CRY is a documentary tracks the journey of Innu poet, actress and activist, Natasha Kanapé Fontaine, at a pivotal time in her career as a committed artist. Santiago Bertolino's camera follows a young Innu poet over the course of a year. A voice rises, inspiration builds; another star finds its place amongst the constellation of contemporary Indigenous literature. A voice of prominent magnitude illuminates the road towards healing and renewal: Natasha Kanapé Fontaine.
The hunters are the Innu people and the bombers are the air forces of several NATO countries, which conduct low-level flights over the Innu's hunting terrain. The impact of the jets is hotly debated by peace groups, Indigenous people, environmentalists and the military. But what is often overlooked are the many complex changes underway in Innu society, as social and technological changes confront a traditional hunting culture.
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Shot during the first ever Innu circus festival in Labrador, Canada, Tricksters gives the viewing audience a positive glimpse into these troubled native communities. The artistry of international performers is combined with the native tradition of drumming and dancing offering a wider appreciation for the Innu way of life. Tricksters features Beni Malone's Wonderbolt Circus, as well as two time world champion hoop dancer Lisa Odjig who interacts with Innu Elders and children in workshops. Interviews with Innu elders inspire a greater appreciation for the Innu way of life. Tricksters offers an emergence of art and native culture, rarely seen on the screen.
In 1981, an unusual person arrives in Natashquan, marking the beginning of an unlikely love story between this small Quebec village and the young man they call “The Punk”. Five years later, he vanishes without a trace, forever impacting the community.
The film follows two young men from the Côte-Nord in Quebec who fall on hard times due to an economic crisis raging in the region. Between staging and song, the movie deals with the importance of work in the construction of identity.
Known for her intimate films, director Kim O’Bomsawin (Call Me Human) invites viewers into the lives of Indigenous youth in this absorbing new documentary. Shot over six years, the film brings us the moving stories, dreams, and experiences of three groups of children and teens from different Indigenous nations: Atikamekw, Eeyou Cree, and Innu. In following these young people through the formative years of their childhood and right through their high school years, we witness their daily lives, their ideas, and aspirations for themselves and their communities, as well as some of the challenges they face.
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