Ikátena

Plains: Testimony of an Ethnocide

A documentary on the massacre of Planas in the Colombian east plains in 1970. An Indigenous community formed a cooperative to defend their rights from settlers and colonists, but the government organized a military operation to protect the latter and foreign companies.

Kumu Hina

A transgender Native Hawaiian teacher inspires a young girl to fulfill her destiny of leading the school's male hula troupe, even as she struggles to find love and a committed relationship in her own life.

L’histoire de la Côte-Nord: une histoire commune

Sortir la spiritualité autochtone de la clandestinité

Miam a? (Comment va?)

Praia da Saudade

A documentary about climate change in Brazil, especially at Atafona Beach (in the Campos de Goytacazes region), which is being swallowed up by the sea. Narrated by Sonia Guajajara and Sidarta Ribeiro, the film deals with the genocide of the native people of Goytacazes.

We Can Be Heroes

Sometimes, finding your tribe requires a bit of magic. For attendees of a live action role-playing (LARP) camp in upstate New York, the deeply accepting environment has given neurodivergent, queer, and self-proclaimed "nerdy" teenagers the space and community for self-discovery that they have never found anywhere else. As the campers immerse themselves in this imaginative world, they discover inner strength, heal from past traumas, and emerge as the heroes they are meant to be, both in the fantasy realm and in real life.

Vistas: Red Ochre

Combining archival photos with new and found footage, this short film presents a personal, impressionistic rendering of what it's like growing up Mi'kmaq in Newfoundland, while living in a culture of denial. Vistas is a series of 13 short films on nationhood from 13 Indigenous filmmakers from Halifax to Vancouver. It was a collaborative project between the NFB and APTN to bring Indigenous perspectives and stories to an international audience.

Broken Rainbow

Documentary chronicling the government relocation of 10,000 Navajo Indians in Arizona.

Gurrumul

Blind from birth, Dr G Yunupingu found his identity through song and the haunting voice that has already become legend. His debut album introduced Australia to the Songlines and culture of his Elcho Island community, but now Dr G Yunupingu finds himself increasingly torn between city and country, present and past, self and the community to which he owes so much.

Finding Maawirrangga

Tom E Lewis knows he must die with all of his Songs. After years of haunting silence, he returns to his Grandmothers’ country to seek the permission of the Jungayi (Lawmen) to learn Thumbul corroboree (Morning Star). With the family’s blessing through ceremony, the spirits, stars and ancestors help Tom prepare to find the mysterious Sandy Island of Maawirrangga by singing.

Lake

Lake gazes down at a still body of water from a birds-eye view, while a group of artists peacefully float in and out of the frame or work to stay at the surface. As they glide farther away and draw closer together, they reach out in collective queer and desirous exchanges — holding hands, drifting over and under their neighbors, making space, taking care of each other with a casual, gentle intimacy while they come together as individual parts of a whole. The video reflects on notions of togetherness and feminist theorist Silvia Federici’s call to “reconnect what capitalism has divided: our relation with nature, with others, and our bodies.”

Le coureur des bois et le Nutshimiu-innu

Filmmaker Éli Laliberté explores Nitassinan, an Innu territory north of Sept-Îles. His camera follows Clément and Tekuanan. The first is a modern-day coureur des bois, the other returns to Nutshimit, his ancestral family territory.

Essence of Healing: The Journey of American Indian Nurses

Essence of Healing is a documentary exploring the life journeys of 14 American Indian nurses - their experiences growing up, their experiences in nursing school, and their experiences on the job. They are part of a larger story - a historical line of care and compassion that has run through hundreds of indigenous tribes for thousands of years.

Interwoven

Five female artisans from the Innu, Franco-Quebecois, and Zapotec peoples discuss their work. Their techniques, objects, and textile traditions give rise to stories that overlap. Their clothing reflects on identity and otherness.

How I Learned to Love the Numbers

A New York film and at the same time the study of a young man suffering from an obsessive-compulsive disorder (OCD). The Berlin filmmaker Oliver Sechting (37) and his co-director Max Taubert (23) travel to New York with the idea of documenting the art scene there. However, the project is quickly overshadowed by Oliver's OCD, and the two directors fall prey to a conflict that becomes the central theme of their film. Encounters with such artists as film directors Tom Tykwer (Cloud Atlas), Ira Sachs (Keep the Lights On), and Jonathan Caouette (Tarnation) or the transmedia artist Phoebe Legere seem more and more to resemble therapy sessions. At last, Andy Warhol-Superstar Ultra Violet succeeds in opening a new door for Oliver.

Mother Earth’s Inner Organs

The first mountains that the Amsterdam-based Colombian artist and filmmaker Ana Bravo Pérez saw in the Netherlands were black. In this experimental work, she follows the stench of the coal in the port of Amsterdam back to its origin: an open wound in northern Colombia. The mine is located in the territory of the Wayuu and has a huge impact on the indigenous people.

The Invention of the Other

In 2019, the Brazilian government coordinates the largest and riskiest expedition of the last decades into the Amazon rainforest to search for a group of isolated indigenous people in vulnerability and promote their first contact with non-indigenous. Bruno Pereira, who would later be murdered in the same region and turned into an international symbol in favor of the indigenous and the forest, leads the expedition.

Anti-Objects, or Space Without Path or Boundary

The title of this video, taken from the texts of the architect Kengo Kuma, suggests a way of looking at everything as “interconnected and intertwined” - such as the historical and the present and the tool and the artifact. Images and representations of two structures in the Portland Metropolitan Area that have direct and complicated connections to the Chinookan people who inhabit(ed) the land are woven with audio tapes of one of the last speakers of chinuk wawa, the Chinookan creole. These localities of matter resist their reduction into objects, and call anew for space and time given to wandering as a deliberate act, and the empowerment of shared utility.