In the early 2000s, members of the Saskatoon police force drove Indigenous men into remote fields and abandoned them to die. These acts became known as the Saskatoon "freezing deaths," a terrifying story blown open by one survivor.

When Jordan River Anderson, who suffered from a rare muscle disorder, died in 2005, he had spent all five years of his short life in a hospital while the federal and provincial governments argued over which of them was responsible for his care. In 2007, Canada’s Parliament passed a motion in support of “Jordan’s Principle,” a policy meant to ensure that First Nations children have equitable access to government-funded health, social, and educational services.

Master documentarian Alanis Obomsawin interviews Jordan’s family as well as other Indigenous families across Canada who have had to fight for basic human rights for their children.

Set in the Haida Gwaii region in the 19th century, Edge of the Knife (SG̲aawaay Ḵ'uuna in Haida) adapts a classic Haida folk tale of a man left for dead in the forest who becomes the Gaagiid/Gaagiixiid, or “the Wildman”. After an accident where he is separated from his family, Adiits'ii (York) wanders through the forest becoming driven mad by both natural and supernatural forces. As his loved ones, including best friend Kwa (Russ), set out to capture and cure him, Adiits’ii grows increasingly feral.

The first feature film made entirely in the critically endangered Haida language - fluently spoken by fewer than 20 people - the film is a spellbinding and mythical tale of pride, tragedy and love, set against the stunning backdrop of Canada’s Pacific northwest.

Made with a Haida cast and in collaboration with the Haida Council, this compelling film proves that cinema can be at once a powerful vessel for storytelling and a profound act of Indigenous language and culture revitalization.

In this incredible APTN docuseries, artist and activist Sarain Fox teams up with archeologist Kris Nahrgang to travel across the country to discover various ways that Indigenous peoples are shaping the future. Through conversations with artists, activists, community leaders and more, the series covers a wide range of themes including Indigenous identity, culture, land rights and intergenerational trauma.

Beautifully shot and packed with powerful interviews, Future History celebrates and explores diverse Indigenous perspectives to create a deeper understanding of our shared history as well as a positive path forward. It is a journey that can’t be missed.

Each 21-minute episode can be viewed independently, or you can watch it as a complete series. Contact us for specific programming recommendations.

Fifteen years ago, Inuk filmmaker Zacharias Kunuk won the prestigious Caméra d’or for Best First Feature at Cannes with Atanarjuat: The Fast Runner. His second feature, The Journals of Knud Rasmussen, opened TIFF in 2006. A decade later, Kunuk and collaborator Natar Ungalaaq have used the plot of John Ford’s 1956 western The Searchers as inspiration for a very different kind of revenge story, in which an Inuk man and his band of maliglutit ("followers") set out across the barren Arctic in search of the marauders who have ransacked his home and kidnapped his wife.

Like Ford’s film, Kunuk's Maliglutit (Searchers) explores the repercussions of violence, asking whether these hunters have begun to act like those who have torn apart their family. Very unlike Ford, Kunuk questions not only the colonial ideology inherent to the western genre, but also the possibility of justice in a seemingly unjust world. With a tale as timeless as the landscape in which it is set, Canada’s foremost Inuk filmmaker has provided us with another classic.

“The North is the place where I feel I’m completely myself.” In this evocative documentary short, Inuit singer-songwriter and humanitarian Susan Aglukark weaves together stories of artistry, family, and belonging as she explores the complex cultural shifts of the last 50 years of Inuit life. Turning her lens on the turbulence of colonial transition, director Nyla Innuksuk examines the forces that shaped Aglukark’s voice and how that voice is now being translated for a new generation of Inuit artists. 

It is 1961 in Kapuivik, north Baffin Island, and Noah Piugattuk’s nomadic Inuit band live and hunt by dog team as his ancestors did when he was born in 1900. When the white man known as Boss arrives at Piugattuk’s hunting camp, what appears as a chance meeting soon opens up the prospect of momentous change. 

Boss is an agent of the government, assigned to get Piugattuk to move his band to permanent housing, assimilate his children into settler society and give up their traditional way of life. 

Told through the extended showdown between Inuit camp leader Noah Piugattuk (Kotierk) and a government emissary (Bodnia) (as well as the translator who must help them communicate), One Day in the Life of Noah Piugattuk is a deeply absorbing account of a little-known and important piece of Inuit and Canadian history.

“One Day In The Life Of Noah Piugattuk illustrates Inuit-colonial relationships brilliantly.” - Kelly Boutsalis, NOW Magazine

Anishinaabe painter Jolene (McLaren) and part-Métis TV writer Ray (Murray) form an instant connection after a chance encounter. Both have come to the city with big hopes for their futures, and stand at a crossroads; Ray came to pitch his TV series Indian Jones, which he hopes will be his big break, and Jolene has an interview with an elder, who presents her with an unexpected gift that she feels she doesn’t deserve. Together, they embark on a search for meaning, sharing experiences of hope and fear and reflecting on urban Indigenous reality. 

Belcourt’s multi-award winning Tkaronto was the closing night film at the 2007 imagineNATIVE Festival and won the Best Director Award at the Dreamspeakers Festival.

 

It’s 1976 on the Red Crow Mi’kmaw reserve, and 15-year-old Aila (Jacobs) is the weed princess of her community. Hustling drugs with her uncle Burner, she sells enough dope to pay a “truancy tax” to Popper, the sadistic “Indian agent” who runs St. Dymphna’s Residential School.

It’s a tough life, but she’s making it work. That is, until the precarious balance of her world is threatened by her father’s return from prison and the theft of her drug money.

Part fable, part small-town drama, Rhymes for Young Ghouls is a richly imaginative and striking drama about growing up during a very dark time in Canada’s treatment of Indigenous people.

“A savvy [Indigenous] genre film with a strong, beautiful and ingenious heroine whose courage helps right an injustice.” — Liam Lacey, The Globe and Mail

Harrowing stories of survivors of the Canadian Indian residential school system are woven together in this profoundly moving film about the resilience of the human spirit in the face of institutionalised racism, abuse and injustice on a national scale.