Mother River

María is an Amorúa girl; an indigenous group that traveled the savannas of Orinoquía as nomads. She lives with her grandmother Matilde, her sister diana and her cousins in Puerto Carreño, in the Colombia-Venezuela border. The amorúa are considered wild and are not literate. Matilde wants her granddaughters to learn to write and read to live better in this town of "rational whites" as they call us. The director follows María's life for 8 years from her childhood to her adolescence and invites her to travel the places her grandma did as a nomad.

Matimekush is landlocked in the former mining town of Schefferville, 700 km north of Sept-Îles. It was founded in the 1950s, when the Canadian government and Iron Or forced the Innu to settle down. In Canada’s Far North, there is a dire labour shortage. At Kanatamat School, the heart of the community, most of the high school teachers are from Africa.

Still working through the grief of losing her only child, Thelma, a young Blackfeet woman in Browning, MT, is taken advantage of by friends who use her as de facto child care while they continue to live the freewheeling lifestyles they had before becoming parents.

The documentary recreates the facts in the life of the Yukpa Chief, Sabino Romero, an indigenous fighter killed on March 3, 2013, in the Chaktapa community of the Sierra de Perija in Zulia state, Venezuela. The film reflects the infinite struggle of Sabino and his people, accompanied by the social groups, in this story of truly libertarian images made with blood and fire, revealing the skein of interests that forged and carried out Sabino's murder, and the attitude Inhuman and murderous of those who made it another victim of history.

The film follows Postcommodity, an interdisciplinary arts collective comprised of Raven Chacon, Cristóbal Martinez and Kade L. Twist, who put land art in a tribal context. The group bring together a community to construct the Repellent Fence, a two-mile long ephemeral monument “stitching” together the US and Mexico.

Living with Giants delves into the imaginative world of Paulusie Kasudluak, a young Inuk facing responsibilities as he transitions into adulthood. The film portrays his thoughts, his dreams, and his beliefs, and allows for an intimate immersion into his life. Paulusie is a caring son to his ailing father and a good boyfriend. But what begins as the story of an innocent teenager quickly becomes the struggle of a young man coping with the guilt of having made a huge mistake. Tragically, Paulusie takes the most dramatic decision and takes his own life. Living with Giants remains a poetic journey of resilience that echoes issues that are far greater than Paulusie's personal story.

During the marijuana bonanza, a violent decade that saw the origins of drug trafficking in Colombia, Rapayet and his indigenous family get involved in a war to control the business that ends up destroying their lives and their culture.

Gil Cardinal searches for his natural family and an understanding of the circumstances that led to his becoming a foster child. An important figure in the history of Canadian Indigenous filmmaking, Gil Cardinal was born to a Métis mother but raised by a non-Indigenous foster family, and with this auto-biographical documentary he charts his efforts to find his biological mother and to understand why he was removed from her. Considered a milestone in documentary cinema, it addressed the country’s internal colonialism in a profoundly personal manner, winning a Special Jury Prize at Banff and multiple international awards.

The Indigenous peoples of northern British Columbia still hunt and fish, using a combination of traditional ways and modern equipment and techniques where appropriate. Lumbering and trapping bring them money and goods. Their traditional arts and crafts, however, remain essentially unchanged. This archival film reflects the social and cultural values and beliefs prevalent at the time of production.

A paralysingly beautiful documentary with a global vision—an odyssey through landscape and time—that attempts to capture the essence of life.

A short film highlighting the epidemic of missing indigenous men and women who have gone missing in Bighorn County, Montana. It features several victims' stories and interviews with their families and indigenous activists who are pushing for their cases to be re-examined and solved.

Somebody’s Daughter focuses on higher-profile MMIW cases, some of which were raised during the Senate Committee on Indian Affairs in December 2018. With historical points of reference, the victims’ and their families’ stories are told through the lens of the legal jurisdictional maze and socio-economic bondage that constricts Indian Country.