Angry Inuk

What does blood have to do with identity? Kendra Mylnechuk, an adult Native adoptee, born in 1980 at the cusp of the enactment of the Indian Child Welfare Act, is on a journey to reconnect with her birth family and discover her Lummi heritage.

Concerned about the declining health of people all around them, Native American women are sparking physical and spiritual rejuvenation through reclaiming traditional foodways.

Alfred Brendel, one of the greatest of all pianists, plays and reflects on Franz Schubert’s last three piano sonatas. As he points out, Schubert can’t have known that he was soon to die, so they probably do not embody the air of resignation and finality future generations have sentimentally insisted they bear. They were however long neglected, all but forgotten, and only in more recent times have they come to be treasured and performed. The repose and wisdom of the maestro, together with the patient observation of one who is no stranger to the idea of the irrevocably lost, of the erasures of history, and of the value of fragile objects passed carefully from generation to generation, is a joy.

A film pioneer, Binka Zhelyazkova was at the forefront of political cinema under Bulgaria's Communist dictatorship. Though she remained faithful to the communist ideals she became an avid critic of the regime and brought upon herself the wrath of its censorship. As a result four of her nine films were shelved and released to the public only after the fall of the regime in 1989, and Binka Zhelyazkova became known as the bad girl of Bulgarian cinema. A provocative portrait that reveals the pressures and complexities that arise when art is made under totalitarianism.

"Blockade" takes place in the mountains and valleys of northern British Columbia, at the heart of the boldest aboriginal land claims case to challenge the white history of Canada. The Gitksan and Wet'suwet'en hereditary chiefs claim that everything within 22,000 square miles, including the trees, is rightfully theirs.

"This wonderful age in life where every thought strives toward an ideal, toward work, toward the future." Sahia Studios propaganda flick about how adults and their "those darn kids" attitudes affect adolescents.

A cinema verite study of the world of the blue-collar worker and the economic and psychological bind in which he is caught.

Guyanese painter Aubrey Williams (1926-1990) returns to his homeland on a “journey to the source of his inspiration” in this vivid Arts Council documentary, filmed towards the end of his life. The title comes from the indigenous Arawak word ‘timehri’ - the mark of the hand of man - which Williams equates to art itself. Timehri was also then the name of the international airport at Georgetown, Guyana's capital, where Williams stops off to restore an earlier mural. The film offers a rare insight into life beyond Georgetown, what Williams calls “the real Guyana.” Before moving to England in 1952 he had been sent to work on a sugar plantation in the jungle; this is his first chance to revisit the region and the Warao Indians - formative influences on his work - in four decades. Challenging the ill-treatment of indigenous Guyanese, Williams explored the potential of art to change attitudes. By venturing beyond his British studio, this film puts his work into vibrant context.

A powerful documentary about the lives of teens and young adults as seen through the gender lens. Approaching society's ideas and ideals of gender through clothes, sexuality, sports, dance, safety, consumerism and emotion, the film addresses the complexities of conceptions of masculinity and femininity for Generation Z.

An intimate and thrilling portrait of a young Siksika woman and the deep bonds between her father and family in the golden plains of Blackfoot Territory as she prepares for one of the most dangerous horse races in the world… bareback.