Τα πλούτη δεν φέρνουν την ευτυχία! Ένας χρόνος έχει περάσει, και η Ρούμπι συνεχίζει να απολαμβάνει την οικογενειακή έπαυλη στη Νέα Ορλεάνη και την αγάπη του πατέρα της. Πρέπει όμως να προσέχει έναν σατανικό εχθρό... τη μητριά της.
Στα τέλη της δεκαετίας του ’50 του Οντάριο, ο επτάχρονος Saul Indian Horse είναι αποχωρισμένος από την οικογένεια του Ojibway και βρίσκεται σε μια από τις πασίγνωστες καθολικές σχολές κατοίκησης του Καναδά. Σε αυτό το καταπιεστικό περιβάλλον, ο Saul στερείται της ελευθερίας να μιλάει τη γλώσσα του ή να αγκαλιάζει την ιθαγενή του κληρονομιά και γίνεται μάρτυρας παντός είδους κακοποίησης από τους ίδιους τους ανθρώπους στους οποίους ανατέθηκε η φροντίδα του. Παρ ‘όλα αυτά, ο Saul βρίσκει σωτηρία στο αγαπημένο καναδικό χόμπι, το χόκεϊ. Γοητευμένος από το παιχνίδι, κρυφά διδάσκει τον εαυτό του πως όχι μόνο να παίζει αλλά αναπτύσσει μια μοναδική και σπάνια ικανότητα. Είναι σαν να έχει τα μάτια στο πίσω μέρος του κεφαλιού του και να βλέπει το παιχνίδι με έναν τρόπο που κανένας άλλος παίκτης δεν μπορεί. Το ταλέντο του τον οδηγεί μακριά από τη δυστυχία του σχολείου σε ένα πρωτάθλημα του Βόρειου Οντάριο. Αλλά τα φαντάσματα του παρελθόντος του Σαούλ θα τον κυνηγούν πάντα.
In 1976, a Mi'gMaq teenager plots revenge against the sadistic Indian agent who imprisoned her in a residential school where rape and abuse are common.
Cree matriarch Aline Spears survives a childhood in Canada’s residential school system to continue her family’s generational fight in the face of systemic starvation, racism, and sexual abuse. She uses her uncanny ability to understand and translate codes into working for a special division of the Canadian Air Force as a Cree code talker in World War II. The story unfolds over 100 years with a cumulative force that propels us into the future.
The Élan School was a for-profit, residential behavior modification program and therapeutic boarding school located deep within the woods of Maine. Delinquent teenagers who failed to comply with other treatment programs were referred to the school as a last resort. Treatment entailed harsh discipline, surveillance, degradation, and downright abuse. Years later, the patients who were institutionalized in this facility still carry the trauma they endured, with mixed opinions on the impact of their experience.
A study of life at Christmastime in Moose Factory, an old settlement mainly composed of Cree families on the shore of James Bay, composed entirely of children's crayon drawings and narrated by children.
In the 50 years since he carved his first totem pole, Robert Davidson has come to be regarded as one of the world’s foremost modern artists. Charles Wilkinson (Haida Gwaii: On the Edge of the World) brings his trademark inquisitiveness and craftsmanship to this revealing portrait of an unassuming living legend. Weaving together engaging interviews with the artist, his offspring, and a host of admirers, Haida Modern extols the sweeping impact of both Davidson’s artwork and the legions it’s inspired.
For over 130 years till 1996, more than 100,000 of Canada's First Nations children were legally required to attend government-funded schools run by various Christian faiths. There were 80 of these 'residential schools' across the country. Most children were sent to faraway schools that separated them from their families and traditional land. These children endured brutality, physical hardship, mental degradation, and the complete erasure of their culture. The schools were part of a wider program of assimilation designed to integrate the native population into 'Canadian society.' These schools were established with the express purpose 'To kill the Indian in the child.' Told through their own voices, 'We Were Children' is the shocking true story of two such children: Glen Anaquod and Lyna Hart.
Documentary about the Holy Angels Residential School in Alberta, where hundreds of First Nations children were imprisoned.
Residential school survivor Jacob struggles to hang onto his family as his demons threaten to manifest.
A poetic exploration of the multi-generational affects of Canada's Indian Residential School system, based on the personal trials of Aboriginal playwright Yvette Nolan.
The carefree childhood existence of an Indigenous brother and sister is torn apart when the sister is forced to attend a Residential School far from home.
Renowned Haida artist Bill Reid shares his thoughts on artistry, activism and his deep affection for his homeland in this heartwarming tribute from Alanis Obomsawin to her friend's life, legacy and roots.
A little Nenets girl Neko is taken against her will from her home to a boarding school in a remote Russian village. Forced to adapt to a foreign culture and new customs, Neko rebels and decides to flee, hoping to get back to her family and old habits.
Carrie Davis was part of the child removal system near the end of the Sixties Scoop. With guidance from her uncle Emmett Sack and the community, Carrie reconnects to their land, language, and culture.
A poignant all-Indigenous English and Cree-English collaborative documentary that breaks long-held silences imposed upon indigenous children who were interned at the notoriously violent St. Anne’s Residential School in Fort Albany First Nation, Ontario. Use of a homemade electric chair at St. Anne's and the incorporation of testimony about student-on-student abuse makes this documentary stand apart from other films about Canadian residential school experiences. This film will serve as an Indigenous historical document wholly authored by Indigenous bodies and voices, those of the Survivors themselves.
"I Am the Warrior: A Residential School Story" depicts the struggling relationships between a mother and daughter fox after the mother has suffered through residential school and has passed the trauma on to her daughter.
On a summer day in the 1950s, a native girl watches the countryside go by from the backseat of a car. A woman at her kitchen table sings a lullaby in her Cree language. When the girl arrives at her destination, she undergoes a transformation that will turn the woman’s gentle voice into a howl of anger and pain.
In this layered short film, filmmaker Janine Windolph takes her young sons fishing with their kokum (grandmother), a residential school survivor who retains a deep knowledge and memory of the land. The act of reconnecting with their homeland is a cultural and familial healing journey for the boys, who are growing up in the city. It’s also a powerful form of resistance for the women.
“Kill the Indian to save the man” was the catchphrase of The Carlisle Indian Industrial School, a boarding school opened in Pennsylvania in 1879. It became a grim epitaph for numerous native children who died there. In 2017, a delegation from the Wind River Indian Reservation in Wyoming attempts to retrieve the remains of three Northern Arapaho children buried far from home in the school cemetery, on a journey to recast the troubled legacy of Indian boarding schools, and heal historic wounds. This documentary film is produced by The Content Lab LLC, with support from The Wyoming Cultural Trust Fund, The Wyoming Humanities Council, and Wyoming PBS.