In a dark, ambiguous environment, minuscule particles drift slowly before the lens. The image focuses to reveal spruce trees and tall pines, while Innu voices tell us the story of this territory, this flooded forest. Muffled percussive sounds gradually become louder, suggesting the presence of a hydroelectric dam. The submerged trees gradually transform into firebrands as whispers bring back the stories of this forest.

Mikuan et Shaniss sont des amies inséparables. Elles grandissent ensemble dans une communauté innue tissée serrée où la langue maternelle et les traditions survivent à l’intérieur de quelques kilomètres carrés. Mikuan est une première de classe et vit au sein d’une famille aimante, tandis que Shaniss recolle les morceaux d’une enfance bafouée. Enfants, elles se promettent de toujours rester ensemble, coûte que coûte. Mais à l’aube de leurs 17 ans, leur amitié se craquelle lorsque Mikuan s’amourache d’un blanc et se met à rêver de sortir de cette réserve trop petite pour ses ambitions. Dès lors, elle devra affronter la résistance des siens envers ceux qui quittent la communauté et apprendre à voler de ses propres ailes.

Spontaneous portrait of an endearing and cheerful teenager living in balance between traditionalism and modernity. She presents her regalia to us and we share her pride in being Innu.

The journey of a young candidate running in the Pessamit community band council elections.

Take a breathtaking train a ride through Nothern Quebec and Labrador on Canada’s first First Nations-owned railway. Come for the celebration of the power of independence, the crucial importance of aboriginal owned businesses and stay for the beauty of the northern landscape.

“Those Who Come, Will Hear” proposes a unique meeting with the speakers of several indigenous and inuit languages of Quebec – all threatened with extinction. The film starts with the discovery of these unsung tongues through listening to the daily life of those who still speak them today. Buttressed by an exploration and creation of archives, the film allows us to better understand the musicality of these languages and reveals the cultural and human importance of these venerable oral traditions by nourishing a collective reflection on the consequences of their disappearance.

In 1999, Innu community members who, 40 years previously, had been forcibly relocated from their remote northern region of Labrador to established settlements in the province, return to Hebron to reminisce and reckon with the destructive impact the relocation had on their traditional ways of life and Indigenous identity. This film serves as a companion piece to Carol Brice Bennett’s book "IkKaumajannik Piusivinnik – Reconciling With Memories," and stands as the only known audio-visual document of the reunion of a resettled community in Newfoundland & Labrador.

The hunters are the Innu people and the bombers are the air forces of several NATO countries, which conduct low-level flights over the Innu's hunting terrain. The impact of the jets is hotly debated by peace groups, Indigenous people, environmentalists and the military. But what is often overlooked are the many complex changes underway in Innu society, as social and technological changes confront a traditional hunting culture.

Ce film suit le parcours de Natasha Kanapé Fontaine, à un moment charnière de sa carrière d'artiste engagée. Pour guérir de la blessure du racisme, Natasha s'est réappropriée sa langue innue et prend la parole dans les médias.

Visionner

A man spreads rumours about a local elder. To be forgiven, he will be put to the test. Ka tatishtipatakanit (Ethereal) is a poetic lesson about respect.

Trente ans après la fermeture de la colonie minière de Schefferville, les Innus, après avoir pris possession de la ville abandonnée par les non autochtones, font face à un nouveau défi : la réouverture des mines de fer. Territoire, identité et légitimité nourrissent le dialogue entre deux peuples ayant le même combat, Québécois et Premières Nations. Deux identités qui se disent colonisées et dont la première se comporte parfois, paradoxalement, en colonisateur. À qui appartient le territoire ? Les autochtones ont-ils droits à l’autodétermination au même titre que les Québécois? Une tente sur Mars se veut une charge poétique face à cette situation complexe.