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Indigenous

Imogen Thomas, Emu Runner, Rhae-Kye Waites

Gillie Collins / October 2, 2018

Imogen Thomas on Emu Runner: ‘The film willed its way into existence.’

Director Imogen Thomas discusses her feature, Emu Runner, which explores an Aboriginal girl’s (Rhae-Kye Waites) grief — and her community’s resilience — after her mother’s death.

Brett Pardy / September 29, 2018

Interview: Edge of the Knife tells a pre-colonialism story of the Haida legend of ‘The Wildman’

Co-director and Haida artist Gwaai Edenshaw discusses his landmark film Edge of the Knife (Sgaawaay K’uuna), the first feature film made in the Haida language. This is an excerpt from the ebook The Canadian Cinema Yearbook which is available for purchase here.

Falls Around Her, Darlene Naponse

Alex Heeney / September 9, 2018

Interview: Falls Around Her centres a complex, middle-aged, Indigenous woman

Writer-director Darlene Naponse on Falls Around Her, making a film about an unconventional protagonist, capturing the beauty of a landscape through both visuals and sound, and the respect and care required to film on reservation land. This is an excerpt from the ebook The Canadian Cinema Yearbook which is available for purchase here.

Warwick Thornton, Sweet Country

Alex Heeney / April 14, 2018

Director Warwick Thornton on his TIFF Platform Prize Winner Sweet Country

Indigenous Australian director Warwick Thornton talks being his own cinematographer on Sweet Country, shooting on Alexa and UV, and developing the film’s aesthetic.

Our People Will Be Healed, Alanis Obomsawin, Norway House

Brett Pardy / October 26, 2017

‘It was exciting to see the possibilities that should be there for all’: Alanis Obomsawin on Our People Will Be Healed

Documentarian Alanis Obomsawin discusses depicting community, gaining the trust of her subjects, and centering their voices in her 50th film on contemporary indigenous issues in Canada.

Luk'Luk'I

Brett Pardy / September 21, 2017

TIFF Review: In Luk’Luk’I, Vancouver plays itself, but the Olympics don’t

Contrasting the patriotism of the Olympics with daily struggles in Vancouver’s Downtown Eastside, Wayne Wapeemukwa’s Luk’Luk’I explores the shallowness of national identity.

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