A huge step forward
Indigenous filmmaking set to rise in Canada
Indigenous filmmaker Alanis Obomsawin never thought she would see this in her lifetime. Fifty years after starting her distinguished career amid major funding roadblocks, the Quebecraised 85-year-old is elated to see Indigenous filmmaking finally at an “exciting” place, with new initiatives including an Indigenous Screen Office in Canada.
“Any Indigenous person who wants to make a film … if ever there was a possible time — this is it,” the acclaimed Abenaki documentary maker says from Montreal, where she’s editing her 51st featurelength project.
“I feel that we’re really going someplace where we’ve never gone before. I know that Canadians are really listening now and want to know the truth.”
After decades of misrepresentation and under-representation of Indigenous culture in Canada’s screen industry, the community is experiencing a boost.
One of the biggest game-changers is the Indigenous Screen Office, a collaboration between the Aboriginal Peoples Television Network, the CBC, the Canada Media Fund, Telefilm Canada, the Canadian Media Producers Association and the National Film Board of Canada.
Announced in June, the office aims to develop a long-term strategy to help support the development of the Canadian Indigenous screen-based industry.
“I think that’s a huge, huge step forward for Canada and something that’s been needed, and something that’s been advocated for, for many years,” says Jesse Wente, Torontobased Indigenous activist and film critic who recently curated the CBC Arts series Keep Calm and Decolonize.
“I think the screen office will help facilitate development of Indigenous talent to be able to take on those projects, a development of stories from an Indigenous perspective, and Indigenous-led crews and viewpoints that I think … has been tough for the industry and the community to always navigate.”
Wente hopes the office will be similar to Screen Australia’s Indigenous department and create projects in an authentic way “that has a deeply involved community and nurtures Indigenous talent to grow as filmmakers …
“The hope is that we’ll get to a point with the screen office where it’s Indigenous people who are green-lighting Indigenous-led projects, which currently does not exist and has never existed, at places like Telefilm or the CMF,” says Jason Ryle, artistic director of the imagineNATIVE Film and Media Arts Festival.
The NFB is working on a threeyear plan to “redefine its relationship with Indigenous peoples,” including ensuring that 15 per cent of production spending is on Indigenous-directed projects.
“It’s been a conversation that’s been going on for a very long time but now there’s actual momentum, and organizations like the film board are making commitments and the conversation is shifting,” says Michelle van Beusekom, executive director of programming and production in the NFB’s English Program.
Among the homegrown Indigenous films on the horizon is Indian Horse, based on Richard Wagamese’s novel about a residential school survivor.
Clint Eastwood is executive producer of the drama, which is full of Indigenous talent and is slated to hit theatres April 13.
The past year also saw a spotlight on Indigenous filmmaking during various celebrations for Canada’s 150th birthday, and Telefilm vowed to provide increased support for Indigenous filmmakers.
“It does look very bright,” says Ryle.
“We’ve never been in this position before. The conversations we’re having now, even a year ago they were very different; two years ago, they were completely different.”