An urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice through the case of the “Kennewick Man”.

Synopsis

Filmmakers Adam and Zack Khalil (Ojibway), in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One,” against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains.

Asinnajaq plunges us into a sublime universe of luminescent, archive-inspired cinema that recast the past, present and future of Inuit in a radiant new light.

Synopsis

“My father was born in a spring igloo—half snow, half skin. I was born in a hospital, with jaundice and two teeth.”

Diving into the NFB’s vast archive, Inuk artist Asinnajaq parses the complicated cinematic representation of Inuit, harvesting fleeting truths and fortuitous accidents from a range of sources—newsreels, propaganda, ethnographic docs, and works of Inuit filmmakers. Embedding historic footage into original animation, she conjures up a vision of hope and beautiful possibility.

An Aboriginal teen struggling to fit in is forced to confront her own issues of identity.

Synopsis

Liya is conflicted about her identity; it just seems so simple for everyone else. When she hears about a party, the pressure really sets in. The night takes an unexpected turn when she’s reminded of the value of her roots.