11/05/21
This week: A TIFF favorite, a coming-of-age story made by and starring Indigenous folks, a short that makes the mundane stuff feel poignant, and so much more.
TRENDS THIS WEEK
Youtube Indigenous Peoples’ Day
Letterboxd DUNE
TikTok #NativeFamily
Spotify Adele - Easy On Me
Netflix THE HARDER THEY FALL
Twitter #Indigenous
Life & Culture
There’s nothing better than going to see a live performance, and being surprised by an unannounced guest in the middle of it. That’s what went down at NYC’s Bowery Ballroom last month, when Indigenous Enterprise, a group based in Massachusetts made up of 20-something Native American dancers from several tribes, took the stage as part of an Injury Reserve hip hop show. The audience responded in a big way, with organizer Kenneth Shirley describing it as “a rock star moment”, with his friend Jorge Gonzales-Zuniga Jr. even crowd-surfing from the stage. Kenneth, Jorge and their fellow dancers’ style combines hip hop and traditional Native American dance, and the group has performed on WORLD OF DANCE, in the virtual inauguration parade for President Biden, and during the N.B.A. finals. I recommend reading more about Indigenous Enterprise in this New York Times piece, and be sure to check out the photos! And, if you’re in New York City, you can check out the troupe in person at one of their live shows next week at the Joyce Theater.
In this week’s climate crisis conference in Glasgow, the world’s leaders came together to end deforestation, and pledged to give back at least $1.7 billion in funding directly to Indigenous peoples and local communities “in recognition of their key role in protecting the planet’s lands and forests.” This comes after multiple studies came out strongly suggesting a link between supporting Indengeous rights and land tenure and protecting the environment, with a recent 2021 UN review of more than 300 studies finding that “deforestation rates in South America were up to 50% lower within areas under indigenous control than elsewhere.” Up until now, less than 1% of this type of funding has been given to these groups. While critics are cautious to celebrate preemptively, one attendee of the convention, Paul Redman, who founded a non-profit that works with Indigenous communities, said “I think it’s the first time in all the climate conferences I’ve been to since 2013 that leaders really seem to be genuinely engaged and wanting Indigenous peoples to be at the table.”
—Darlene Kenney, Digital Strategist
This month, we’re putting together Tiny History Lessons to educate ourselves about Indigenous people’s history, especially her at home in the U.S.. To kick it off, I looked into the real story of Pocahontas. My biggest findings? The story we all know from the movie is, well, kinda BS—and glosses over some pretty dark stuff with a fictional romance. Check out the video here to learn more. And, while you’re at it, check out @aunty_britt and @connorbeardox on tiktok and @dineaesthetics on IG, three indigenous creators out there doing the work.
—Eden Bekele, Digital Associate
Filmmaker
Elle-Máijá Tailfeathers, a member of the Kainai First Nation in Alberta, is a filmmaker in the fullest sense of the word, acting, writing, directing, and producing across various projects. Her feature debut THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN (trailer here), which she co-wrote and co-directed with Kathleen Hepburn, premiered at the 2019 Berlinale and was acquired at TIFF by Ava DuVernay’s ARRAY. The film presents a complicated chance encounter between two indigenous women superficially divided by class. Áila (played by Tailfeathers) comes across the young and pregnant Rosie (Violet Nelson) just after Rosie has been physically assaulted by her boyfriend, and Áila attempts to usher the girl to safety. Mostly captured in one unbroken take, the movie intimately portrays an act of generosity and the conversations that follow as the women struggle to understand each other. Thankfully, this underseen gem is available to stream on Netflix. You can also look out for Tailfeathers’ upcoming documentary KÍMMAPIIYIPITSSINI: THE MEANING OF EMPATHY, an examination of the opioid crisis and its effects on her community in Alberta, currently receiving praise on the festival circuit. For her perspective on this documentary and filmmaking in general, check out this recent interview in Filmmaker Magazine.
—Nolan Russell, Executive Assistant
Film
One of my favorite films out of TIFF this year was Bretten Hannam’s WILDHOOD (trailer here), a coming-of-age drama about a two-spirit teenager who leaves an abusive household in search of his mother. Starring Phillip Lewitski as Link, Avary Winters-Anthony as his younger half-brother Travis, and Joshua Odjick as a Mi’kmaw boy named Pasmay who they meet along the way, the movie is a tender look at sexuality and identity. WILDHOOD’s portrayal of intimacy in particular struck me as refreshingly candid and compassionate, and its final scene left me speechless. It’s a soft and beautiful film that, rather than weighing down its Indigenous characters with melodrama or tragedy as art too often does, instead imbues them with all the nuance of real human beings, and offers a beautiful story of hope.
—Alicia Devereaux, Development Assistant
TV
I am reminding you to plop onto your couch at your earliest convenience to watch RESERVATION DOGS (trailer here). The series comes from the minds of Stelrin Harjo and Taika Waititi. It’s a comedy following four teens as they navigate life in a small Oklahoma town. We open with them stealing a chip truck (yes you read that right) and performing small (definitely criminal) acts to save money and escape rural life, desperate to create an exciting future for themselves. Criminal activity aside, honestly, who can’t relate to that? Along with their antics, there are beautiful moments of heart and friendship, especially when they honor their friend who passed the year prior. But even more importantly, this show is a coming-of-age story created by and starring Indigenous folks. And as a bonus, there are so many cinematic references, just like the title, in the series. So please, in honor of the show, go s̶t̶e̶a̶l̶ borrow a friend's Hulu password and tune in!
—Erin Harris, Development Assistant
Short Film
Directed by Erica Tremblay, a writer and director from the Seneca-Cayuga Nation, LITTLE CHIEF is a short that premiered at Sundance 2020 and was included on IndieWire’s list of the top 10 must-see short films at the fest last year. In this thoughtful and resounding 12-min short inspired by Erica’s mother, who taught on her Oklahoma reservation, we are introduced to a drained but resilient young teacher and a troubled boy as their lives intersect over the course of a school day on a reservation. With no flashy concept, the short succeeds in building out a compelling narrative in a normal school day. With sparse dialogue but powerful performances, the piece manages to paint a detailed portrayal of a modern indigenous culture. Tremblay does an incredible job building out a seemingly small but meaningful relationship between a Native teacher and her students. It’s no surprise that she’s a 2021 Sundance Screenwriters Lab Fellow and the recipient of the Walter Bernstein Fellowship—she’s definitely a filmmaker to watch!
—Mimi Li, Development Assistant
Music
Black Belt Eagle Scout—the moniker under which Katherine Paul releases her music—makes fuzzy rock jams to fill your bedroom at night. And slow indie-folk ballads to angstily drive to. And echoing dreamy melodies to get lost to somewhere in the hazy Pacific Northwestern woods, because she’s from Portland. Swinomish, Iñupiaq, feminist, and queer, Paul draws on her unique experiences along with universal ones to write about anything from Standing Rock to good old-fashioned heartache, and by repeating a simple but perfect line like “I know you’re taken” over pining electric guitar riffs, she effortlessly creates anthems of desire. Give her a listen, and start anywhere; you really can’t go wrong.
—Alicia Devereaux, Executive Assistant