This summer, we're highlighting NFB films made from coast to coast in Canada. This channel spotlights films made across Ontario that feature the region's peoples, landscapes and filmmakers.
This feature documentary presents a thoughtful and vivid portrait of a community facing imposed relocation. At the centre of the story is a remarkably astute and luminous 12-year-old black girl whose poignant observations about life, the soul, and the power of art give voice to those rarely heard in society. Unarmed Verses is a cinematic rendering of our universal need for self-expression and belonging.
In this short film, Norman McLaren employs the principles normally used to put drawings or puppets into motion to animate live actors. The story is a parable about two people who come to blows over the possession of a flower.
The people of the Attawapiskat First Nation, a Cree community in northern Ontario, were thrust into the national spotlight in 2012 when the impoverished living conditions on their reserve became an issue of national debate. With The People of the Kattawapiskak River, Abenaki director Alanis Obomsawin quietly attends as community members tell their own story, shedding light on a history of dispossession and official indifference. “Obomsawin’s main objective is to make us see the people of Attawapiskat differently,” said Robert Everett-Green in The Globe & Mail. “The emphasis, ultimately, is not so much on looking as on listening—the first stage in changing the conversation, or in making one possible.” Winner of the 2013 Donald Brittain Award for Best Social/Political Documentary, the film is part of a cycle of films that Obomsawin has made on children’s welfare and rights.
Since its inception in 1976, Toronto Council Fire Native Cultural Centre has been a place in which the urban Indigenous community could feel safe, learn and grow. Council Fire uses cultural teachings and creates space to restore Indigenous identity, especially for its youth. At the core of Council Fire’s history and teachings is the drum, which they refer to as “our mother.” In Full Circle, we get to know the members of the Toronto Council Fire Youth Program as they embark on new journeys. We meet a drum group that lays down tracks at a professional recording studio and a group of young dancers who showcase their moves at a dance studio.
A day in the lives of Indigenous students at N’Swakamok Alternative School, Places to Gather and Learn emphasizes the value and necessity of Indigenous alternative and community spaces. This short follows students as they learn and share their stories, aspirations, obstacles and accomplishments. Run in partnership with the N’Swakamok Indigenous Friendship Centre, and as a satellite of Sudbury Secondary School, N’Swakamok Alternative School offers students a supportive and culturally activated space to gain life skills as they pursue their academic and personal goals.
Some Stories follows a group of Indigenous youth from the Nipissing (Nbisiing) region who come together through the North Bay Indigenous Friendship Centre and explore the importance and impact of stories in their lives.
Long before Canada became a country, every nation on Turtle Island had its own unique version of a stick-ball game. The most popular one on this continent has always been lacrosse, a game that was gifted to the First Nations by the birds and four-legged animals, and played for centuries as a medicine game. This short film explores how the medicine game that has been passed down from generation to generation by the Haudenasaunee at the Fort Erie Native Friendship Centre is helping to revive their cultures and restore their communities. Young people have always been at the centre of community for many First Nations societies, and this documentary shares the wisdom of cultivating the spirit of belonging in youth, revealing how this is helping to shape a new future.
This short film offers a snap-shot of life in Fort Frances, Ontario, as some of its community members prepare to gather in a special place that will bond their hearts and minds. By engaging in ceremony and celebrating their language, culture and land, the people are creating “Zaagi’idiwin”—a symbol of their truth, their story and their own reconciliation, which is community-defined, beautiful and inspiring.
This feature documentary is an inspired, genre-twisting film directed by Oscar®-nominee Sarah Polley. Polley's playful investigation into the elusive truth buried within the contradictions of a family of storytellers paints a touching and intriguing portrait of a complex network of relatives, friends, and strangers.
This documentary reveals some of the hidden history of Blacks in Canada. In the 1930s in rural Ontario, a farmer buried the tombstones of a Black cemetery to make way for a potato patch. In the 1980s, descendants of the original settlers, Black and White, came together to restore the cemetery, but there were hidden truths no one wanted to discuss. Deep racial wounds were opened. Scenes of the cemetery excavation, interviews with residents and re-enactments—including one of a baseball game where a broken headstone is used for home plate—add to the film's emotional intensity.
It presents the strategy of the Battle of Britain, showing with penetrating clarity the relationships between the various forces made up the island's defenses. Here is the Royal Air Force in its epic battle with the Luftwaffe, the Navy in its stubborn fight against the raiders of sea and sky, the coastal defenses, the mechanized cavalry, the merchant seamen and behind them all, Britain's tough, unbending civilian army.
This animated short from Chris Landreth is based on the life of Ryan Larkin, a Canadian animator who produced some of the most influential animated films of his time. Ryan is living every artist's worst nightmare - succumbing to addiction, panhandling on the streets to make ends meet. Through computer-generated characters, Landreth interviews his friend to shed light on his downward spiral. Some strong language. Viewer discretion is advised.
Released in 1969, this short documentary was one of the most influential and widely distributed productions made by the Indian Film Crew (IFC), the first all-Indigenous unit at the NFB. It documents a 1969 protest by the Kanien’kéhaka (Mohawk) of Akwesasne, a territory that straddles the Canada–U.S. border. When Canadian authorities prohibited the duty-free cross-border passage of personal purchases—a right established by the Jay Treaty of 1794—Kanien’kéhaka protesters blocked the international bridge between Ontario and New York State. Director Michael Kanentakeron Mitchell later became Grand Chief of Akwesasne. The film was formally credited to him in 2017. You Are on Indian Land screened extensively across the continent, helping to mobilize a new wave of Indigenous activism. It notably was shown at the 1970 occupation of Alcatraz.
Afraid he would not see his community again Cole Forrest returns to North Bay from his current residence in Toronto. During his stay he confronts his fears and reconnects with his ancestors. Nbi means water and in the time of this pandemic, it is the lake, medicine, berries, and the land that he looks to for guidance.
Living in downtown Toronto to attend school, Lina Li returns to the comfort of home in Thornhill and her mother's cooking. In this candid short, filmmaker Lina Li and her mother engage in an intimate conversation about immigration to Canada, misunderstandings, barriers to communicating, love and the taste of home.
On the heels of the Toronto Raptors’ historic NBA Championship and the record-setting number of Canadian draft picks, the Toronto hoop dream is more alive than ever. In this feature-length doc, director Ryan Sidhoo shines the spotlight on 12-year-old Elijah Fisher, 15-year-old Keone Davis and 18-year-old Cordell Veira as they navigate today’s youth basketball machine in pursuit of their own NBA dreams.
This feature-length documentary follows naturalist Bill Mason on his journey by canoe into the Ontario wilderness. The filmmaker and artist begins on Lake Superior, then explores winding and sometimes tortuous river waters to the meadowlands of the river's source. Along the way, Mason paints scenes that capture his attention and muses about his love of the canoe, his artwork and his own sense of the land.
Mason also uses the film as a commentary on the link between God and nature and the vast array of beautiful canvases God created for him to paint. Features breathtaking visuals and exciting whitewater footage, with a musical score by Bruce Cockburn.
Released in 1969, this satirical short by Duke Redbird was the first animated film by an Indigenous director to be produced at the NFB. The film pokes gentle fun at Indigenous stereotypes and challenges the idea that Indigenous youth should seek to blend into mainstream society. Today, Duke Redbird is a prominent artist and scholar.
This animated film about the pesky blackfly is based on the song of the same title, written and sung by Canadian folk singer Wade Hemsworth, with back-up vocals by the McGarrigle sisters. It recounts Hemsworth's battles with this quintessential "critter" during a summer of surveying in Northern Ontario.
Released in 1971, this lyrical short documentary marked the directorial debut of legendary Abenaki director Alanis Obomsawin. Filmed at a residential school in northern Ontario, it is composed entirely of drawings by young Cree children and stories told by the children themselves. Listening has been at the core of Obomsawin’s practice since the very beginning. “Documentary film,” she said in a 2017 interview, “is the one place that our people can speak for themselves. I feel that the documentaries that I’ve been working on have been very valuable for the people, for our people to look at ourselves… and through that be able to make changes that really count for the future of our children to come.”
In Margaret Atwood: Once in August, filmmaker Michael Rubbo attempts to discover what shapes the celebrated writer's fiction and what motivates her characters. As one of Canada's most distinguished poets and novelists, Atwood is also one of this country's most elusive literary figures.
This short documentary features a portrait of Ottawa in the mid-20th century, as the nascent Canadian capital grew with force but without direction. Street congestion, air pollution, and rail traffic were all the negative results of a city that had grown without being properly planned. French architect and urban designer Jacques Gréber stepped in to create a far-sighted plan for the future development of Ottawa. With tracks moved, factories relocated, and neighbourhoods redesigned as separate communities, Ottawa became the capital city of true beauty and dignity we know today.
Animator Ryan Larkin uses an artist's sensibility to illustrate the way people walk. He employs a variety of techniques--line drawing, colour wash, etc.--to catch and reproduce the motion of people afoot. The springing gait of youth, the mincing step of the high-heeled female, the doddering amble of the elderly--all are registered with humour and individuality, to the accompaniment of special sound. Without words.
Filmed at the Wing Fong Farm in Ontario, this documentary follows the tilling, planting and harvesting of Asian vegetables destined for Chinese markets and restaurants. On 80 acres of land, Lau King-Fai, her son and a half-dozen migrant Mexican workers care for the plants. For Yeung Kwan, her son, the farm represents personal and financial independence. For his mother, it is an oasis of peace. For the Mexican workers, it provides jobs that help support their children back home.
This feature documentary takes us to the heart of the Jane-Finch "Corridor" in the early 1980s. Covering six square blocks in Toronto's North York, the area readily evokes images of vandalism, high-density subsidized housing, racial tension, despair and crime. By focusing on the lives of several of the residents, many of them black or members of other visible minorities, the film provides a powerful view of a community that, contrary to its popular image, is working towards a more positive future.
This short documentary profiles the mid-century Toronto jazz scene through the eyes of acclaimed filmmaker Don Owen (Nobody Waved Good-bye). The film features prominent acts from what was then regarded as the third-largest jazz centre in North America, including the Lenny Breau trio, the Don Thompson Quintet and the Alf Jones Quartet. Jazz lovers will relish this inside look at the creativity, hard work, improvisation, and stylization of these talented musicians.
These vignettes from 1952 covered various aspects of life in Canada and were shown in theatres across the country. Subjects included a floating laboratory ship from the National Research Council, a visit by a group of Canadian veterans revisiting Normandy plus events at Toronto's Maple Leaf Gardens.
Released in 1969, These Are My People… was the first NFB film made entirely by an Indigenous crew. It was co-directed by Roy Daniels, Willie Dunn, Michael Kanentakeron Mitchell and Barbara Wilson—members of the Indian Film Crew (IFC), an all-Indigenous unit established in 1968 as part of Challenge for Change, a broader organizational initiative to use media to effect social change. One of the first Canadian documentaries to foreground an Indigenous perspective on the history of Indigenous–settler relations, it features Standing Arrow and Tom Porter, from the Kanien’kéhaka (Mohawk) community of Akwesasne, who discuss longhouse religion, culture, government and the impacts of settler arrival on their way of life.
A light-hearted animated short about how Canada's vast distances and great obstacles were overcome by settlers. The story is told with a tongue-in-cheek seriousness and takes us from the intrepid trailblazers of long ago to the aircraft of today and tomorrow.
This documentary from Min Sook Lee follows a poverty-stricken father from Central Mexico, along with several of his countrymen, as they make their annual migration to southern Ontario to pick tomatoes. For 8 months a year, the town's population absorbs 4,000 migrant workers who toil under conditions, and for wages, that no local would accept. Yet despite a fear of repercussions, the workers voice their desire for dignity and respect.
In the small Ontario town of Echo, deep underground a typical post-war apartment building, there is a machine – massive and seemingly endless. What is its purpose? What is it for?
This short documentary addresses the issue of change, and how it is affecting the Cree and Ojibwa of the Nishnawbe-Aski region. Four of their communities have been selected to illustrate the different ways in which the inhabitants are reacting to change. An enlightening film for anyone interested in northern development or the evolution of Indigenous societies.
This feature documentary offers a complete record of the 1939 Royal Tour of Canada by King George VI and Queen Elizabeth. The film opens as the royal couple makes a stop in Québec city, where Premier Duplessis greets them. They then visit Montréal and meet mayor Camilien Houde. A visit to Ottawa brings them to Parliament, where Prime Minister MacKenzie King is present. The visit continues throughout Ontario, the prairies, and western Canada. The Royal couple also makes a brief stop in Washington and meets President Franklin Roosevelt. They then stop in on the Maritime provinces before boarding a Royal yacht for the journey back to England.
This experimental short film by Norman McLaren is a playful exercise in intermittent animation and spasmodic imagery. Playing with the laws relating to persistence of vision and after-image on the retina of the eye, McLaren engraves pictures on blank film creating vivid, percussive effects.
Produced by the Indian Film Crew (IFC) for showing to fellow Indigenous peoples across North America, this film demonstrates the concept of self-help of the Indian Travelling College, an educational venture designed to teach Indigenous students what they want to know, be it business knowledge, handicrafts or marketing of products.
Borrowing from classical mythology, this very short film illustrates the story of Syrinx, the nymph who attempts to escape the goat-god Pan’s amorous advances by fleeing to a nearby river for help, only to be transformed into hollow reeds. Syrinx is the first film by Ryan Larkin, an Oscar®-nominated director who began his animation career in Norman McLaren’s student group. The technique employed is charcoal sketches on paper; the accompanying music is Claude Debussy’s “Syrinx” for solo flute.
Filmed over a school year, this cinéma vérité documentary shows the changing face of our culturally diverse, inner-city classrooms. It tracks the progress of two 10-year-olds, Mahfuzur and Neola, as they learn about fairness, the consequences of their actions and the realities of life in Canada. Their teacher Ken Scott, having been raised in a single-parent, low-income family himself, has a deep understanding of his students' lives.
The World at 10 was produced as part of the Reel Diversity Competition for emerging filmmakers of colour. Reel Diversity is a National Film Board of Canada initiative in partnership with CBC Newsworld.
This short film presents a delightful portrait of a young boy's sojourn at summer camp. In idyllic mid-century fashion, two weeks at a Muskoka summer camp are presented as a welcome respite from the congestion of an urban area. From the preliminary scramble for the upper bunk in the cabin to exploring in the woods, cooking food over a fire, and—most exciting of all—passing the beginner's swimming test, Roger's camp adventures are full of joy, camaraderie, and learning.
The Hudson’s Bay Company’s 300th-anniversary celebration in 1970 was no occasion for joy among the people whose lives were tied to the trading stores. Narrated by George Manuel, then president of the National Indian Brotherhood, this landmark film presents Indigenous perspectives on the company whose fur-trading empire drove colonization across vast tracts of land in central, western and northern Canada. There is a sharp contrast between the official celebrations, with Queen Elizabeth II among the guests, and what Indigenous people have to say about their lot in the Company’s operations. Released in 1972, the film was co-directed by Martin Defalco and Willie Dunn—a member of the historic Indian Film Crew, an all-Indigenous production unit established at the NFB in 1968.
This installment of the Eye Witness series focuses on Indigenous children at Fort Simpson; a miniature naval battle between radio-operated vessels attended by the Royal Canadian Sea Cadets in Montreal; a drive-in theatre near Ottawa used to provide church services to passing motorists; and how Toronto's subway system is starting to take shape.
Animator Ryan Larkin does a visual improvisation to music performed by a popular group presented as sidewalk entertainers. His take-off point is the music, but his own beat is more boisterous than that of the musicians. The illustrations range from convoluted abstractions to caricatures of familiar rituals. Without words.
This short documentary profiles a 1949 meeting of the International Federation of Agricultural Producers in Guelph, Ontario. The IFAP plans to help solve the dire problem of world hunger—a problem sharpened by the birth of 55,000 more human beings, arriving "for breakfast," each day. Delegates emphasize the plight of the many nations who face starvation while others have a surplus of food. The conference challenges the world to succeed at implementing a proposed plan for the fair distribution of food.
This short documentary is about a young Cuban band that has recently moved to Canada. The members spend their days learning English and their nights playing and rehearsing their own blend of Cuban salsa music in clubs. The film follows the musicians, capturing their constant discussions about the political situation at home and the problems of citizen engagement in both communist Cuba and democratic Canada.
This documentary examines the history and current reality of Toronto’s Flemingdon Park. Now a subsidized housing project, it was built in 1961 as a trendy urban utopia. A decade later it was sold, and Flemingdon became home to refugees and new immigrants. Once a model of urban planning, Flemingdon Park's flip side is a history of violence and racism that residents have fought to overcome. Yet despite challenges, the community succeeds in making people from around the world feel at home in a different kind of utopia–one where differences are celebrated and new visions are possible.