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This all-Native production, by director Shelley Niro (Mohawk), is part of the Smoke Signals new wave of films that examine Native identity in the 1990’s. Set on the Grand Pine Indian Reservation, aka “Reservation X”, HONEY MOCCASIN combines elements of melodrama, performance art, cable access, and ‘whodunit’ to question conventions of ethnic and sexual identity as well as film narrative. A comedy/thriller complete with a fashion show and torchy musical numbers, this witty film employs a surreal pastiche of styles to depict the rivalry between bars The Smokin’ Moccasin and The Inukshuk Cafe, the saga of closeted drag queen/powwow clothing thief Zachary John, and the travails of crusading investigator Honey Moccasin. This irreverent reappropriation of familiar narrative strategies serves as a provocative spring-board for an investigation of authenticity, cultural identity, and the articulation of modern Native American experience in cinematic language and pop culture.
Mavis Dogblood is a Mohawk painter from Canada haunted by the tragic death of her husband, who was hit by lightning. She paints the stories he used to tell her, but she can’t come to grips with her loss. It is only after she drives to New York City for an art opening, traveling across what were her ancestors’ tribal lands, that Mavis reconciles herself to her new life.
Personifying Mother Earth, she walks through her domain. She observes her environment and what has happened to it. She weeps. She feels violated. Not only has man damaged her but they continue to damage each other. She sighs. She will visit and start again sometime soon.
In a small Saskatchewan town in the 1960s, Yvette Wong, a young girl of Chinese and Cree heritage, struggles with her Indigenous identity amidst family tragedy in this coming-of-age film directed by Mohawk artist and filmmaker Shelley Niro. Yvette’s mother, Katherine, discourages her from embracing her Cree identity, so she explores it in secret. As she learns more about herself and her Indigenous heritage, Yvette finds a friend in Maggie Wolf, who embraces being part Mi’kmaq and encourages Yvette to be proud of being Cree. When her classmates learn about her Cree ancestry, Yvette encounters the realities of being Indigenous, facing prejudice with pride and holding fast to her dream of becoming a doctor. Café Daughter is inspired by true events and based on Kenneth T. Williams’ play of the same name.
It Starts With a Whisper was produced in the Six Nations/Brantford area, with an all-Native cast, and features locations on the Grand River which runs through the Six Nations Reserve. The film blends traditional Iroquois imagery, music and themes with motifs from contemporary, secular life. An original score and innovative visuals make It Starts With a Whisper a delight to watch, as well as a timely challenge to movie stereotypes of First Nations people.
Skywoman in Skyworld is asked by her husband to bring him a cup of water from the tree of life, as he lies on his deathbed. As she goes toward the tree, she falls through a hole in the ground. She falls to earth.
Suite: INDIAN is a series of short films. It contains history, mystery and magic. Participating in the creation are artists, actors, musicians and dancers mostly based on the Six Nations Reserve. Each story chronicled expresses the challenges embodied in contemporary Native North American society. Titles may be screened separately. Chapters: 1. Prelude; 2. Mars Thunderchild Gets a Calling; 3. Kory & Mercedes; 4. The Park Was Thick in Silence; 5. Home; 6. Living With Fire / From The Ashes; 7. Dance of the Canoe Pants; 8. The Red Army is the Strongest.
In "The Shirt" Kanien’kehaka (Mohawk) artist and director Shelley Niro parodies the archetypal tourist tee-shirt from the point of view of First Nations Peoples as an exploration into the lasting effects of European colonialism in North America. Facing the camera directly and poised against the landscape of “America”, an Aboriginal woman with biker-like accessories bears a sequential series of statements on her tee-shirt that together comprise a discourse on colonialism. The darkly ironic and yet brutally truthful messages of "The Shirt" draw attention to the history of invasion that indigenous peoples have experienced in North America.
Explores and questions non-Native perceptions of Indians by asking pointedly: “What were you expecting, anyway? Sitting Bull? Chief Joseph… saying ‘the earth and I are one?’”
Follow the violent world of the Dutton family, who controls the largest contiguous ranch in the United States. Led by their patriarch John Dutton, the family defends their property against constant attack by land developers, an Indian reservation, and America’s first National Park.