WaaPaKe (Tomorrow)

Collaborateurs : Koostachin, Jules Arita | Snelgrove, Teri | Vercruysse, Shirley | Office national du film du Canada

Dr. Jules Arita Koostachin's deeply personal documentary WaaPaKe (Tomorrow) asks the difficult question: "Who are we without our pain?" For generations, the suffering of residential school Survivors has radiated outward, impacting Indigenous families and communities. Children, parents and grandparents have contended with the unspoken trauma, manifested in the lingering effects of colonialism: addiction, emotional abuse and broken relationships. In her efforts to help the children of Survivors, including herself and her family, Koostachin makes the difficult decision to step in front of the camera and participate in the circle of truth. She is joined in this courageous act of solidarity by members of her own family, as well as an array of voices from Indigenous communities across Turtle Island. Each person's individual journey is different, but in sharing their experiences, ways to create space, heal from chaos and forge new paths forward are explored. Employing a range of innovative cinematic means, including collage, soundscapes and set design, the documentary illustrates not only the complex and deep-seated emotional undercurrents at work but also the layered stories of the people, embedded in the land itself. In learning how to actively demonstrate love and break the cycle of abuse, Indigenous ways of being, as well as creativity, play an enormous role-whether it's filmmaking, poetry or learning to hunt in the Ancestral way. Moving beyond burying intergenerational trauma, WaaPaKe (Tomorrow) is an invitation to unravel the tangled threads of silence and unite in collective freedom and power.


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Image représentant la ressource: WaaPaKe (Demain)

WaaPaKe (Demain)

Le documentaire éminemment personnel WaaPaKe (Demain) de Jules Arita Koostachin, Ph. D. soulève une question difficile : «Qui sommes-nous sans notre douleur?» Au fil des générations, la souffrance des survivantes et survivants des pensionnats a irradié et entraîné des conséquences sur les familles et les communautés autochtones. Enfants, parents et grands-parents ont lutté contre ce traumatisme innommé dont témoignent les effets persistants du colonialisme : dépendance, violence morale et relations rompues. Désireuse d'aider les enfants des survivantes et survivants, y compris elle-même et sa famille, la réalisatrice prend la délicate décision de passer devant la caméra et de participer au cercle de vérité. Des membres de sa famille ainsi que de nombreuses voix venues de communautés autochtones à travers l'île de la Tortue se joignent à elle pour accomplir cet acte de solidarité courageux. Chaque parcours est singulier, mais en partageant les expériences vécues, on explore des moyens de créer un espace, d'apaiser le sentiment de chaos et d'ouvrir de nouvelles pistes vers l'avenir. La réalisatrice recourt à une gamme de techniques cinématographiques novatrices - collage, paysages sonores, décoration scénique - afin d'illustrer non seulement les remous intérieurs complexes et profonds, mais les niveaux multiples des histoires racontées, enracinées dans la terre elle-même. Lorsqu'une personne apprend à manifester activement son amour et à rompre le cycle de la maltraitance, ses manières d'être autochtones et sa créativité s'expriment - que ce soit par le cinéma, la poésie ou l'apprentissage des méthodes de chasse ancestrales - et elles jouent un rôle énorme. Dépassant la nécessité d'enterrer le traumatisme intergénérationnel, WaaPaKe (Demain) nous invite à défaire les nœuds du silence et à évoluer ensemble vers la liberté et la force collectives.

Années scolaires : Adultes 1er cycle | Adultes 2e cycle | 1re secondaire | 2e secondaire | 3e secondaire | 4e secondaire | 5e secondaire
Image représentant la ressource: Holy Angels

Holy Angels

Jay Cardinal Villeneuve's short documentary Holy Angels powerfully recaptures Canada's colonialist history through impressionistic images and the fragmented language of a child. In 1963, Lena Wandering Spirit became one of the more than 150,000 Indigenous children who were removed from their families and sent to residential school. Villeneuve met Lena through his work as a videographer with the Truth and Reconciliation Commission. Wandering Spirit spent six years at the Holy Angels Residential School in Fort Chipewyan, Alberta. Against a backdrop of now-empty hallways and classrooms, fragments of memory return-the shadowy figures of nuns, bits of remembered catechism, and the nightmare sounds of the basement boiler. "They call us by number," she remembers. Wandering Spirit's experience, like that of many other adult survivors, remains jagged and bright with pain and fear. But other, deeper memories also endured-of running barefoot in summer and picking berries, of stories shared, and of the warmth and love of family. Five-year-old performer Phoenix Sawan brings Wandering Spirit's recollections to vivid life, dancing through an abandoned building in easy defiance of the bleak history of the place. Filmed with elegance, precision, and fierce determination to not only uncover history but move past it, Holy Angels speaks of the resilience of a people who have found ways of healing-and of coming home again.

Années scolaires : Adultes 1er cycle | Adultes 2e cycle | 3e secondaire | 4e secondaire | 5e secondaire