Inspired by the John Ford film The Searchers, an Inuit woman and her daughter are kidnapped by three Inuit men, while her husband and son are away. The Inuit husband sets out on a journey to find his family and punish the perpetrators.
Young Indian man Thomas is a nerd in his reservation, wearing oversize glasses and telling everyone stories no-one wants to hear. His parents died in a fire in 1976, and Thomas was saved by... See full summary »
Depicts the struggles of reservation-dwelling Native Americans in the North Central United States. The main character is an introspective and lovable person in a process of seeking pride ... See full summary »
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Centuries ago, in what would become the Canadian Arctic, Atuat is promised to the malevolent Oki, son of the leader of their tribe. But Atuat loves the good-natured Atanarjuat, who ultimately finds a way to marry her. Oki's sister, Puja also fancies Atanarjuat, and when she causes strife between him and his brother Amaqjuaq, Oki seizes the opportunity to wreak a terrible revenge on Atanarjuat. Written by
Shannon Patrick Sullivan <firstname.lastname@example.org>
The biggest surprise about the for Inuit-produced feature is that you do not need to be politically correct to like it. It is, besides a few excusable flaws, just a great film. It is extremely difficult to transfer stories from foreign cultures and oral traditions to the screen - the whole visual language of the media is loaded with subtle assumptions on how stories hold together and characters should act; and these assumptions mostly belong to "Western"-modern culture. I think this films great achievement is to avoid much of it. One example: It's not just due to the villainous character of some persons that they behave badly - the conflicts are not just conflicts between individuals. It's rather the entire community that is ill, due to spirit possession.
The film is told in a somewhat different visual language, and this is what makes it so convincing; this is also what makes it difficult to understand at times (particularly in the beginning), but this is the price to pay - it is rather surprising how comprehensible it gets later. The film as a whole is really exciting and touching. It's pace is slow (and I like slow-paced movies). It's solutions for particular scenes are striking - the appearance of the bad spirit in the end is eerie, and the effect is just done by the camera position. On the other hand, there is a sort a documentary immediacy to everything, as if the camera just happened to be in the right spot when the story unfolded (I liked the burping and spitting a lot).
There are, of course, points that don't work out well: The music is the usual One-World-Tribal-kitsch-mud, with didgeridoos and Tuvan throat-singing, as if every "primitive" culture was just the same (an idea originating from 18th century Europe and strangely enough professed by many "tribal" activists today). But, well, it's pretty discrete...
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