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A firefighter is walking through a desolate scene of devastation following a fire. The ground is charred and covered in ash, and there's smoke in the air, obscuring the visibility. Trees and structures appear to be badly burned, with some trees reduced to bare trunks. This image conveys the aftermath of a significant fire event, highlighting the destruction and the ongoing response by emergency services.

Lac-Mégantic

From director Phillipe Falardeau, one of Canada’s most successful and acclaimed contemporary filmmakers, Lac-Mégantic investigates one of the worst oil train tragedies in history, a foreseeable catastrophe ignited by corporate and political negligence. The next Lac-Mégantic is not a matter of if, but when.

A black and white image of a snowy park setting, an individual is seated alone on a picnic table, dressed warmly in a heavy coat with a fur-lined hood, gloves, and a winter hat. The background features leafless trees, indicating it's a cold season, and buildings that suggest an urban environment. The person's posture and the empty park convey a sense of solitude or reflection.

Last Respects

Montreal priest Father Claude Paradis believes that all lives are worthy of respect. So in 2014, he created an annual ceremony to celebrate the lives of the “unclaimed.” Thanks to Father Paradis’ compassionate gesture, these people are granted a final moment of dignity.

Guests in attendance, Q&A with Megan Durnford

A sunset over a desert cityscape with the sun low in the sky, casting a warm glow and creating a silhouette of the mountains in the background. There are outlines of buildings and palm trees against the light, and the foreground shows arid terrain with sparse vegetation typical of a desert. In the lower left corner, there's text that reads "HOW TO POWER A CITY," suggesting the image may be related to a documentary or educational content focusing on urban energy topics. The sky above is clear with minimal clouds, allowing the sunlight to dominate the scene.

How To Power A City

How to Power A City provides a front-row seat to communities battling fossil fuel dependence by bringing solar and wind projects to their hometowns. Filmed in six locations, the stories reveal how a diverse cast prevailed against myriad obstacles such as indifferent politicians, technical impasses, public ignorance, cost, and natural and manmade disasters. It is a solutions-focused climate story.

Guest in attendance, Q&A with Melanie La Rosa

A lone white plastic chair sits on a small, narrow balcony with green railings. The balcony is part of a building with a facade of large, beige stone tiles. The viewpoint is from an adjacent building, capturing the scene at a slight angle, which gives a voyeuristic glimpse into this quiet urban space.

A Short Film About a Chair

A lonely chair on an abandoned balcony, a photographer watching it days and nights, a strange thing happens that will change the life of the chair for ever.

A person stands on a balcony with their arms crossed, surrounded by graffiti-covered walls. Behind them, a cityscape with various buildings in different states of construction and maintenance is visible. The contrast between the neglected foreground and the bustling city background highlights a narrative of urban resilience and perhaps social issues. The sunlight casts shadows, adding to the gritty ambiance of the setting.

The Cities I Live In

Newly settled in Belfast, a filmmaker tells his infant twins about his life journey. They see him leaving one violent place for another, longing for places that he will never see again, and hoping they will not carry his curse.

A group of individuals is seated at a long table set with a white tablecloth, in what appears to be a social gathering. On the table, there are candles, glasses, and dishes suggesting the meal is either in progress or has just concluded. The attendees are dressed in a variety of attire, ranging from formal to semi-formal. The atmosphere is convivial, with some individuals engaged in conversation. The background is a plain wall, giving the scene a simple and focused ambiance on the gathering.

The Best of Both Worlds

“During my employment, I was able to learn my culture on a daily basis while coordinating programs with community workers and provincial agencies.”
Taylor offers a glimpse into her extensive work with the Anishinabek Nation (formerly Union of Ontario Indians) in implementing the Ontario Indigenous Healing and Wellness Strategy. During her involvement, Taylor witnessed the government’s acknowledgement of Traditional Healers and First Nations communities’ reclaiming of their Anishinaabe Knowledge.

PANEL: Wshkiigmong Dibaajmownan/Curve Lake Storytelling

A hand with the palm facing forward and fingers slightly apart, set against a backdrop of a rock surface with natural lines and crevices. The lighting is soft and dim, suggesting either early morning or late afternoon, with warm tones that give the skin a reddish hue, contrasting with the cooler tones of the rock. The focus is on the hand, which is centered in the frame, while the rock surface in the background is slightly blurred. The composition is simple and evocative.

There’s Not Much We Can Do

In this personal essay documentary, the director reflects on getting diagnosed with endometriosis through observing the invasive Japanese Knotweed. While the plant is treated with urgency, the disease is met with inaction, prompting us to question the very things we consider “natural” in the first place.

A person is standing in the center of a street with one fist raised high. The individual is wearing a dark beanie, a t-shirt, and jeans, and has a serious expression. The street is lined with various commercial buildings and cars are visible in both directions. The context of the raised fist, a symbol often associated with solidarity and support for a cause, suggests a moment of protest or statement. The image captures a sense of defiance or activism.

Detroit Will Breathe

In the summer of 2020, Detroiters faced unprecedented police violence as they took to the streets to protest the killings of Black people across the country. Detroit Will Breathe provides an unprecedented look into the actions of the police and examines what it means to be part of an integrated movement fighting for Black lives.

Four individuals are seated around a dining table in a dimly lit room that suggests a vintage or historical setting. The warm glow from the windows, adorned with patterned stained glass, provides natural light. The room is decorated with patterned wallpaper, and there are traditional furnishings and decorations, including a cabinet and a clock on the wall, which contribute to the room's old-fashioned ambiance. The scene has a calm and intimate feel, with the focus on the people at the table, possibly engaged in conversation over a meal.

Demon Box

After festival rejections, a director revises his intensely personal short film about trauma, suicide, and the Holocaust. He transforms the film into a painful, blunt and funny dissection of itself, and of his own life. Ten years in the making.

Guests in attendance, Q&A with Sean Wainsteim

A person with shoulder-length bright red hair stands in the foreground, smiling slightly, with a blurred city skyline in the background. They are wearing a black top, and the overcast sky suggests a muted daylight setting. Below the skyline, there's a glimpse of a highway with moving vehicles, bordered by greenery. The focus on the individual with the cityscape backdrop creates a juxtaposition between the person and the urban environment.

Winn

After miscarrying her baby in prison due to shackling, Pamela Winn becomes an activist, leading thousands to support – and pass – the 2019 Georgia Dignity Act, which outlawed shackling of pregnant and postpartum inmates. Winn follows Pamela’s journey from prison to the halls of the state Capitol, from incarcerated person to outspoken law-changer, from powerless to empowered.

A woman stands outside a brick building, holding a box of Playtex tampons and a long printed receipt. They are smiling at the camera, dressed in a cozy, textured beige jacket with a navy blue top visible underneath. Their curly hair is pulled back from their face, and they wear round earrings.

Periodical

Periodical tells the unexpected story of the human body by exploring the marvel and mystery of the menstrual cycle, from first period to last. Lina Lyte Plioplyte’s innovative documentary uncovers shocking truths, challenges taboos, and celebrates the end of centuries of societal stigma.

Related VIRTUAL WORKSHOP: Period Poverty & Advocacy | Tuesday, Jan 30 at 7:00PM EST – Pre-register now!

An individual with short curly hair is posing with one arm extended, wearing a black sleeveless top. They are outdoors, with a backdrop of greenery and urban structures, possibly on a rooftop. The person's expression is poised and serene, and the lighting suggests it could be late afternoon or early evening. The scene conveys a sense of calm confidence and the outdoors setting provides a relaxed atmosphere.

Maboungou: Being in the World

Dive into the resonant universe of Montréal-based choreographer and philosopher Zab Maboungou, of Franco-Congolese origin. For over thirty years, she has galvanized the contemporary dance scene with her radically regrounded conception of time, the body, and the self. Her political history, artistry, and pioneering research have empowered other African artists around the world.

 Guests in attendance, Q&A with Philip Szporer and Marlene Miller

Join us for a workshop with the creators of this film.
Performing Arts Documentary with Mouvement Perpétuel

Two kayakers navigate rough waters, their expressions focused and exhilarated. The person in the foreground paddles vigorously, splashes surrounding their red kayak. The person behind, partially obscured by splashing water, also appears engaged in the challenge, maneuvering a red kayak with a blue top deck. The backdrop is full of lush greenery and vegetation.

Paddle Tribal Waters

When the largest dam removal project in history begins, a group of Indigenous youth learn to whitewater kayak in hopes of becoming the first people to paddle the restored river from source to sea. The film gives viewers a bird’s eye view of an unforgettable group of youth training for the adventure of a lifetime.

A person stands outdoors holding a large feather and a decorated wooden box with a painted floral design. They are wearing a white button-up shirt, glasses, and have a pendant necklace of a tree. The environment includes a green tree, a house with a porch in the background, and foliage near the building's foundation. The person's expression is serious and they look directly at the camera.

My Beginnings

“You have the love and respect of your grandparents, and eventually that’s what you become.”
Knott explores her beginnings with family and love through their connection to one another, Land, water, plants, and animals. There is loss and reconnection, while also building courage “to take back my life.” The spiritual cycle continues.

PANEL: Wshkiigmong Dibaajmownan/Curve Lake Storytelling

An individual, likely a mature adult given the visible gray beard and wrinkles, is aiming a laser gun. The device is held up to their face, and their focused gaze is directed towards the target. They are wearing a gray beanie and a dark jacket, and the background is softly blurred with a clear sky, indicating an outdoor setting during the day. The device’s detailed mechanics are visible, emphasizing a the advanced technology.

Eco-Hack!

Deep in the Mojave desert, an unconventional field biologist wages a high-tech war against ravens – laser cannons, drones, exploding turtle shells – in a last ditch effort to save the last few desert tortoises from extinction.

Viewed through multiple circular vignettes, the image captures an individual engaged in the process of hide tanning. The person is wearing a red plaid jacket and a warm cap, indicating a cold environment with snow on the ground. They are using tools to scrape and work on the hide, which is stretched out on a frame. Each circular frame overlaps to create a collage effect, showcasing different stages or angles of the hide tanning process.

My Storytelling

“Using my hands are very important to me.”
Knott recounts her history, intertwined with her family and community through a motif of hands that work and create. Highlighting her mother’s highly skilled, detail-oriented, and artful moccasin-making, Knott continues that work of care. To love is to touch, forming a connection with the earth, and those you care for.

PANEL: Wshkiigmong Dibaajmownan/Curve Lake Storytelling

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