indigenous film circle 2011
TRANSCRIPT
Elevating Indigenous Voices in Cinema through a Global Network
The Indigenous Film Circle
MissionWith the support of our funders, the International Sámi Film Centre (ISF) has initiated a new global network of prominent indigenous filmmakers and supporting organizations to help foster and promote the growth in indigenous storytelling through film. One of the main objectives of this new network, titled “Indigenous Film Circle” is to advise and facilitate an international film scholarship, “The Indigenous Film Fellowship” (IFF) that partners emerging indigenous film talent with notable and distinguished filmmakers worldwide in a two year program aimed at developing strong and compelling scripts and preparing solid marketing and financing plans before going into production.
In addition, the Indigenous Film Circle also helps sustain the growth and connectivity for indigenous films by bringing together individuals and organizations for continued dialog through conferencing and digital resources on the Internet. Both the Indigenous Film Circle and the Indigenous Film Fellowship fulfill the ISF’s mission to strengthen the indigenous film network while also helping support and develop strong new talent within the film industry through the creation and growth of a permanent network for indigenous filmmakers and supporting partners globally.
Project DescriptionIn the summer of 2011, the ISF launched an open call for submissions seeking new film projects by emerging talent in indigenous film from around the world. For this first year, the ISF received over fifty applications. Through a formalized process of review and rating by the ISF and participating partners, the Indigenous Film Circle selected eleven projects and filmmakers for the scholarship. The first gathering of selected fellows and mentors was scheduled to overlap with the first Indigenous Film Conference in late October where the announcement of official Indigenous Film Fellowship participants took place. Also at the conference were leaders in the Scandinavian film industry and indigenous filmmakers and funders were also in attendance. Free screenings to the attendees and to the public highlighted some of the best new Sámi films and indigenous media from diverse regions in the world providing just an insight into the talented work being made today.
The Indigenous Film Circle boasts an impressive group of filmmakers as their Fellowship Mentors. The first IFF gathering and workshop took place at the International Sámi Film Centre in Kautokeino, Norway. Also during this time, each of the mentors offered a two-hour master class in film development for the fellows. Topics included writing screenplays, telling personal narratives, visualizing the story and thinking ahead towards marketing and distribution as you develop your script.
Over the next year, the IFCircle and its mentors are dedicated to review, advise and provide critical feedback to help ensure all fellows’ projects develop into screen-ready scripts. The Indigenous Film Fellowship will meet again during 2012 to assess any script development needs and next steps in each project’s production planning.
The aim of the Indigenous Film circle is to create a lasting network and establish an Indigenous film fund to support emerging Indigenous film talents world wide.
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Ice Cinema, Guovdageaidnu
Indigenous Film Circle Mentors’ BiographiesChris Eyre is an award-winning director and producer from South Dakota. He began his film career studying at New York University’s Tisch School for the Arts, where his short film “Tenacity” took home the Mobile Award for “best film.” Shortly after, Eyre’s directorial debut at the Sundance Film Festival with “Smoke Signals” won the Audience Award and has gone on to become the most famous Native film in Indian Country. Since, he has gone on to make several feature films including “Skins” and “Edge of America” and has directed several television episodes for series such as “Law and Order: SVU,” “Friday Night Lights,” and directed three of the five-part mini-series “We Shall Remain” for PBS. Eyre has been described as “the preeminent Native American filmmaker of his time” by People magazine. In 2007 he was selected for two prestigious artist awards – the United States Artists Fellowship and the Bush Foundation Artists Fellowship in Film/Media. His most recent film, “A Year in Mooring” premiered at the 2011 SXSW Film and Music Festival.
Donald Ranvaud began his filmmaking career teaching at the University of Warwick and East Anglia. In 1975 he launched the magazine on independent cinema, Framework. He also freelanced for several other film journals such as Cahiers du Cinema, Sight and Sound, The Guardian and several others. In 1989, with Renee Goddard, he formed the European Script Fund (part of the MEDIA Programme of the Commission of the European Community) and later helped get the Media Programme fully integrated into the EC Policy. Ranvaud is concerned with discovering and nurturing filmmakers and empowering them to find their true creative voices in a sustainable and cost effective manner and has worked tirelessly as an ubiquitous ambassador for Latin and Centro American cinema, campaigning for and raising the profile of lesser known film industries through-out the region in scores of ventures and projects, from film festivals to film funds. Some of his joint ventures include the creation of Artes Andes Americas, an
From Top to Bottom, Left to Right: Chris Eyre, Heather Rae, Donald Ranvaud, Álvaro Sarmiento Pagán, Orgun Wagua, Annie Nocenti, Elle-Máijá Tailfeathers, Darlene Johnson, Sara Magrethe Oskal, Edgar Noé Sajcabún Mux, Philipp Abryutin, Mikael Olsen, John Utsi, Valarie Jernigan, Tvli Jacob and Siljá Somby. Photo by Sergey Gavrilov for the International Sámi Film Centre.
Chris Eyre
Donald Ranvaud
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She continues to bring film training programs from Mexico to Kingston, New York and has an uncanny ability to modify and tailor each program for the varying communities she has worked in. Annie teaches anything from screenwriting to no-budget filmmaking. For each program she helps to create, she works with the communities to ensure the sustainability and training continues for years to come. She also writes comic books and consults on film scripts for Marvel Comics and DC (Spider Man, Typhoid Mary, Dare Devil), was the editor of Scenario – the magazine for screenwriting art and has interviewed film greats such as Coppola, Polanski, Soderberg, Aronofsky, Mel Brooks and Steve Martin. Some of her films include two documentaries shot in Pakistan “The Baluch” about the Baluch insurgency and “Disarming Falcons” about the ancient art of falconry and the “48 Hour Film.” Annie was recently honored at the 2011 Tulsa International Film Festival with a Humanitarian Award for her work with youth and media.
Mikael Olsen has worked in many various positions in the Danish Film and Television industry for the last 25 years – as screenwriter, producer, script editor, chairman of the writers guild and commissioning editor. Working as such in Danish Filminstitute he had both luck and horse-sense to commission “Dancer in the Dark,” “Fucking Åmal” and several dogma films. He has been working with the infamous Danish production company Zentropa the last ten years as a producer and has been attracted to coproduction in Scandinavia and Europe coproducing the first Sami feature “Bazo” (2003) since “The Pathfinder.” He produced “Visions of Europe” bringing 25 European directors together each contributing a 5 minute film about their view of Europe amongst which were Jan Troell, Aki Kaurismäki, Fatih Akin, Peter Greenaway, Bela Tarr, Malgorzata Szumowska to mention a few. Besides producing and writing a number of Danish films he also has contributed to other European and Scandinavian films – most lately to award-winning films as “33 Scenes of Life,” “Metropia” and the documentary “Videocracy.” He has been teaching and organizing workshops about filmmaking for the last 15 years alongside his other work always regarding himself to be the first pupil in any class.
institute for Film and Theater in Yotala, Bolivia, Rain Networks – a São Paulo-based Digital Cinema company, and Buena Onda Limited, a production company whose principal activity is geared towards nurturing and developing new writing and directing talent. Several films he has produced have received international accolades including numerous Cannes, Venice and Academy Award-winning films such as “City of God,” “The Constant Gardener” and “Farewell My Concubine.” He also serves on several film festival juries, most notably Biennale Cinema di Venezia, Sundance NHK Latin American Panel, Thessaloniki and Palm Springs.
Heather Rae’s diverse film background includes being the former director of the Native Program at the Sundance Film Institute where she helped shape the careers for many Native American voices in cinema today. Since, she has made over two dozen films and documentaries in various roles. In 2009, Variety named her one of “10 Producers to Watch” for her success with both independent and mainstream films. In 2008, Rae produced the Grand Jury Prize-winning film at the Sundance Film Festival, “Frozen River,” which won two Independent Spirit Awards, including one for Rae as Producer of the Year and also received two Academy Award nominations. In 2005, she released her feature length documentary about the life of John Trudell, a project that was 13 years in the making and took home several awards winning Best Documentary Feature at the American Indian Film Festival and a Special Jury Prize for Best Documentary at the Seattle International Film Festival. In 2007 “Trudell” was nationally broadcast on PBS in the documentary series Independent Lens. Rae’s documentary “First Circle,” about the foster care system and the impact of drugs on families and children, recently premiered at the 2010 Woodstock Film Festival. Prior to Sundance, Rae worked as a producer on such documentaries for television as CBS’ “500 Nations” and PBS’ “Storytellers of the Pacific.” After leaving Sundance, she began producing feature films, including “American Monster,” starring Adam Beach, Gary Farmer, and Udo Kier.
Annie Nocenti lives in New York City, but her work takes her to far distances for long periods of time. She helped launch the Ciné Institute of Haiti in partnership with Francis Ford Coppola to educate and empower Haitian youth through cinema.
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“I admire storytellers and organizations that acknowledge that they can change the world with a good message and that their intent will have an effect on people far into the future...”
Chris Eyre, Director and Producer, USA
“Indigenous voices must stand out proud and insist on our attention with the power of myth and story granted to them since the beginning of time.” Mikael Olsen, Producer Zentropa, Denmark
“The notion of bringing together indigenous peoples from around the world into a film network is groundbreaking and brilliant.”
Annie Nocenti, Producer, New York, USA
“The sensibilities of indigenous film makers are radically different from those of western societies and have a crucial role to play in helping us to emerge from the confusion that dominates our lives.”
Donald Ranvaud, Producer, Brazil
“Besides being praiseworthy, the initiative also seems timely... We want to tell authentic stories from the breathing lives of indigenous people living in contemporary time.” Nick Vivarelli, Variety
“In a world of demented globalization and overwhelming cultural homogenization, the loss of individual voices in cinematic storytelling goes hand in hand with the decimation of indigenous cultures. This loss not just the loss of the indigenous peoples of the world – it is everyone’s loss – the loss to our global patrimony. I believe that the aims, goals and activities work of the Indigenous Film Circle can bring a whole new innovative approach to protecting the stories and voices of the rapidly diminishing Indigenous communities around the globe. Long may it thrive, and its excellent work to date be continued.”
Mike Downey, CEO/Producer Film and Music Entertainment Ltd. (F&ME)
Member of the Board of the European Film Academy (EFA)Member of the Council of the British Academy
of Film and Television Arts (BAFTA)
Indigenous Film Circle Fellows’ Project Synopses and Biographies
“Sunrise Diary” by Philipp Abryutin (Chukchi, Russian Federation)
Based on the true stories of the director’s grandmother’s life, we follow the journey of a Chukchi reindeer herding woman who marries an outsider to her community and reconciles the many hardships of leaving and returning home in the shifting political climates of Russia’s modern history.
Philipp Abryutin is from the Chukotka region of the Russian Federation and received both his Masters and PhD in Dramaturgy from the famous VGIK/All-Russian State University of Cinematography. In 2008, his Master’s thesis film “Prevention of Repeated Crimes” won several awards at the 28th Moscow International Film Festival including the Spectator Award given to the best student film. His most recent short, “Ivan and Ivan,” premiered at the prestigious Documentary Fortnight showcase at the Museum of Modern Art in New York and later at the SXSW Film & Music Conference in Austin, Texas. He currently works as a producer for Proveshenie TV in Moscow.
“El Espíritu de las Piedras/The Spirit of the Stones” by Rosa Chavéz (Maya Kicha, Guatemala)
Lisandro is a Kaqchikel Mayan boy born with a destiny. When he follows a strange bird into a cave he discovers an obsidian stone that becomes his guide. Years later, we follow the grown up Lisandro, who has become an artist, teacher and a spiritual guide for his people. A lead example to younger generations and a motivator for his peers through the use of art, media and spiritual practices, his destiny gets cuts short when he is kidnapped, tortured and killed. Based on a true story, the film disects the society at large and the recent crime that is still under investigation that shook the hearts and minds of the Mayan people in Guatemala.
Rosa Chavéz is a Maya Kicha filmmaker and artist from Chimaltenango, Guatemala. She began her formal studies in film at the School of Film and Television at Casa Comal in 2010 and graduates in 2012. Rosa received her Masters diploma in the “Reconstitution of Being Maya” from the CIESAS/Sureste Anthropology Department in México in 2008. She is also a poet, actress, producer and cultural manager of literary festivals and artistic events. Rosa is actively engaged in socio-cultural organizations asserting the vocal rights and knowledge of Mayan way of life. She wrote and directed the soon to be released film “Mirror” as part of her studies at Casa Comal and is also working on a documentary about Sámi joiker and musical artist Mari Boine.
“Trickster” by Tvli Jacob & Valarie Blue Bird Jernigan (Choctaw, USA)
After Joe loses his job, his girlfriend and eventually his life, he makes a deal with Death. He wants to find his true love before he goes to the spirit world. Death gives him the chance, but their journey gets sidetracked when Coyote intervenes to enlist Joe and Death in his quest to kill a monster from the Underworld that is hell-bent on destroying the Earth.
Tvli Jacob and Valarie Jernigan are both from the Choctaw Nation of Oklahoma. Tvli gained most of his film experience by working on several documentaries for film and television, including PBS’s “We Shall Remain” series, “America’s First Horse: Hidalgo and the Spanish Mustang” narrated by Viggo Mortensen, and was most recently a runner-up in the NBC/Universal Comedy Short Cuts competition. He has worked as a scriptwriter for the popular daytime drama “One Life to Live” and was also the recipient of the ABC/Walt Disney screenwriter scholarship. Valarie studied creative writing at Yavapai College in Arizona and went on to study film at Stanford University and UC Berkeley, where she earned her PhD in film and public health. Valarie’s first two shorts, “A New Frontier” and “Carver,” premiered at the 2009 American Indian Film Festival in San Francisco. Her first feature film “Forty Winters” won the 2010 Documentary Film Award from the California Council for the Humanities and is currently in post-production.
Philipp Abryutin Tvli Jacob
Valarie Blue Bird JerniganRosa Chavéz
“Baru” by Darlene Johnson (Dunghutti, Australia)
A young TV journalist sets out to a remote indigenous community on a story and ends up on a roller coaster adventure that tests her faith, endurance and friendship with another woman from a totally different world from hers. Baru is suspense thriller about being stuck between the mythical Aboriginal world and the harsh daily existence of the treacherous Australian bush.
Darlene Johnson is from the Dunghutti people of eastern Australia. Her career as writer/director started with the internationally acclaimed short film “Two Bob Mermaid” in 1996, about the ‘assimilation era’ of post-war Australia. She continued to explore themes around race, identity and perception in both documentary and fiction, from “Stolen Generations” which was nominated for an International Emmy Award to “Stranger in My Skin” and “The Making of Phillip Noyce’s ‘Rabbit-Proof Fence’” to her supernatural fictional drama “Crocodile Dreaming” which featured the first-time pairing of legendary Aboriginal actors David Gulpilil and Tom E. Lewis. Darlene has currently been producing for Message Sticks, making documentaries for the Aboriginal programs unit at ABC-TV.
“Let’s Get Married” by Sara Magrethe Oskal (Sámi, Norway)
The story is about a young modern couple living in a Sámi village. After deciding to get married in an untypical season for weddings, both become challenged by their modern ways clashing with their binds to tradition. She is an artist and single mother, and he is a reindeer herder from the same village. The groom takes action to manage the economic costs: by illegally slaughtering reindeer. Despite all this, things seem to be going well until the bride suddenly surprises her fiancé near the end of their courtship.
Sara Magrethe Oskal is Sámi from northern Norway. She began her artistic career working in theater for the Beaivváš theatre in Kautokeino as an actress and has since devoted much of her time to pursuing all aspects of drama, from acting to writing and to recently delving into the world of film and television through courses at the International Sámi Film Centre in 2009 and at Sandnes in 2010. She has been a writer
for Sápmi Children’s television on NRK, directed the audio theater of “Beaivealgu” and is also a published award-winning author. In 2010, she received her doctorate in performing arts from the Oslo National Academy of Arts. Most recently, Sara has been touring with her self-written, directed and acted one-woman show titled “The Whole Caboodle.”
“El Tiempo en las Montañas/The Time in the Mountains” by Edgar Noé Sajcabún Mux (Maya, Guatemala)
Yax, a Mayan boy, dreams of traveling to the stars, deep in the roots of an old tree believed to be in a spaceship. But a natural disaster destroys his family’s entire crop of cornfield, so the father is forced to cut the tree and sell the timber to address their economic needs. Yax and his grandfather cannot stop this and as the tree is cut the grandfather dies. While mourning the loss of the tree and his grandfather, Yax discovers an offshoot of the fallen tree. That’s when he realizes the necessity of death for the renewal of life.
Edgar Noé Sajcabún Mux is a Mayan indian from a rural corn-farming community in the mountains of Guatemala. Growing up through devastations caused by war and natural disasters, Edgar witnessed the loss of his Mayan culture and language which has since motivated him to pursue storytelling through film in order to bring Mayan stories of past and present to wider audiences. He received a Bachelor’s degree in Screenwriting from the International Film School in Cuba and is also the recipient of the Ibermedia Award in 2009 for his script “The World’s Largest Home.”
Darlene Johnson
Sara Magrethe Oskal
Edgar Noé Sajcabún
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“Kay Pacha/Now” by Álvaro Sarmiento Pagán (Quechua, Peru)
Lucio returns to the rural community of Rancas after living in exile for trying to prevent the local mayor from selling communal land to a mining company. Everything starts to become more complicated when Lucio falls in love with Chaska, the daughter of the mayor. Lucio soon finds himself accused of terrorist acts and both he and Chaska fight to defend their land and their honor in this story which blends both mythic time and facts.
Álvaro Sarmiento Pagán is Quechua from the Andes of Peru and dedicates his life to preserving indigenous culture and language and defending indigenous rights. He has two bachelor degrees, one in Communications from the University of Lima in 2003 and in Film from the University Estacio de Sa in Rio de Janeiro, Brazil in 2006 where he made his first films. He has gone on to make several films as writer, director and producer, including “La Oroya: Full Metal Air” that won the Audience Award for Best Short Film at the Sydney Latin American Film Festival in 2009 and also Best Peruvian Film Production in 2007 from the CONACINE (Peruvian Film Institute). One of his most recent projects, the feature-length documentary “Cerro de Pasco: The Forgotten City” screened at the 2011 Festival Internacional de Cinema del Medi Ambient Festival Internacional de Cinema del Medi Ambient in Barcelona, Spain and won both Best Human Rights and Best Environmental film awards from the Cusco International Short Film Festival.
“Keeper of the Drum” by Siljá Somby (Sámi, Norway)
Magda is a 30 year old art student living in Oslo. Through an art assignment she learns that she might be of indigenous Sámi ancestry. This sends her on a life changing experience as she starts meeting incredible people and in extraordinary situations. Ultimately, Magda is pushed to the edge and she starts using desper-ate measures in her journey for answers. With her sanity at stake, she has to use all the strength she possesses to find out who are her friends and who are her enemies in her quest to find out who she really is, and her purpose in life.
Siljá Somby is a graduate from Lillehammer College with a BA in Directing. She has directed several short documentaries for NRK as well one short fiction film. Besides being a director for many educational documentaries she has also led multiple film workshops for children and youth. One of the workshops was a mini-film school that resulted to the production of two short films. She has also worked on several animation films, translating and dubbing them into the northern Sámi language and has been working with film politics as the current leader for the Sámi Film Association. Siljá was the main architect behind the programming for the Sámi Film Festival where she was the lead programmer in its founding years. Currently, she is writing her first feature film and most recently completed writing the first draft of a fictional television series for children in a collective writing team.
“Untitled” by Elle-Máijá Tailfeathers (Blackfoot/Sámi, Canada/Norway)
This story is one that is inspired by children’s innate ability to overcome pain and adversity through the power of their mind and their connection to the spirit world. In Blackfoot culture, children are believed to have a very close connection to the spirit world. This is the story of a young Blackfoot girl named Virginia and her ability to escape the pain of her experiences in residential school through her connection to the magic of that spirit world.
Elle-Máijá Tailfeathers is Blackfoot from Kainai (The Blood Reserve, Canada) and Sámi from northern Norway. Elle-Máijá is a graduate of the full-time Acting Program at Vancouver Film School. She also recently completed her Bachelors degree with a major in Indigenous Studies and a minor in Women’s and Gender Studies at the Uni-versity of British Columbia. Her film and TV credits as an actor include “The Guard”, “The Reaper”, “Shattered”, “Another Cinderella Story”, as well as a number of U.S. and Canadian national commercials. Along with her acting work, she is also an emerging filmmaker, published writer, and activist. Her film “The Bandit” was among the top ten Canadian national finalists in MTV’s For the Reel competition. Most recently, she wrote, directed and produced an experimental short film entitled “Bloodland” which has been accepted into a number of international film festivals including ImagineNATIVE in Toronto and the Vancouver International Film Festival.
Álvaro Sarmiento Pagán Siljá Somby
Elle-Máijá Tailfeathers
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“Mr. No One” by John E. Utsi (Sámi, Sweden)
The story is about a man lost in between two ethnic groups. Being born as a Sámi but brought up by Swedish farmers in the 1950s, he realizes that he is both a Swede and a Sámi, but his peers don’t recognize him as such. The Sámi accuse him of being a Swede, and the Swedish bully him as one of those “good-for-nothing-Lapps.” In spite of this, Niillas becomes very successful in life. But when he falls in love and starts dating the village’s most popular girl he faces severe problems. He has crossed an invisible line and has to cope with the consequences. For him they become fatal.
John Erling Utsi is a Sámi journalist, writer and emerging filmmaker from the Jokkmokk area of northern Sweden. He has been working as a journalist since the mid-70s, in publishing for newspapers and magazines and in television and radio. For thirty years he has produced news and programs for Sámi audiences and ten years ago he started his own production company. He has worked on several documentaries for Swedish and Norwegian television and film, including three that he wrote and directed. All his work pertains to indigenous culture and people. Of noted films, he wrote and narrated the IMAX produced film “The Great North” about Arctic peoples, “The Winds in My Heart” about Nils A Valkeapää and “The History of the Sámi,” a three-hour documentary made in partnership with Agaton Films. In the coming months, John will be publishing his first book made for Sámi children called “Cugo (the Puppy.)”
“El Retorno de las Garzas/The Return of the Herons” by Orgun Wagua (Kuna, Panama)
A young Kuna man returns to the village his family has been living in since the 1980s when they were in search of better economic opportunities. He soon realizes his village, which sits on the border of Panama and Colombia, has changed quite a bit. In need of money, he takes an offer from a business man to deliver a few parcels to Panama City and is eventually thwarted by the police. This film addresses the drug trafficking issues of our country and attempts to address the misrepresentation of the Kuna people living in these remote areas overran by the drug cartel.
Orgun Wagua is of Kuna origin from the island of Ustupu in Panama. When he was 15 he moved to Panama City to continue his studies. Soon he became involved in various indigenous movements across the country and in 2005 he won a scholarship for a filmmaking workshop at EICTV. Later that year he started working as a writer and co-director as part of the Igar Yala Collective for what is considered the first dramatic feature film from Panama “Burwen Dii Ebo/The Wind and the Water.” “Burwen Dii Ebo” screened at several acclaimed film festivals such as the Sundance Film Festival in Park City and took home several awards in many other international film festivals. The Hollywood reporter describes the film as “hauntingly beautiful.” Orgun worked as a production assistant at Ngaba Films from 2005 to 2007 and later as a director and producer at the State Service of Radio and Television (SERTV) in Panama. In 2008 he won a scholarship to study at the International Film and Television School of San Antonio de los Bañols in Cuba where he graduated with a film degree in 2009.
John Erling Utsi Orgun Wagua
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Indigenous Film Circle Mentors and Fellows at the Indigenous Film Circle workshop in Guovdageidnu, Norway, October 2011.
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ContactAnnelajla [email protected]
“To the top of the world, to the icy tundra, to the blue winter, illuminated by the northern lights, from where our ancestors are watching us. We call upon our sisters and brothers, to join us to create a change, to empower our voices, so that the world will listen. An echo from the beginning of time, a reminder to the modern world, what is about to be forgotten.”
Anne Lajla Utsi, ISF Director
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