From the daily archives:

Wednesday, October 21, 2009

The Experimental Eskimos

The Experimental Eskimos (Director: Barry Greenwald): In the early 1960s, the Canadian gov­ern­ment car­ried out an “exper­i­ment” by sending three Inuit boys who showed aca­demic promise to be edu­cated in the public schools of Ottawa. Separating these boys from their fam­ilies for most of their teenage years had long-term neg­ative effects, but the edu­ca­tional oppor­tunity also helped them achieve great things for their people.

Peter Ittinuar and Eric Hanna Tagoona were child­hood friends in Rankin Inlet when gov­ern­ment offi­cials arrived to admin­ister IQ tests at their school. Zebedee Nungak was sim­il­arly tested in his com­munity, Puvurnituq. Among their class­mates, these three scored highly and sud­denly they were whisked off to a new life in “the South.” Their foster fam­ilies likely meant well, but for­bid­ding them from speaking in Inuktitut and con­stantly trum­peting the superi­ority of the “white” way of doing things only lowered their self-esteem. In Eric’s case, he says he forgot almost all of his native lan­guage within the first year. When the trio returned north after high school, they were treated with sus­pi­cion. When they forgot Inuktitut words or skills from their youth, they were ridiculed. But they also knew how poorly the Inuit were treated in com­par­ison with the rest of Canadians, leading each man to become polit­ic­ally active in the volatile cli­mate of the early 1970s.

Perhaps the most vis­ible was Ittinuar, who became the first Inuk MP, elected in 1979 as a member of the NDP. Later he would be involved in the cre­ation of Nunavut, the largest self-governing abori­ginal ter­ritory in the world. Nungak was deeply involved in nego­ti­ating the James Bay Agreement in which the pro­vin­cial gov­ern­ment of Quebec settled with the native com­munities in order to build a vast hydro-electric pro­ject. And Tagoona was a key Inuit leader who pres­sured the Liberal gov­ern­ment to include native rights in the Constitution, which was repat­ri­ated in 1982. But as the years passed, each man also struggled with the effects of the exper­i­ment, and with the com­prom­ises made to achieve these polit­ical gains. All of them felt a bit like out­siders to the com­munity they had worked so hard to rep­resent, and the con­sequences included alco­holism, drug addic­tion and failed rela­tion­ships. As the film ends, the three are pur­suing a fin­an­cial set­tle­ment from the Canadian gov­ern­ment for what Zebedee Nungak refers to as “post-traumatic stress disorder.”

The film is struc­tured around a reunion between the three friends in Rankin Inlet, and each man is given gen­erous camera time to tell his own story, as well as to com­ment on the struggles of his friends. It’s clear that all three have been dam­aged by the exper­i­ment, but what’s also clear is that without it, each man may have remained in his com­munity, per­haps only achieving his boy­hood dream of becoming a good hunter. The paradox is implicit in the film, and yet I would have liked Greenwald to explore it a bit fur­ther. When all three are together, they seem eager to talk about the neg­ative effects, to the exclu­sion of the way their exposure to “white” society dir­ected their anger into polit­ical action. This type of reflec­tion would have made their stories a bit more com­plex. As well, it would have been inter­esting to hear more from the “white” side, including the government’s own assess­ment of the suc­cess or failure of the exper­i­ment, and any recol­lec­tions from some of their Ottawa class­mates and friends.

Overall, though, the film offers a per­sonal look at a pivotal time in the devel­op­ment of abori­ginal polit­ical aware­ness in Canada, and in par­tic­ular at three fas­cin­ating men who have each made invalu­able con­tri­bu­tions to Inuit and Canadian history.

The Experimental Eskimos is screening as part of the 2009 Docfest Stratford (Stratford, Ontario) on Saturday October 24 at 4:30pm at Stratford City Hall. It will then screen as part of the Regent Park Film Festival here in Toronto on Thursday November 5 at 7:30pm.

8/10(8/10)

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Toronto Reel Asian International Film Festival 2009

Each year, the Reel Asian festival’s lineup gets stronger and stronger, and this year looks par­tic­u­larly good to me. Now in its 13th year, this annual fest­ival of cinema from East and Southeast Asia will bring 49 films from 14 dif­ferent coun­tries to Toronto audi­ences from November 11–15. Here are a number of films I’m par­tic­u­larly excited about:

When The Full Moon Rises (Malaysia, Director: Mamat Khalid): A mashup of film styles including film noir, horror, slap­stick and musical make this hard to resist. Disgraced journ­alist Saleh blows a tire out in the coun­tryside and soon finds him­self in a very strange vil­lage filled with gang­sters, spies and cab­aret singers. A string of dis­ap­pear­ances keep him in town to write the story he knows will get his career back on track. That is, if he can sur­vive to tell the tale.

White on Rice (USA, Director: Dave Boyle): Reel Asian always seems to have at least one zany comedy sched­uled each year (Finishing the Game, Ping Pong Playa) and White on Rice seems to take the same delight in playing with Asian ste­reo­types as those other films did. Jimmy is a 40-year-old Japanese man who comes to the US to live with his sister’s family after a painful divorce. Sharing a room with his 10-year-old nephew doesn’t seem to bother him, though, as Jimmy’s a bit of a child himself.

Breathless (Korea, Director: Yang Ik-Joon): Described as both incred­ibly brutal and incred­ibly moving, this story of a violent man who meets his match in a school­girl has been scooping awards all over the place, most recently win­ning the award for Best Feature Film at Montreal’s Fantasia Fest. If I know any­thing about Korean dramas, there won’t be a dry eye in the house by the end.

Fish Story (Japan, Director: Yoshihiro Nakamura): I count on fest­ivals like Reel Asian and Toronto After Dark to bring me some of the stuff from the fringes of Asian cinema, too. While Asia pro­duces a huge number of accom­plished “art” films, it also pro­duces some stuff that’s just plain weird. Japan is a par­tic­ular source of strange cinema, and Fish Story seems a per­fect example. In 2012, a giant comet is set to des­troy the earth, but all is not lost. A for­gotten punk band’s obscure song will save us. Somehow. I’m a sucker for Japanese films that fea­ture bands, so whether this makes any sense at all isn’t really that important to me.

Those are just a few of my picks so far, but I’m sure there will be a few sur­prises as well. Tickets and passes are on sale now. See you at Reel Asian!

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