As a supporter of this powerful documentary “Sugarcane,” I feel deeply moved and inspired by the incredible journey and dedication of Emily Kassie, Julian Brave NoiseCat, and their team. Their work is a testament to the power of storytelling, especially when it comes from personal experiences and a deep connection to the subject matter.
For approximately ten months now, “Sugarcane” has been screened for the first time at Sundance, earning the Directing Award: U.S. in the documentary category. Since then, directors Emily Kassie and Julian Brave NoiseCat have secured a global distribution deal with National Geographic Documentary Films and have taken their film on a world tour. Their latest stop is the International Documentary Film Festival Amsterdam, where “Sugarcane” is showcased as part of the Best of Fests selection.
The title “Sugarcane” refers to a significant event that unfolded at a reserve, which was set off by the unearthing of unidentified graves on the site of an Indigenous residential school overseen by the Catholic Church in Canada in 2021. This documentary delves into how Native American communities were compelled to conceal decades of separation, acculturation, and abuse inflicted upon their children by a system meant to address the so-called “Indian problem.
Initially, Kassie – an experienced journalist known for telling stories about oppressed people and human rights abuses – had never thought of focusing on her own country. Upon learning about the unmarked graves at one of the harsh assimilationist schools, she felt shocked and immediately knew this was a story she needed to pursue. She also wanted to work on it with Julian.
Kassie and NoiseCat had collaborated as journalists in the past, with Kassie keeping tabs on NoiseCat’s work as a writer, storyteller, and journalist focusing on Indigenous cultures in North America. She remembers being at her sister’s wedding when Julian called her urgently, a conversation she found so significant that she left her sister’s wedding to take the call.
I’d recently sealed a book deal and hadn’t ventured into movie-making before, so I questioned my ability to handle both tasks simultaneously, as NoiseCat recounts to EbMaster upon meeting Kassie. However, it wasn’t until I watched the completed film that the depth of my family’s connection to the residential schools became apparent. At the time, I was unaware of the specific details of my father’s story within this narrative, but I knew there was a tale to be told.
In the movie, NoiseCat and his father, artist Ed Archie, play significant roles. Archie was born on the campus of St. Joseph’s Mission, which is the central focus of “Sugarcane.” As a baby, he was discovered on top of a trash incinerator, where it was suspected that newborns were being burned to hide the clergy’s systemic rape of students. To this day, Archie remains the only known survivor of the St. Joseph’s Mission incinerator.
It’s quite a strange coincidence that NoiseCat’s family had such deep connections with the school Kassie worked at before her co-director joined the project. When he first learned about this coincidence, NoiseCat thought she might be joking with him. “There are 139 residential schools to focus on,” said NoiseCat, “yet she chose the one school my family was sent to.
He clarifies that when he initially agreed to work together, it wasn’t as a cast member, but as a co-director. During the first year of production, neither he nor his family were aware that they would be the focus of any aspect of the film. He appreciates how the movie evolved naturally and was influenced by the situations of people around him.
Additionally, the movie narrates the tale of Rick Gilbert, a former leader of Williams Lake First Nation who remained devoted to his Catholic faith despite potentially being connected to the horrors at St. Joseph’s. “People, especially Rick, entrusted us with their stories when they had no power or ability to shape this project,” emphasizes NoiseCat.
In his own words, “Since I’m the child of the lone survivor from the incinerator incident and a continuation of an untold tale, I felt a sense of duty to my community about how to handle that narrative. In the end, I believe we took the correct editorial and creative path, but more importantly, it was the right choice for me personally and for my family.
Speaking about the duty involved when entering a community that isn’t her own, Kassie points out that historical documentary work often exploits Indigenous people. For instance, the first-ever ‘documentary,’ titled “Nanook of the North,” was about Inuit people in Canada, yet it presented an inaccurate and stereotypical image of a primitive society. Director Robert J. Flaherty fathered children among them before vanishing for the remainder of his life. This, she suggests, is a deeply troubling legacy.
She goes on to say, ‘Another approach might be possible.’ With careful handling, sensitivity, purpose, patience, and ample time, a camera can empower individuals. This empowerment comes when we use it respectfully, listening deeply and reciprocating genuinely.
Another significant player on the “Sugarcane” adventure is Oscar-nominated actress Lily Gladstone, who came aboard as an executive producer. We’re extremely thankful that Lily decided to be part of our team. She has almost single-handedly opened doors for Indigenous narratives and storytellers in an environment not traditionally welcoming to them, such as Hollywood, according to NoiseCat’s comments on their collaboration.
[Gladstone] comes from the lineage of survivors who attended boarding schools, and I believe it’s significant that someone who has been personally affected by such experiences now becomes an advocate for our movie,” he finishes.
As a movie reviewer, I’ve just completed my 10-month journey with the captivating film “Sugarcane.” The response has been nothing short of extraordinary! Recently, I had an emotionally charged full-circle moment when I was invited to be present at President Biden’s apology to the survivors of Native American boarding schools. This powerful experience underscores the profound impact this movie has had on both audiences and decision-makers alike.
Prior to focusing all my efforts on writing and films, I was privileged to support Deb Haaland’s appointment as the United States’ first Native American cabinet secretary. It was an extraordinary experience. Secretary Haaland even attended one of our film premieres at Sundance. To think that our movie sparked discussions not just in places like the Vatican, Parliament, and the White House is truly unique and memorable.
Kassie speaks up, acknowledging the positive response to their movie, but expressing concern over the escalating number of deaths at schools like St. Joseph’s Mission. She wonders what further actions will be taken beyond apologies. She points out that the Catholic Church and both U.S. and Canadian governments have yet to disclose their records, which is crucial for survivors to uncover the truth and move forward. Kassie emphasizes that there’s still much work left undone in this matter.
Despite the turbulent state of the world, the director expresses her gratitude, stating she feels “extremely fortunate” to be discussing her documentary alongside others produced this year. She aspires for more space for movies like theirs in the future amidst such chaos and brutality. She is grateful for the opportunity they have been given and hopes that her peers – now friends – will receive the same chance.
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2024-11-18 21:47