I honestly kind of find the skelepider idea to be adorable.
The skelespiders themselves, or the context I put them in? Because even I, as a spider enthusiast, would start screaming and never stop if I saw one of those clacking towards me. In the land of the dead. Where the sun never rises and there’s no sure way to get home
I mean, I guess I’d get used to them, but like
It really depends on how much I know about them (beforehand) and how much control I have over them.
Here, have a (100% percentage anatomically correct) spider skeleton for your contribution.
Headcanon that if anyone, gem or human, asks where Amethyst is from (no matter what the degree of specificity) she just responds with whatever state/locale the Kindergarten is in B/c can you just imagine when she went places with greg and vidalia like you meet a magical purple girl with a giant jewel on her chest who can take any form at will at a concert and you’re like “from what mystic world do you hail” and she’s like “Missouri”
Indigenous cinema, at least in its contemporary form, is only 40 years old, and the fact that there are films to be left off a list like this is testament to its rapid development and to the artists who have taken up the camera to tell their stories.
Here are 10 amazing films that are a great starting point for a journey into indigenous cinema history.
1. Atanarjuat: The Fast Runner, 2001 (Canada)
The first Inuktitut language feature is also the most important film in Canadian history, bringing epic film making to a Northern legend. It won Official Selection at the 2001 Cannes International Film Festival, and remains the highest grossing indigenous film in Canadian history.
2. Bastion Point Day 507, 1980 / Incident at Restigouche, 1984 (New Zealand / Canada)
These two activist documentaries were often paired on the festival circuit and are among the most important films in contemporary indigenous cinema. Directors Merata Mita and Alanis Obomsawin seemingly willed indigenous cinema into life with these two endlessly fascinating historical documents.
3. Bedevil, 1993 (Australia)
Tracey Moffat’s dreamscape/ghost story began indigenous cinema’s move away from traditional cinematic narrative structures and remains an under seen masterpiece.
4. The Dead Lands, 2014 (New Zealand)
Toa Fraser’s martial arts epic is bloody and bold, recreating pre-contact New Zealand and featuring remarkable, bone crunching performances. Coming soon to theaters.
5. Four Sheets to the Wind, 2007 (U.S)
Sterlin Harjo’s gripping feature is a descendant of Smoke Signals, portraying contemporary Indigenous life with an unflinching eye and open heart. It won a Special Jury Prize at Sundance for Tamara Podemski’s remarkable performance.
6. Kanehsatake: 270 Years of Resistance, 1993 (Canada)
Alanis Obomsawin’s documentary epic chronicles the Oka Crisis in Quebec and helped shift the dialogue around Indigenous issues in Canada and globally. It was the first documentary to ever win the Best Canadian Feature award at the Toronto International Film Festival.
7. Once Were Warriors, 1994 (New Zealand)
Lee Tamahori’s ferocious and exhilarating portrait of an urban Maori family was the first indigenous feature to have a truly global presence. Among the highest grossing films in New Zealand history.
8. Rhymes for Young Ghouls, 2013 (Canada)
Jeff Barnaby’s debut feature brings the anger to indigenous cinema, a clarion call for both the cinematic community and the indigenous community. A director to watch for years to come.
9. Samson and Delilah, 2009 (Australia)
Warwick Thornton’s Camera D’or winner is a searing depiction of modern life in Australia and a marvel of naturalism and restrained storytelling.
10. Smoke Signals, 1998 (U.S)
Chris Eyre’s road movie based on Sherman Alexie’s screenplay is a touchstone for indigenous cinema, bringing humour to a story of contemporary Indigenous life. Also features the core of young performers such as Adam Beach, Michelle St. John, Irene Bedard and Gary Farmer who would go on to star in numerous other films in the ensuing years.
More films not listed here — Ten Canoes, Charlie’s Country, Patu!, Barking Water, Trudell, Before Tomorrow, Mohawk Girls.
Yet when we came back, late, from the hyacinth garden,
Your arms full, and your hair wet, I could not
Speak, and my eyes failed, I was neither
Living nor dead, and I knew nothing,
Looking into the heart of light, the silence.
For example, we often hear that necromancy was outlawed because it was a devilish practice that depended upon the power of Satan for its effectiveness. What you do not hear is that necromancy was an aspect of ancestor worship, and that part of outlawing it involved making it illegal to bury your family members on your own land. Suddenly, you were required to bury your dead in Church-sanctioned graveyards. This effectively removed one of your most solid claims to ownership of your ancestral land. It was no longer the place where you could prove your forefathers lay buried. It made it easier for authorities to come along and kick you out of your home and take state ownership of the land your family had left to you. This also supported the ultimate goal of breaking up family clans, and the political power and wealth that often went along with them.