August 14, 2024
FILM: SUGARCANE
DIRECTED BY: EMILY KASSIE, JULIAN BRAVE NOISECAT
STARRING: CHARLENE BELLEAU, ED ARCHIE NOISECAT, JULIAN BRAVE NOISECAT
RATING: 3 out of 4 stars
By Dan Pal
I’m glad to see that we’re getting an increasing number of stories which examine the often very difficult plight of many indigenous people around the world, including in North America. There’s no doubt that such stories are extremely important to the true understanding of our history. Often, as is the case with the new documentary Sugarcane, what is presented is disturbing and not completely resolved but it allows for a degree of healing and education.
The title refers to an Indian reservation in British Columbia, Canada. Beginning in 1894 schools were established there and in the U.S. to “get rid of the Indian problem.” Children were brought to the schools, mostly run by Catholics, and were ultimately subjected to harsh treatment including abuse and death. One such mission, St. Joseph’s, was shut down in 1981 and investigations are uncovering some pretty gruesome circumstances for these children with very few arrests and convictions.
One of the filmmakers, Julian Brave Noisecat, comes from a family that was deeply affected by what was happening at these schools. He spends much of the film with his father as they attempt some kind of internal resolution for all he experienced at the hands of those running the mission. At the same time, another group is investigating the crimes and deaths while attempting to piece together who was involved, what happened to many of the victims, and where their unmarked graves are located. One such victim is followed throughout the film as he flies to Vatican City to get some kind of acknowledgement from the Pope about the Catholic Church’s involvement with the many horrendous crimes.
The documentation of these various journeys is presented using a pretty languid pace which unfortunately lengthens the film more than it needs to be. At 107 minutes, there is a bit much filler here and yet ironically, still a number of missing pieces. The directors create a very somber, heavy mood, featuring violins and lots of shots of sunsets and subjects on their way to their various destinations. This is fine if they want the audience to sit tight and let some of the details slowly unfold. However, I felt a sense of Western agitation waiting for them to get to some of the major points they seemed interested in making. What is the goal of some of these investigators and what do they hope to achieve by finding answers? Perhaps it is just a sense of healing that is aimed for but I think some of that could have been achieved with a bit more editing.
The filmmakers seem interested, and rightly so, in demonstrating on screen that the customs and culture of the Indigenous have not gone away. Yet many have been left with feelings of shame, guilt, and a deep sadness for what they and others experienced. There are only a handful of survivors left to tell their stories. It’s also interesting to see the footage that was shot several decades ago showing these children being taught to pray and accept Catholic teachings. We can see how indoctrinated they were becoming. The filmmakers, without specific saying so, illustrate the hypocrisy of one group attempting to convert another who they believe are racists. Aren’t the Catholics the racists for requiring them to give up their own traditions?
I’d have liked to see more about this perspective as well as additional details from the investigations. How many priests were involved? Have more of the unmarked children’s graves been found? Ultimately the question becomes: what should the church do besides apologize? What can further help heal the generations of Indigenous people who experienced such disrespect and abuse? How can we be sure it doesn’t happen again? That is the value of this film. People need to patiently view it to consider some of the answers.
Sugarcane won the U.S. Documentary Competition Directing Award at the Sundance Film Festival earlier this year. It is opening in very limited release this week, including at the Gene Siskel Center in Chicago.
FILM: SUGARCANE
DIRECTED BY: EMILY KASSIE, JULIAN BRAVE NOISECAT
STARRING: CHARLENE BELLEAU, ED ARCHIE NOISECAT, JULIAN BRAVE NOISECAT
RATING: 3 out of 4 stars
By Dan Pal
I’m glad to see that we’re getting an increasing number of stories which examine the often very difficult plight of many indigenous people around the world, including in North America. There’s no doubt that such stories are extremely important to the true understanding of our history. Often, as is the case with the new documentary Sugarcane, what is presented is disturbing and not completely resolved but it allows for a degree of healing and education.
The title refers to an Indian reservation in British Columbia, Canada. Beginning in 1894 schools were established there and in the U.S. to “get rid of the Indian problem.” Children were brought to the schools, mostly run by Catholics, and were ultimately subjected to harsh treatment including abuse and death. One such mission, St. Joseph’s, was shut down in 1981 and investigations are uncovering some pretty gruesome circumstances for these children with very few arrests and convictions.
One of the filmmakers, Julian Brave Noisecat, comes from a family that was deeply affected by what was happening at these schools. He spends much of the film with his father as they attempt some kind of internal resolution for all he experienced at the hands of those running the mission. At the same time, another group is investigating the crimes and deaths while attempting to piece together who was involved, what happened to many of the victims, and where their unmarked graves are located. One such victim is followed throughout the film as he flies to Vatican City to get some kind of acknowledgement from the Pope about the Catholic Church’s involvement with the many horrendous crimes.
The documentation of these various journeys is presented using a pretty languid pace which unfortunately lengthens the film more than it needs to be. At 107 minutes, there is a bit much filler here and yet ironically, still a number of missing pieces. The directors create a very somber, heavy mood, featuring violins and lots of shots of sunsets and subjects on their way to their various destinations. This is fine if they want the audience to sit tight and let some of the details slowly unfold. However, I felt a sense of Western agitation waiting for them to get to some of the major points they seemed interested in making. What is the goal of some of these investigators and what do they hope to achieve by finding answers? Perhaps it is just a sense of healing that is aimed for but I think some of that could have been achieved with a bit more editing.
The filmmakers seem interested, and rightly so, in demonstrating on screen that the customs and culture of the Indigenous have not gone away. Yet many have been left with feelings of shame, guilt, and a deep sadness for what they and others experienced. There are only a handful of survivors left to tell their stories. It’s also interesting to see the footage that was shot several decades ago showing these children being taught to pray and accept Catholic teachings. We can see how indoctrinated they were becoming. The filmmakers, without specific saying so, illustrate the hypocrisy of one group attempting to convert another who they believe are racists. Aren’t the Catholics the racists for requiring them to give up their own traditions?
I’d have liked to see more about this perspective as well as additional details from the investigations. How many priests were involved? Have more of the unmarked children’s graves been found? Ultimately the question becomes: what should the church do besides apologize? What can further help heal the generations of Indigenous people who experienced such disrespect and abuse? How can we be sure it doesn’t happen again? That is the value of this film. People need to patiently view it to consider some of the answers.
Sugarcane won the U.S. Documentary Competition Directing Award at the Sundance Film Festival earlier this year. It is opening in very limited release this week, including at the Gene Siskel Center in Chicago.