FourthCinema Native Film Festival 2020 Program

Films will live-stream on Saturday, June 6th, 2020 at

June 6th, 2020 (all times are in the Central U.S. timezone).

Shorts Program (5:30 PM-6:10 PM)

Délia 9 to 5 | Dir., Délia Gunn | 3 min. | 2018


A direct and unvarnished – yet tender and humorous – portrait of a typical day in the life of director Délia Gunn at Réservoir-Dozois while she is eight months pregnant.

Children of the Nomad | Dir., Evelyne Papatie | 2 min. | 2018


From a family of nomads, the filmmaker writes a magnificent, poetic letter to her children in which the bicycle becomes a powerful symbol of heritage, transference, and coming together.

Krystal | Dir., Briar Grace Smith | 13 min. | 2019


When a young woman is released from jail and goes straight to a party, she’s forced
to confront events from the past and the realisation that the person that she wants to
see the least, is the person she needs the most: her mum.

Woman Dress | Dir. Thirza Cuthand | 6 min. | 2019


Pre-contact, a Two Spirit person named Woman Dress travels the Plains, gathering and sharing stories. Featuring archival images and dramatized re-enactments, this film shares a Cuthand family oral story, honoring and respecting Woman Dress without imposing colonial binaries on them.

Naked Island – Detention | Dir., Elle-Maija Tailfeathers & David Seitz | 37 sec. | 2017

naked island

This ultra-short film proves that walls are real and borders are imaginary with an animated critique of long-term detention for minors in immigration centers.

Naked Island is a series of 14 super-short and incisive films that expose the dark underbelly of modern-day society.

Little Chief | Dir., Erica Tremblay | 12 min. | 2020

Little Chief - Still 1

The lives of a Native woman and a troubled young boy intersect over the course of a school day on a reservation in Oklahoma.

Made in Texas (6:15 PM – 7:40 PM)

A selection of Texas-made films that have Indigenous roots. 

Tree Memories | Dir., Scott Pewenofkit | 4 min. | 2019


A family’s connection to the Texas landscape is explored through a Live Oak Tree in San Antonio’s Hemisfair Park.

Becoming Joy: the Art of David Zamora Casas | Dir., Laura Varela | 3 min. | 2019

becoming joy

Becoming Joy highlights the career and life of Mexican American San Antonio artist David Zamora Casas. This documentary was made in conjunction with the exhibit “Transcendental Tricentennial: The (he)ART of David Zamora Casas: Love Letters to San Anto” at the Institute of Texan Cultures.

Keep the Fire Lit – Lost Tribes of Texas| Dir., Fox Redsky | 1 hr., 15 min. | 2019


Keep the Fire Lit provides a unique insight into the hearts and minds, and the lives of Indigenous Texans. The film dives deep into this remarkable fragment of Texas society: personal interviews highlight the social, political, and environmental implications of the re-emergence of indigenous identities.

Experimental Program (7:45 PM – 9:40 PM)

Two films that expand the cinematic form to explore culture, language, and spirituality.

Kizungünewün epupillan | Dir., the Catrileo+Carrión community | 29 min. | 2019


Three two-spirit mapuche people share their experiences as “epupillan” beings  in an experimental  video-essay. Each part of the video-essay is built as intimate letter exchanges between people, rendering a common experience of “epupillan” or two-spirit self-determination.

The film was made by the Catrileo+Carrión Collective in Chile: “We are a two-spirit mapuche community (epupillan in the mapuche language) that develops research-creation artistic projects that are intimately linked to specific territories and communities (such as Neltume, Toltén, Pirque and Icalma).”

maɬni – towards the ocean, towards the shore | Dir., Sky Hopinka | 1 hr., 20 min. | 2020

małni – towards the ocean, towards the shore — Still 2

(pronounced: moth-nee)

This film follows Sweetwater Sahme and Jordan Mercier’s wanderings through each of their worlds as they contemplate the afterlife, rebirth, and the place in-between. Spoken mostly in chinuk wawa, their stories are departures from the Chinookan origin of death myth, with its distant beginning and circular shape.