Alanis Obomsawin’s directing credits include “70 Years of Resistance,” “Rocks at Whiskey Trench,” “Is the Crown at War with Us?,” “Hi-Ho Mistahey!,” and “Trick or Treaty?”
In addition to being a director, Obomsawin is a singer, songwriter, printmaker, and engraver.
“We Can’t Make the Same Mistake Twice” premiered at the 2016 Toronto International Film Festival on September 13.
W&H: Describe the film for us in your own words.
AO: The main reason for making the film is to educate. It’s for the public at large to understand what the real story is about: the fact that our children living on reserves do not have equal rights in relation to other Canadian children when it comes to education and health services.
After watching the film, I think people will understand that this has been going on for many decades and is really a misunderstood issue. Many Canadians think that Indigenous people get a lot of money, more than other children, and that’s totally false.
This is the reason why there is so much sickness of the mind and physical sickness in our Indigenous population — because of the way they are treated.
W&H: What drew you to this story?
AO: This particular story has to do with education, and education and children are the main reasons why I live. My concern is always about children and the educational system in this country.
W&H: What do you want people to think about when they are leaving the theater?
AO: I want them to have a clear understanding of the true story concerning the rights of our people. Human rights are children’s rights, and children’s rights are human rights.
W&H: What was the biggest challenge in making the film?
AO: The biggest challenge was to get into the courtroom to film what was happening there. It’s really a historical moment because we’ve never been allowed to do this before.
W&H: How did you get your film funded? Share some insights into how you got the film made.
AO: This film was totally funded by the National Film Board of Canada, the finest institution in this country, because it gives a voice to all nations in Canada. I’ve directed 49 films and produced one as well, so I’ve made a total of 50 films with the NFB. My next film about Norway House will be the fiftieth film I’ve directed with the NFB.
W&H: What does it mean for you to have your film play at TIFF?
AO: I have a very soft spot for TIFF because they were the first festival to invite me to attend, for my 1984 film “Incident at Restigouche,” back when they used to have another name, the Festival of Festivals. It was very well received and I’ve always had a very good connection with TIFF since the beginning.
W&H: What advice do you have for other female directors?
AO: My advice is based on documentary filmmaking but I think it applies to everyone. Be aware and figure out if this is what you really want to do and why. It can be difficult, and you have to really believe in what you’re doing, but if you’re passionate, no one can stop you.
You have to be patient and a good listener of someone else’s story. You can’t go in thinking you know the story in advance because it wouldn’t be true. The people themselves know the story and you have to be willing to listen for hours. I never get tired of hearing people’s stories — how they live and survive.
W&H: Name your favorite woman-directed film and why.
AO: I just watched animated short by Amanda Strong, “Four Faces of the Moon.” It is so beautiful. She’s got voices speaking many different Indigenous languages saying the same word, and through the images and the few words you hear, it tells you the history of the people. I am still thinking about it.
[One of my all-time favorite women-directed films] is “Qatuwas: People Gathering Together” by Barb Cranmer.
W&H: Have you seen opportunities for women filmmakers increase over the last year due to the increased attention paid to the issue? If someone asked you what you thought needed to be done to get women more opportunities to direct, what would be your answer?
AO: I’m very encouraged by the fact that you see more and more women making films and it’s been made easier to access money. Female filmmakers need more funds and more space to function — to be encouraged to tell their stories.
The NFB announced its own gender-parity policy in March 2016.
Mentorship is very important. I give master classes at universities across the country and I’m currently mentoring two filmmakers through the National Screen Institute. There’s a lot going on, so I’m very impressed with the possibilities for women to have easier access.
