Miradas Desde el Origen de la Madre Tierra - Cine Para la Resistencia

A showcase of Indigenous films presented by

Coordinadora Latinoaméricana de Cine y Comunicación de los Pueblos Indígenas (CLACPI)

 April 27th & 28th 2023

 NYU King Juan Carlos Center


© Chirapaq
© Chirapaq

This Program is a Side Event of the 2023 UN Permanent Forum on Indigenous Issues.


The Center for Latin American and Caribbean Studies is pleased to host a program presented by the Coordinadora Latinoaméricana de Cine y Comunicación de los Pueblos Indígenas (CLACPI) at the NYU King Juan Carlos Center on April 27-28, 2023.

Program highlights include an Indigenous film showcase curated by Norma Rocío Gómez Semanate | Kitu Kara, Ecuador | Corporación Kinde, and which will be attended by CLACPI General Cordinator Nelly Kuiru Castro | Murui, Colombia; Mariano Estrada | Tseltal, México; Comunicación Tseltal Bachajón; David Hernández Palmar | Wayuu Colombia, Venezuela | Muestra Internacional de Cine Indígena de Venezuela MICIV; Ferran Ventura Fontanet | Cataluña | alterNativa Intercanvi amb Pobles Indígenes; Gustavo Ulcué | Nasa, Colombia | Colectivo NasaLuuçx.


CLACPI was founded in 1985 and is the largest collective of Indigenous filmmakers in Latin America. They promote the use of media2023 as a tool of cultural affirmation and social transformation for Indigenous communities. CLACPI produces and disseminates audiovisual materials about Indigenous cultures and other issues of interest for their collective organizations. They also focus on grassroots media2023 training and workshops to promote agency and self-representation among Indigenous communities.


This program is made possible in collaboration with:


All events will be held at NYU KJCC

Thursday, April 27

12:00 – 12:30pm

Land Acknowledgment and Welcome

12:30 – 2:30pm

Short Films, Theme: Resistencia con identidad (Resistance with Identity)

Hierba la sangre (Cuba)

In 1961, the disappearance of ancestral medical practices was predicted as a consequence of the profound social and economic changes implemented by the recent Cuban Revolution. In 2021, four characters show us that this ancestral knowledge is kept alive through their relationship with nature.

Muu Palaa, la abuela mar (Colombia)

Siruma and Ina are two girls belonging to different Indigenous cultures: Wayuu and Gunadule. Each find themselves in front of the sea, experiencing the importance and wisdom of grandmothers, and teaching us (those who see them) that from interculturality come thoughts and visions.

Os espíritos só entendem o nosso idioma / Dicen que los espíritus solo entienden nuestro idioma (Brasil)

Only six elders of the Manoki population in the Brazilian Amazon still speak their Indigenous language, posing an imminent risk of losing the means by which they communicate with their spirits.

Antu Liwen, canto de resistencia (Chile)

On the heights of the Chilean mountaintops, the sound of drums is heard across the glade. The singer Antu Liwen, a daughter of two worlds, leads the narrative as she reminisces about growing up as a mestiza and her relationship with the Mapuche identity. Her personal experience is a testimony to the historical traumas of the Mapuche community and resistance. After being denied the right to learn and speak the language of her community as a child due to her mother's fear of discrimination later in her life, Antu Liwen embraces her identity and regains her connection to her heritage and land.

Tsontiajakatl (Mexico)

In the community of Zoquitipa, an elderly musician and a group of women preserve the Dance of the Wands in the face of a world that forgets its traditions.

Mi raíz (Guatemala)

Depicts the life of two Mayan women, survivors of family violence. They talk about their new life and their connection to the land, from planting in community gardens and how this contributes to their economy, to the possibility of dignified health from the use of native seeds.

2:30 – 3:00pm


3:00 – 5:00pm

Roundtable: Living Archives and Strategies for Sovereignty

The research project “Under the Shadow of Empire: Minor Archives and Radical media2023 Distribution of the Americas” investigates the radical film and video distribution networks and the minor archives that served as nodes and repositories of film and media2023 collections in the Americas by women, Indigenous, LGBTQ2 and Afro-descendant peoples. Funded by the Social Science and Humanities Research Council of Canada, Grant Program: Insight. See Roundtable tab for details.

Moderator: Juana Suárez
Associate Arts Professor/Director MIAP
NYU Tisch Moving Image Archiving and Preservation Program (MIAP)

5:15 – 7:00pm

Short Films, Theme: Cuidado y defensa territorial (Care and Defense Territory)

Yaku Warmikuna (Ecuador)

Two Amazonian Kichwa women from the province of Napo learn that only through community organization will they be able to regain sovereignty over their territory and stand up to pollution, violence and forced evictions resulting from the devastation of gold mining.

Pero ahi estamos (Peru)

Healer shares her memories of struggle and resistance against threats to her territory.

Equilibrio (Brasil)

Told through the storytelling of Kaapora, an Indigneous spiritual entity, the reality of the human condition on Earth is expressed. There is nowhere to run or hide when it comes to confronting our civilization's destructive relationship with our life giving planet. It is our very existence that is at risk in face of our collectively self-centered habits of destruction.

Mundos Paralelos, actos de Valor (Colombia)

The cruelest armed conflict in the history of Colombia, from the perspective of two women who, on opposite sides of the conflict, survived it. Two parallel worlds that show the courage required to continue living without inheriting the hatred of someone else's war.

Mongueleiñ (Argentina)

An insight into the traditions of the Mapuche people and their resistance processes to preserve their culture and territory.

Panzós memoria por la tierra- Masacre de 1978 (Guatemala)

In May 1978, the Guatemalan army massacred a group of Maya Q'eqchi' peasants in Panzós. The survivors and defenders of the territory testify to the dispossession of land suffered.

la voz de la gente de las montañas (Chile)

The Werken (spokeswoman) of the Mapuche Cayun Panicheo community, a community that was divided by the borders imposed by Chile and Argentina, and which today is in the process of defending the Mapuche ancestral territory against various megaprojects that want to settle in the area, for which who developed a proposal to establish an Indigenous Conservation Territory.

7:00 – 9:00pm

Book Launch: Nación Anti

Drawing on 25 years of research, Professor Odi Gonzales presents his new book Nación Anti. Ensayos de Antropología Lingüística Andina. Lenguaje y Pensamiento Quechua. Traducción Cultural y Resistencia.

Friday, April 28

10:30 – 11:30

Indigenous Youth & World-building: Best Practices for regenerating Indigeneity in Higher-education

In this panel, a group of Harvard students of different Indigenous backgrounds will share best practices for envisioning, designing and implementing initiatives for Indigenous youth identity reclamation and regeneration in academic spaces. In addition, panelists will reflect on bringing activist efforts between academic and community spaces, calling for intentional and decolonial knowledge production as it relates to Native & Indigenous peoples.

Moderator: Charlie Uruchima, Kichwa Hatari
Panelists: Amy Chalán (Kichwa Saraguro), Anthony Miguel (Santa Maria Tataltepec), Kiani Akina (Kanaka Maoli), Sebastian Ramirez Feune (Otomí)
Organized by Harvard University Quechua Initiative on Global Indigeneity

12:00 – 12:15pm


12:15 – 1:15pm

Roundtable, The Right to Communication: Supporting Indigenous and Afro-Descendant Communities in Latin America

Presenter: Mariano Estrada Aguilar

In May 2020, CLACPI (Coordinadora Latinoamericana de Cine y Comunicación de los Pueblos Indígenas) released their book: La situación del derecho a la comunicación: con énfasis en las y los comunicadores indígenas y afrodescendientes de América Latina. This presentation will focus on themes covered in the book.

Please see the monograph.

Earlier panel discussion about the book streamed live on July 19, 2021

1:15 – 3:00pm

Short Films, Theme: Expresión, visión y reivindicación de las mujeres (Expression, Vision, and Reclamations of Women)

Cuatro caminos para la dignificación de las abuelas comadronas (Guatemala)

Mayan indigenous midwives fight in Guatemala against structural racism that seeks to invalidate their knowledge and prohibit their practices.

Jieyuu Anamiamaajana (Mujeres que atraen bien) (Colombia)

An ethnographic compilation of a lineage of women belonging to the Eiruku Ipuana who live in Cabo de la Vela. The personal stories of the protagonists constitute documentary material of great importance for the Wayuu people, and especially for the Ipuana family.

La espera (Mexico)

Yazmín and Zenaida, daughter-in-law and mother-in-law, live in a Purépecha community, awaiting the arrival of their husbands; time that will reveal infinite possibilities

Running is Prayer (United States)

The connection between Native people and Native land is unique. Creation stories are grounded in ecosystems and manifest in prayers, ceremonies, and lifeways. Prayer running is one of the ways Native people honor ancestors, raise awareness, and bring messages. Runners become part of the prayer as they strengthen the communities they pass through. A new generation of delegates, led mainly by Native women and youth, are using the power of their bodies to carry prayers forward.

Trenzando Vida (Ecuador)

Braiding Life is a short film and part of the trilogy called "Somos Pueblo," which narrates the life stories and self-determination of urban Indigenous peoples in the capital of Ecuador. Inti, an urban Indigenous boy, studies in a school where his identity is violated and he feels that he is declining under the pressure of others, but the memory of his haircut ritual helps him to reaffirm his identity.

Koshi Ainbobo - Mujeres Valientes (Peru)

Koshi Ainbobo, which in the original Shipibo Konibo language means "Brave Women," is a documentary that narrates how two women from the original peoples of the Amazon confront the normalization of sexual violence, and the lack of the right to make decisions about their own bodies and maternity, while they continue studying to achieve their dreams.

3:00 – 5:00pm

ROC Raymi

ROC Raymi hosts a reception celebrating Andean culture and languages at NYU. Join the Runasimi Outreach Collective with performances from the Ayazamana Dance Company and Ecuadorian American Cultural Center.

5:00 – 7:00pm

Short films, Theme: Presencia de infancias y juventudes (The Presence of Infants and Youth)

SŪKŪJULA TEI (Stories of My Mother) (Venezuela)

During a visit to her sister Amaliata, Rosa, a wise Wayuu woman, teaches Amaliata’s grandchildren the importance of reciprocity within their culture.

Luna de Verano (Colombia)

Deyanira, an Indigenous girl, loses her father; he was murdered as a result of his work as an Indigenous leader and guard of the Nasa People. Despite being a minor, Deyanira finds the strength to help her mother and siblings financially.

Airatsu (Bolivia)

As part of an initiation ritual into reproductive life, Ashaninka women learn to weave during their first menstruation. Grandmothers try to keep the tradition alive in a community that, little by little, is giving in to modernity.

Noñantarí (Peru)

How to be a woman even as a girl? Can love be free and grant freedom? Through the voice and life of an Asháninka girl, we witness the daily reality of indigenous girls and women and the continuous river of their lives that run facing violence of all kinds.

7:00 – 8:30pm

Closing Feature Film

Hua Hua (Ecuador), directed by Joshi Espinosa Anguayo - Q&A with filmmaker David Hernández Palmar

A couple of young indigenous people are going to be parents. This news arouses their concern about the identity with which they will educate and raise their son or daughter.


Picture of Rocío Gómez Semanate

Rocío Gómez Semanate

Passionate about the art and culture of the Kitu Kara people, Rocio holds a position as Coordinator and General Producer of the "WarmiCine" project, a creative laboratory for women, as well as MuyuyCine, an audiovisual seedbed carried out in various Ecuadorian locations. Both training and audiovisual production processes seek to weave, complement and highlight the presence of Indigenous Peoples.

Rocio has been the recipient of several accolades as cultural manager for the promotion of cinema and audiovisuals at the national level, as well as recipient of municipal participatory funds with interdisciplinary projects. She has also been the recipient of national recognitions such as the Mushuk Nina award for the contribution to the peoples and nationalities with audiovisual art and the Municipal Recognition of Quito for the contribution to the development of culture.

Among her audiovisual productions, "Somos pueblo," "Trenzando vida," "Manuela 1945," "Kitu Kara," and "La Yumba" stand out. Rocio's works are the result of a process of formation and identity reflection surrounding the presence of the Kitu Kara people and their practices as urban indigenous people in the capital of Ecuador. She has worked as field producer and presenter of the television series “Ecuador Ancestral” and the feature film from Esmeralda “Semillas de Lucha.” Co-director of several indigenous film festivals and exhibitions such as the recent FIC CLACPI Ecuador 2022. Social Communicator, Visual Anthropologist and cultural manager, scriptwriter, filmmaker, audiovisual producer and popular trainer, ancestral dancer and cultural activist.

Picture of Mariano Estrada

Mariano Estrada

Tseltal, Mexico; President of CLACPI-Mexico

Mariano Estrada is an audiovisual producer and Tzeltal communicator originally from the San Manuel community, municipality of Palenque, Chiapas. Interested in the struggles of his community, at the age of 15, he joined the Committee for the Defense of Indigenous Freedom-Xi'nich, which allowed him to attend an audiovisual training workshop organized by the then National Indigenous Institute, in 1992. In 1993 he founded the Communication sector of ​​the Xi'nich organization. With great responsibility for his community, he has carried out his work for more than twenty-five years, both inside and outside the organization. From 1993 to 2014 he made more than fifty productions, including short and medium-length documentaries and informative capsules.

Mariano is currently a founding member of "Tseltal Bachajón Comunicación", an organization that is part of the Latin American Coordinator of Cinema and Communication of Indigenous Peoples (CLACPI), where he served as general coordinator from 2015 - 2022.

Picture of David Hernández Palmar

David Hernández Palmar

Wayuu/lipuana Clan, Venezuela; Political Advisor CLACPI


David is a filmmaker, independent curator and film programmer with recognized experience in the Latin American region. He is also a photographer, journalist, researcher and producer of several audiovisual works that have portrayed the Wayuu world. He has co-directed films such as: “Owners of The Water”, “Wounmainkat“. With the short film “The Foreign Body“, World Premiere in competition at the Toronto International Film Festival TIFF and Winner of the First Prize at FICMAYAB (13th International Festival of Film and Communication of Indigenous Peoples), he began his career as a Film Producer. He is currently producer of “A son”, a first feature film project in development by Venezuelan filmmaker Héctor Silva Núñez; producer of “The Dusk of the Amazon” a documentary feature in production by Alvaro Sarmiento and Diego Sarmiento | Quechua, Perú); producer of “Suggunya 1698. The key to Darién”, a documentary feature film project in development by Olowaili Green | Guna Dule, Colombia and David Sierra; co-director with Marbel Vanegas | Wayuu Jusayu, Colombia, of “Searching for the marks of the Asho´ojushi”, a documentary feature film project in development.

Other positions David holds: Curator of Latin American and Caribbean Film specializing in Indigenous Film / Member of the Wayuu People Communications Network / Director of the Indigenous Audiovisual Foundation Wayaakua / Curator and Programmer of the Wayuu Film and Video Showcase / Curator and Programmer of the International Indigenous Film Showcase of Venezuela MICIV / Former Advisor for special selection NATIVe of the Berlinale International Film Festival / / Former Political Advisor for CLACPI / Member of The Indigenous media2023 and Communication Caucus / Member of the Programmers of Color Collective POC.

Gustavo Ulcué

Gustavo Ulcué is Nasa from the Canoas Indigenous Reservation in Santander de Quilichao, Cauca, Colombia, with vast experience in communication, research, participation and action processes of and for Indigenous communities as well as other social sectors. He has contributed to the development of mechanisms for collective meetings and exchanges on the governance processes of ethnic peoples, such as assemblies, workshops, mingas, community work, and rituals, among others. He was a co-founder of the Communication Network of the Association of Indigenous Councils of Northern Cauca, coordinated the communication program of the Association of Indigenous Councils of Chocó, and advised Indigenous communication programs in the Córdoba and Nariño departments. From 2013 to 2019 he was the director of the Daupará Indigenous Film and Video Festival, and a jury member of the 2013 CLACPI International Indigenous Film and Video Festival. He was part of the team that built the Policy Public Communication of Indigenous Peoples and the National Unified Indigenous Television Plan of Indigenous Peoples, formalized in 2017. He directs audiovisual productions for television, including Luna de Verano (2022) and Flute and Drum, for the series Territorios y Voces Indígenas (CONCIP - Canal Trece, season 01 of 2021 and season 2 of 2022); Guerrera Ancestral (financed by the Truth Commission for FICCI Interruptus 2021); Kwesx Dxi'j (Señal Colombia, 2019); the series Somos Originarios (Capital Channel, 2018); Ya'ja (Señal Colombia, 2018); Yu' Luuçx (Señal Colombia, 2016), in addition to another 20 productions with organizations and peoples at the national level.

Picture of Nelly Kuiru

Nelly Kuiru

Traditional Name: Moniyango (Tree of Abundance)

Murui from the Maconian Amazon in Colombia; Coordinadora, CLACPI

Nelly belongs to the Murui-M+n+ka (Uitoto) indigenous people of La Chorrera (department of Amazonas, Colombia). In 2019, she graduated as an indigenous communicator with an emphasis in audiovisual and radio media2023 at the School of Indigenous Communication of the Macro-Amazon "Ka+ Jana Uai" (The Voice of our Image). In 2020, she completed higher studies in Film Direction and Audiovisual media2023 (Elíseo Subiela National School of Cinema and Audiovisual Arts. Buenos Aires, Argentina). From 2012 to 2021, she was the National Commissioner for Communication of the Indigenous Peoples of the Macro-Amazon of the ONIC (National Indigenous Organization of Colombia). She is co-founder of the National Communication Commission of the Indigenous Peoples of Colombia (CONCIP), co-founder of Ciber Amazonas (Network of Women Communicators of the Amazon Basin) and co-founder of the Pan-Amazonian Network of Indigenous Women Communicators. She is also the founder and coordinator of the first Indigenous Communication School of the Colombian Amazon ("Ka+ Jana Uai" / La Voz de Nuestra Imagen-). Founder of the first association of indigenous women in the department of Amazonas (Nimaira-Amazonas). Responsible for the negotiations with the Government of the Republic of Colombia, together with other representatives of the Indigenous Organizations, for the creation of the Public Communication Policy of and for the Indigenous Peoples of Colombia and the National Television Plan.

Since 2022 she has been a tutor in training processes in audiovisual media2023tion and audience creation (Proimagenes & Mincultura). She is also an advisor to the Department of Research, Information and Communication Systems of the ONIC (National Indigenous Organization of Colombia). Recently, she has been appointed as General Coordinator of the Latin American Coordinator of Cinema and Communication of Indigenous Peoples (CLACPI).

Nelly is director of the short film entitled "RA" (Plant of wisdom to balance the world) that was part of the television series "El Buen Vivir" for Canal Tr3ce. This work was screened at the FICCI (Cartagena de Indias International Film Festival) and nominated for the India Catalina Awards of the Colombian Audiovisual Industry in 2020. In that same year she was the director of the short film entitled "Mujeres Umari. Weavers of stories and knowledge” for the television series “El Buen Vivir” on Canal Tr3ce. Director, in 2021, of the short film entitled "KIYEDECAGO" (Woman with the sweet pineapple) for the Tr3ce channel. In that same year she was the director of the short film entitled «Yarokamena. La resistencia” which was screened at the FICCI (Cartagena de Indias International Film Festival) / FICCI Interruptus. Director, in 2022, of chapter 3 / short film entitled "Ka+ Jairag+ma Iga+" (Ancestral ties) for the television series "El Buen Vivir" on Canal Tr3ce. Over the last 20 years, she has worked for multiple important production companies, including Netflix, Amazon Prime, Discovery Channel, BBC London, as well as for various national channels and production companies in Colombia (Señal Colombia, Canal Tr3ce, Atarraya films, Negrita films, Endémica studios, Caracol TV…). She has been a field producer for different international events, among which includes the BAM (Bogotá Audiovisual Market) Amazonas.


Under the Shadow of Empire: Minor Archives and Radical media2023 Distribution of the Americas” (USEM) investigates the history of radical film and video distribution networks and the minor archives that served as nodes and repositories of film and media2023 collections in the Americas. Dedicated to the work, networks, collections, collectives and community-based organizations of women, Indigenous, LGBTQ2 and Afro-descendant peoples, the USEM project seeks to work collaboratively with knowledge holders to extend access, exchange preservation and remedia2023tion practices, and produce public-facing publications and a platform to make these histories available across borders and generations. Funded by the Social Science and Humanities Research Council of Canada, Grant Program: Insight

Amalia Córdova

Amalia Córdova is Supervisory Museum Curator and Chair of Research and Education at the Smithsonian Institution's Center for Folklife and Cultural Heritage. She co-directs the Mother Tongue Film Festival, a project of the Smithsonian’s Recovering Voices initiative. She was a Latin American specialist for the Film + Video Center of the Smithsonian’s National Museum of the American Indian, served as assistant director for New York University’s Center for Latin American and Caribbean Studies and taught at NYU's Gallatin School of Individualized Study. She holds an M.A. in performance studies and a PhD in cinema studies from NYU. She is from Santiago, Chile/Wallmapu.

Susan Lord

Susan Lord holds a PhD from York University. She is Professor in the Department of Film and media2023 at Queen's University and is the Director of the Vulnerable media2023 Lab. Her research interests have landed in the areas of cinema and media2023 arts, archives, gendered spaces and the city, and Cuban cinema and visual culture. She has undertaken curatorial projects of media2023 arts and worked with artists’ groups and artist-run centres for over 30 years. The Vulnerable media2023 Lab is an infrastructure and research environment, dedicated to the social ecology of media2023 arts collectives and collections, and to the preservation, migration and remedia2023tion of media2023 arts archives by women, Indigenous peoples, LBGTQ2 and regional producers. She co-investigator of Archive/CounterArchive (counterarchive.ca) and PI for the project “Under the Shadow of Empire: Minor Archives and Radical Distribution Networks”. With Maria Caridad Cumana, Susan is co-editor of The Cinema of Sara Gómez: Reframing Revolution, a collection of essays, interviews and documents about the Afro-Cuban filmmaker Sara Gómez (Indiana University Press, 2021). Other books include one on the visual culture of gender and violence-- Killing Women: Gender, Violence and Representation (with Annette Burfoot) Wilfrid Laurier University Press, 2006. She also published Fluid Screens: Expanded Cinema and Digital Cultures (with Janine Marchessault) Toronto: University of Toronto Press, 2007; Paperback edition 2008) and New World Coming: The 1960s and the Shaping of Global Consciousness (with Dubinsky et al) BTL 2009. As a member of the 30+ year Public Access Collective which publishes the journal PUBLIC: art, culture, ideas. Susan has edited two recent issues – Archive/Counter Archives and HAVANA.

Gabriel Menotti

Gabriel Menotti is Associate Professor at Queen’s University, Ontario. He works as an independent curator in the field of media2023 practices and has written extensively on various themes related to image and technology. His most recent books are Practices of Projection: Histories and Technologies (OUP, 2020, co-edited with Virginia Crisp) and >Movie Circuits: Curatorial Approaches to Cinema Technology (AUP, 2019). Menotti is also one of the coordinators of the Besides the Screen festival and research network.

Juana Suárez

Director of the Moving Image Archiving and Preservation Program at New York University (NYU MIAP). She is a Latin American Cinema scholar and a media2023 preservation specialist. Author of Cinembargo Colombia: Critical Essays on Colombian Cinema (Spanish 2009, English translation 2012), and Sites of Contention: Cultural Production and the Discourse of Violence in Colombia; co-editor of Humor in Latin American Cinema (2015); translator to Spanish of A Comparative History of Latin American Cinema by Paul A. Schroeder-Rodríguez (2020). She is currently working on a book tentatively entitled Moving Images Archives, Cultural History and The Digital Turn in Latin America. Since 2013 she has been involved in NYU MIAP Audiovisual Preservation Exchange, a project that has worked with archival and preservation projects in Latin America, including work with Chiapas (Mexico) and Olinda (Brazil) communities. From 2015 to 2023, she was involved in the preservation of the Colombian television series Yuruparí.

Zaira Zarza

Assistant Professor in the Department of Art History and Film Studies at Université de Montréal. She obtained her Ph.D. in Cultural Studies at Queen’s University and holds a Bachelor’s and a Master’s degree in Art History from the University of Havana. She was a Killam Postdoctoral Fellow at the University of Alberta and a Cinema and media2023 Arts Sessional Assistant Professor at York University. As a programmer, she has worked at the Toronto (TIFF) and Cartagena (FICCI) international film festivals. She also directed the Latin American Studies Association (LASA) Film Festival, Boston, 2019. Zarza founded Roots and Routes (2015-present), a project that promotes film and media2023 works by Cubans in the diaspora and published the book Caminos del cine brasileño contemporáneo (Ediciones ICAIC 2010). Her current SSHRC-funded project focuses on Latin American documentary activism. Other research includes Latinx-Canadian cinemas and the economies of Caribbean film.

Tamara de Szegheo Lang

Adjunct Assistant Professor in the Department of Film and media2023 at Queen’s University. Her research takes up queer history, community-based archives, film, and the affective relationships between queer people and the past. Her SSHRC-funded project, Bodies on Fire: Rekindling the Lesbian Decade in Canadian Film, 1990-1999, is an archival investigation into the networks and collaborations that enabled a wave of lesbian films that were released in the decade. As former project manager of the Vulnerable media2023 Lab, she has been involved in a project with Arnait Productions, an Inuit women’s video collective, to digitize their work. With Nakasuk Alariaq and Linda Grussani, she curated an exhibition on Arnait at the Agnes Etherington Art Centre, entitled Inuuqatikka: my dear relations.