Join us for the second in a three-part film series Indigenous Cinema, featuring the programs Blood Horrors on Oct 29, Memories of the Land on Dec 17, and Descending into Motion on Feb 25. 

Within the past thirty years, Indigenous cinema has grown to new heights despite the social, economic, and political barriers that Indigenous creators have faced in order to bring their stories to life. What has resulted are extremely creative, innovative, and genre-bending stories that disrupt hegemonic narratives, embody the complexity, history, and experiences of Indigenous communities, and showcase the deep multifaceted talents of Indigenous filmmakers. The films in this three-program series are small windows to those stories, to the collective visioning and world-building created within and by Indigenous communities, from the Nunatsiavut territory to Iximulew to Turtle Island, to here, on Matinecock, Canarsie, Lekawe (Rockaway), and Munsee Lenape land. 

The second program, Memories of the Land, highlights stories that focus on honoring Indigenous communities and the knowledge they hold. The program will feature fictional works, such as Edgar Sajcabun’s short film, El Camino es Largo, a tender yet heavy Maya Kaqchikel story from Guatemala, and experimental documentary works, such as Ati’t directed by Ixmucané Saloj Oroxom from the Lemow Collective from Guatemala. 

RSVP required, click here.

Indigenous Cinema film series upcoming dates:

Feb 25 – Indigenous Cinema: Descending into Motion

Program Details: coming soon

This series is part of The Indigenous Practice Studio (IPS), a new initiative in development at the Queens Museum in partnership with artist and cultural consultant Tecumseh Ceaser. The Indigenous Practice Studio is an experimental program consisting of long-term research, continued learning, programming, and consultation and relationship building with local Native and diasporic Indigenous communities. The Queens Museum acknowledges its occupancy of unceded Indigenous lands and builds towards restorative and non-extractive ways of working with Indigenous artists and communities. IPS reflects the Queens Museum’s ongoing commitment to self-interrogation and recognizes its work as unfinished, with this effort as a starting point.