Gutk'odau (Yellow)

In late 2021, Cleveland’s baseball team was reborn as the Guardians. This documentary, directed by Lance Edmands, chronicles the saga of that name change, which has its roots in a forgotten legend named Louis Sockalexis, and the tragedy that enveloped his story more than a century ago.

Before his legendary proto-cinematic studies in motion, photographer Eadweard Muybridge was commissioned to document the United States Army’s war against the Modoc tribe in Northern California in a series of stereographs, many of them staged. Alternately unnerving, meditative, and explosive, Adam Piron’s Black Glass examines the entangled histories of visual technology and the genocide and expropriation of Indigenous populations by white settlers through a violent collision of image and sound.

Powwow People is a portrait of a powwow and its participants.

Considered a staple of Florida tourism, alligator wrestling has been performed by members of the Seminole Tribe for over a century. As the practice has changed over the years, Halpate profiles the hazards and history of the spectacle through the words of the tribe's alligator wrestlers themselves and what it has meant to their people's survival.

An exercise in adjusting the moving image to an interpretation of time as it is perceived within the Kiowa philosophy: a circular dialogue between the mythic, the historical, and personal reflection. THE EARLY SUN, RED AS A HUNTER'S MOON follows this temporal tradition in an interpolation of Kiowa lore in excerpts from N. Scott Momaday's The Way to Rainy Mountain, a reunion in Portugal between the filmmaker and their friend after 20 years, and a historical attempt to decode a cryptic letter from 1890 with “hieroglyphic script” that arrived at Pennsylvania’s Carlisle Indian Industrial School sent from a reservation in the Oklahoma Territory to a Kiowa student named Belo Cozad. Shot on expired 8mm film, the film presents a collision of fragments of time and Kiowa memory. — Adam Piron

In 2014, an unknown man in Ukraine tattooed a portrait of a relative of a filmmaker in his traditional Native American regalia. Stitched together from footage of the search for this man, the film interrogates what happens when the control of an image is lost and the time’s circular ironies.

An ode to the memories of El Aliso, the sycamore tree that once stood at the center of Yaangna, the Indigenous Gabrieleno village that Los Angeles grew out from. All elements sourced in the film are from the original site and the nearby Los Angeles River.