One of my priorities as a film viewer, and as a Canadian generally, is to understand Indigenous culture. I feel it is paramount that we who live here understand all aspects of Canada, including the people who have such a close relationship with the land.
Films like n’x̌ax̌aitkʷ play an important role in that educational journey, one of the primary reasons I chose to watch it at TIFF 2022.
The film follows an Indigenous teenager named Zarya (Kiawentiio) as she navigates peer pressure from her next door neighbour Amanda (Emilie Bierre) to go and explore a nearby island in search of a legendary lake monster, known by common folk as the Ogopogo.
I love when indigenous films are crafted by Indigenous storytellers. There is a rooted authenticity to the development of the project that comes from self-exploration rather than a need to create something commercial. Asia Youngman writes and directs this film, using her own experiences visiting the Okanagan as a catalyst, and collaborating with the Syilx people of the Okanagan Nation to funnel an authentic representation of the legend to audiences. You can see this homework reflected in the way the film is crafted; the story is not overwhelming and the portrayal of the Ogopogo is done in a manner of not creating a monster but the sacred spirit of the lake that it is in indigenous culture.
The film’s story is balanced with a wonderful cast, comprising of both Indigenous and non-Indigenous actors. Kiawentiio has a powerful presence in this film, one that helps in capturing the spirituality of the storyline and the subject matter. Emilie Bierre captures the perfect antagonist in Amanda, a contrast to Kiawentiio’s Zarya. Together, with support from other cast members, Youngman is able to setup the perfect narrative for the Ogopogo.
However, the character that I appreciated the most was the one portrayed by the lovely Isla Grant. Her character Violet showcases a grounded understanding of Indigenous culture, and a way of thinking that defers from her peers. What I also appreciated was that Youngman utilized Grant’s character as a foundation builder for non-Indigenous audiences to reflect and understand. The jab at n’x̌ax̌aitkʷ being the proper name for the Ogopogo is one such example. This I appreciated as it gave me, as a non-Indigenous viewer, a better opportunity to understand the culture for what it is and not what it is understood as by the general population.
For me, a film is successful if it makes me reflect, think, or want to explore more. Entertainment for the sake of being entertainment has its place, but films that do the earlier three mentioned things actually becomes memorable and character building.
This film for me did all three. I got a chance to reflect on a part of Indigenous culture I didn’t know, think about it in a way that helped me better understand its importance, and then left me wanting to think about it more; I started reading about the Okanagan and the folklore of the n’x̌ax̌aitkʷ. Now I feel more informed as a Canadian, and there is nothing better than that.
Thank you Asia, for a wonderful, inspiring film.
During my interview with Youngman for TIFF, I was so happy to learn that this film was the foundation to a larger feature film. Its got the recipe for a larger feature film, one where audiences can continue to experience and understand Indigenous culture that is presented to us directly by this new wave of great Indigenous storytellers like Youngman.
n’x̌ax̌aitkʷ plays as part of TIFF’s Short Cuts programme at the 47th Toronto International Film Festival; specifically Short Cuts Programme 5. Visit TIFF’s website HERE for all the details on screenings.
Cover Photo: Still from n’x̌ax̌aitkʷ | Courtesy of Visceral Village Productions
