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"Kingulliit" refers to the generation of Inuit born in the first thirty years of the 20th century. They were called the "next generation" because they were the first in centuries to confront a world fundamentally different from the unchanging and known world mastered by countless generations since time immemorial. Kingulliit passed from antiquity to the modern era - from Stone Age to Digital Age - in a single lifetime: starting with trade and Christianity, followed by government, police, settlements, money, schooling, broadcasting, computers and finally, 2.0 global Internet.


My goal with this film was to illustrate how the caribou occupied a prominent place in the traditional life of the Inuits of northern Nunavik and in all of Nunavik before the species all but disappeared during the Second World War, or perhaps a little earlier. The virtual disappearance of the caribou meant that the Inuits found them only with great difficulty. They had to travel a great distance towards the forests, where there was a larger type of caribou, the woodland caribou, and some of those caribou migrating into Nunavik, towards the tree line.


Result of conflicts between White, Indigenous and Inuit, Inuit families have fled the land to take refuge on islands, including the Belcher Islands. On those islands, no caribou could be found, but the bird fauna was prominent. So the Inuits have developed a bird skins clothing technology, and so they were dressed of bird-skin clothes only. It was the particularity of those islanders, which distinguished them from the inhabitants of the lands, who were wearing clothes made of caribou skins. This film illustrates the art of making clothes with bird skins.


Rose Iqallijuq tells her intrauterine memories, and even before, when she was her eponymous grandfather, Savviurtalik, in his grave made of snow blocks. At that moment, Savviurtalik wanted to be reincarnated in the family of their daughter. They tell us that they were nothing but a soul with the appearance of an old man, that they went out of their grave and walked towards the igloo where lived their daughter Nuvvijaq with her family. In this film Rose Iqallijuq recounts all she remembers from her birth, her childhood as a transvestite, until she wore woman's clothes for the first time.


Filmed in 1956, this document presents the Inuit life in the winter camp of Quaqtaq, comprised of large family igloos. Traditional, their life is punctuated by hunting, women gathering, social life, building igloos, children playing... This document also shows one of the few scenes filmed from the inside of an igloo, where you can see the layout of those homes, their glass windows, the large soapstone oil lamp, etc.


This forty-minute film was made from four documents filmed by Bernard Saladin d'Anglure in 1961 and 1965-66. Divided into several themes, it allows us to discover traditional modes of transport such as dog sledding, pack dogs and kayaking; beluga hunting; the covering of a kayak with bearded seal skins, requiring the participation of the community; the transformation of a loon skin into a sewing kit; the importance of dogs in community life; children's games; mussels harvesting during great tides; berry picking; but also the increasing government influence shown through the seasonal visit of icebreakers, etc., at the beginning of sedentarization.


The film shows the construction of the basis of a Qarmaq, a semi-subterranean winter home with walls made of peat sods, which were cut after the first frost. The top of the block is well frozen, whereas the bottom is still wet, so the block will stick to the floor or the block it is put on.


This film shows the building of a seal-skin tent, and how the skin was primed for such construction.