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Native Program Celebrates 20 Years with a Screening Series in Santa Fe

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On The Ice

Sundance Institute

Throughout 2014, Sundance Institute has celebrated the 20th anniversary of the Native American and Indigenous Program and its growth as a fundamental facet of our president and founder Robert Redford’s original vision for the Institute. The Native Program extends the festivities this week in Santa Fe, New Mexico, with an exhibition of feature and short films by Native American and Indigenous directors from the U.S., New Zealand, and Canada. It all takes place at Jean Cocteau Cinema, where filmmakers Sydney Freeland (Navajo), Sterlin Harjo (Seminole/Creek Nations), and Chris Eyre (Cheyenne/Arapaho will be on-hand for their respective screenings and conversations.

Prior to the double bill of On the Ice and Drunktown’s Finest on Friday, August 22, from 5–7 p.m., Native Program Director Bird Runningwater (Cheyenne and Mescalero Apache) will sit down with program alumni Sydney Freeland and Sterlin Harjo at MoCNA to discuss breaking through common filmmaking barriers, the changing media landscape, and the importance of sharing original stories out of Native lands. Visit the Institute of Indian Arts / MoCNA for further details. 

Wednesday, August 20

Selected Sundance Shorts, 6:30 p.m.

Drunktown’s Finest, directed by Sydney Freeland, 8:30 p.m.

 

Thursday, August 21

This May Be The Last Time + Q&A, directed by Sterlin Harjo, 6:30 p.m.

Drunktown’s Finest, 8:30 p.m.

Friday, August 22

Panel with Bird Runningwater, Sterlin Harjo, and Sydney Freeland, 5:00 p.m.

On the Ice, directed by Andrew Okpeaha MacLean, 6:30 p.m.

Drunktown’s Finest, 8:30 p.m.

Saturday, August 23

Skins + Q&A, directed by Chris Eyre, 6:30 p.m.

Drunktown’s Finest, 8:30 p.m.

Sunday, August 24

Boy, directed by Taika Waititi, 6:30 p.m.

Drunktown’s Finest, 8:30 p.m.

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Sundance Institute Piloting Direct Individual Support for Mediamakers Through the Sundance Institute | Humanities Sustainability Fellowship

Long before the COVID-19 pandemic upended life in general, and halted production and distribution for many creatives, the nonfiction field was plagued by issues of sustainability. For several years, sustainability has been an urgent and vigorous topic of study, debate, and organizing, as more and more filmmakers find it difficult, if not impossible, to make a living solely on the basis of their creative work. 

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