The 2021 revelation of numerous unmarked graves at an Indian residential school in Canada served as a pivotal moment that spurred the creation of “Sugarcane.”
The Oscar-nominated documentary, directed by Julian Brave NoiseCat and Emily Kassie, delves deeply into the disturbing realities associated with one specific institution. Currently available for streaming on Hulu, “Sugarcane” reveals the systemic abuses conducted by this state-funded school, highlighting a troubling cycle of infanticide and the tragic stories of babies born to Indigenous girls and fathered by priests.
Since its premiere at the Sundance Film Festival last year, “Sugarcane” has been showcased at notable venues including the White House and the Canadian Parliament, in addition to reaching more than a dozen Indigenous communities across North America. This documentary has ignited a grassroots movement aimed at uncovering the truths surrounding similar institutions, and it holds the distinction of being the first film by an Indigenous North American filmmaker to earn an Oscar nomination.
Between the 19th century and the 1970s, the Canadian government forced over 150,000 First Nations children into Christian-run residential schools as part of an assimilation agenda. In these institutions, children were coerced into abandoning their native languages and were subjected to oppressive measures including physical beatings and verbal abuse. Estimates suggest that as many as 6,000 of these children lost their lives. Alarmingly, nearly three-quarters of the 130 residential schools were managed by Roman Catholic missionary groups.
The concept of Canada’s residential schools finds its parallels in the United States, where both Catholic and Protestant organizations operated over 150 boarding institutions throughout the 19th and 20th centuries, which similarly were rife with abuse, according to academic research.
Kassie expressed a sentiment that is often overlooked, stating, “People frequently focus on global atrocities, which is vital, yet Native issues rarely dominate national discussions, and we believe these issues should receive the attention they deserve.” She emphasized that “Sugarcane” explores a genocide that transpired across North America, an event that the country has yet to fully confront. The film aims to shift the focus onto Native experiences, fostering necessary dialogue across various communities.
The origin of “Sugarcane” was a deeply personal journey for Kassie, an investigative journalist who had spent ten years covering human rights abuses globally, yet had not examined the issues within her own country. In light of the unmarked grave discoveries, she contacted NoiseCat, a budding journalist she had befriended during their shared time in New York.
Kassie soon identified St. Joseph’s Mission, close to British Columbia’s Sugarcane Reservation, as a focal point for her investigation. Unbeknownst to her at the time, this was also the institution affiliated with NoiseCat’s family. He learned that stories of his father’s birth near the school and subsequent abandonment were more complex than he realized; it was revealed that he had been born and later discarded in a dumpster located outside the institution.
NoiseCat mentioned that the process of documenting this narrative was a healing journey for him personally, as he had moved back in with his father for the first time in years. He elaborated on the experience, indicating that it helped him and his father confront long-held questions about their relationship.
The effect of “Sugarcane” has been profound, with NoiseCat expressing gratitude that sharing such a raw and emotional story has led to positive healing outcomes—not just for his family but for Indigenous communities as a whole. Following its various screenings, more survivors began stepping forward to recount their harrowing experiences.
In a significant political gesture, former President Joe Biden formally apologized to Native Americans for the injustices perpetrated by the government-run boarding school system, terming it a “blight on American history.”
Kassie remarked that “Sugarcane” is prompting vital discussions within communities, yet it unfolds at a time when government support for further investigations remains lacking.
The film industry has often marginalized Native American narratives, with “Sugarcane” marking a crucial shift toward authentic representation. Despite years of Oscar ceremonies, no Indigenous person has ever won a competitive acting award. NoiseCat’s nomination is historic, given his status as the first Indigenous North American filmmaker acknowledged in this way.
He reflected on this milestone with a sense of astonishment, highlighting the importance of further recognizing Indigenous stories in film moving forward. “This film should be viewed as a starting point, not an end,” he noted, advocating for more visibility of stories emerging from Native communities.
If “Sugarcane” takes home an Oscar on March 2, NoiseCat hinted at a memorable acceptance speech, promising, “We will make it a moment worth remembering.”
