Is the Crown at War with Us?

Is the crown at war with us? is a thought-provoking and critical documentary film released in 2002. An in-depth exploration of political and societal issues, the film delves into the controversial and complex relationship between the indigenous Mi'kmaq community and the Canadian government.

This riveting documentary is directed by the renowned filmmaker Alanis Obomsawin, an Abenaki woman herself, who has indomitably championed the cause of Aboriginals in Canada through her powerful storytelling. Obomsawin effectively captures the essence of an escalating conflict and uses it as a medium to shine light on a broader issue: the history and ongoing struggles of indigenous rights in Canada.

The plot of "Is the Crown at War with Us?" revolves around a crisis that erupted in the small fishing community of Burnt Church, New Brunswick. The bone of contention here is not just the fishing rights, but a struggle for self-determination and government recognition of centuries-old treaties. This crisis is the focal point of the narrative, but Obomsawin artistically uses it as a conduit to voice larger concerns about preservation of culture, Indigenous rights, and societal injustices, subjects that have been historically sidelined.

The setting of the film is realistic, taking the audience directly into the heart of the dramatic events unfolding in Burnt Church. The cinematography does an exceptional job in capturing the raw emotions, tension, and the incredible perseverance of the people involved, making the narrative all the more compelling.

The film stars Arthur Holden and Tony Robinow, who deliver intense and authentic performances, contributing to the overall provocative narrative. The documentary style of storytelling gives the film an observational tone, allowing the audience to witness firsthand the events as they unfold, from the perspective of the people who are living through them.

Obomsawin employs a clear, articulate narrative style, effectively creating a powerful discourse about the intricate conflicts between the Canadian government and the indigenous communities. Through the use of historic and legal documents, news footage, and personal testimonials, she demystifies the complexities of the controversy and its sociopolitical context. The audience is educated, challenged and prompted to think critically about these serious issues, making it more than just a passive viewing experience.

The title “Is the Crown at War with Us?” is fittingly provocative, compelling viewers to question and re-evaluate their understanding of the government-indigenous relations and inherent power dynamics. Obomsawin, with her years of experience and intimate understanding of the subject matter, manages to balance the emotional weight of the story with its educational impact, making it a must-watch for those interested in understanding the contemporary plight of Indigenous communities.

The film is an instrumental piece that seeks to educate and foster understanding, initiating dialogue on a topic often oversimplified or misunderstood. It serves as a stark reminder of the underrepresented stories and struggles of indigenous communities, masterfully weaving in the threads of resilience and resistance—a narrative that resonates powerfully in contemporary times.

The film's strength lies not only in its powerful storytelling technique, but also in the candidness of its participants. It brings a human element to a complex political issue, allowing audiences to understand the situation beyond just the headlines.

Even though the film is anchored in the event of the fishing rights conflict, its scope goes far beyond that. It explores themes of identity, culture, societal power structures, colonial histories, and environmental concerns—issues that are of universal relevance.

To sum up, "Is the Crown at War with Us?" manages to break the cinematic fourth wall by engaging and making the audience a part of the narrative. It’s an intense, skillfully constructed film that provokes introspection and promotes understanding. Alanis Obomsawin’s ability as a filmmaker to present the complexities of social and political issues in an engrossing and educational manner is commendable, making this film a compelling watch. This piece of cinematographic journalism serves as a pivotal reference point in the discourse of indigenous rights and serves as an important educational tool for audiences worldwide.