Mohawk artist and filmmaker Shelley Niro's magical-realist-tinged 2019 dramedy adds to the growing body of native film. While motion pictures about Native Americans have been around for almost as long as cinema itself (and yes, Nanook of the North could probably count), only belatedly—1998's Smoke Signals being something of a breakthrough—have actual First Nations peoples of North America been able to tell their stories unadulterated by big-studio fantasies, regrettable racial attitudes and cultural stereotypes.
The title character, Mitzi Bearclaw (Morningstar Angeline), is a would-be fashion designer in Toronto with a proud, scholarship-minded Native American boyfriend; she complains that he treats her like a study subject on unworldly young indigenous people adjusting to big-city life, and he does not contradict her. As her birthday comes around, Mitzi bolts the urban environment to return to the hometown she had hoped to leave behind, ancestral Owl Island, a rural enclave where members of her family and tribe still struggle with chronic health disorders and bitterness.
Mitzi's hostile, semi-invalid mother (Gail Maurice) only shows a kind disposition to Mitzi's theater-minded cousin Charlie (Andrew Martin). In comic relief, local tough girl Simone Muskrat (Roseanne Supernault) perceives prodigal Mitzi immediately as a sexual threat and rival. And indeed, Mitzi begins a tentative romantic hookup with handsome Honeyboy Yellowdog (Ajuawak Kapashesit), who, as the son of the tribal medicine man, feels duty-bound to stay on Owl Island, even as most of the native youth depart for the cities and greater opportunity.
Which path will Mitzi choose? The 12-month story arc, co-written by late Canadian playwright Shirley Barrie, is episodic and slightly uneven, a not-untypical pitfall for many a coming-of-age/getting-of-wisdom narrative. While a few interludes dive into mysticism and soft-edge surrealism (re-casting key characters as tricksters and spirits), much of the loose plot should be relatable for viewers of any background who have their own mixed feelings about relationship/career uncertainty, cranky loved ones, or stifling village upbringings.
A recommended title for indie-cinema library shelves as well as collections with a strong First Nations orientation (and/or especially friendly to the film production of Canada).