Maïna

Intertribal relations bellicosely deteriorate as a restless megalomaniac seeks control of his clan, the Nearly Wolves, the aftermath of his ambush of the Men of the Land of Ice leaving Maïna caught between Innu and Inuit worlds, wherein misunderstandings and revelations communally mingle, devastatingly enlightening in turn, chasing the wind, in the land without trees.

The unknown presents an invigorating sense of bewilderment as Maïna (Roseanne Supernault), daughter of the Nearly Wolves's Chief Mishtenapeu (Graham Greene), protecting young Nipki (Uapshkuss Thernish), must join a group of Inuit travellers on their voyage home, one of them, bold Natak (Ipellie Ootoova), known to Maïna through her dreams, a new language, new customs, new lands, viscerally vivifying, as she adventurously comes of age.

Natak and Maïna fall in love but challenges face their union as she acquaints her new neighbours with the traditions of the Innu.

At a critical moment, her continuing survival having been jeopardized, Nanook embodies the unknown's extreme malevolency, understanding and support being required to integratively overcome the hunger, and peacefully initiate the flowering of difference.

Maïna comprehensively blooms love's emotional omniscience, artfully blending the confrontational with the mesmerizing, navigating clasped distances, flourishingly mused.

Petulance and prejudice challenge its tumultuous tranquility, as Maïna demonstrates that she too can hunt, and Natak must balance divergence and docility.

Cinematography by Allen Smith.