So Surreal: Behind the Masks

From 1885 to 1951, Canadian law banned the Indigenous Potlatch ceremony. Those who defied the ban were arrested, and masks and ceremonial objects were confiscated. The Kwakwa̱ka̱ʼwakw nation has made it their quest to track down these sacred items. In some cases, the masks traveled across the country and eventually to Europe, finding their way into museums and private art collections, as well as ending up in the hands of surrealists like Max Ernst, André Breton, and Joan Miró. So Surreal: Behind the Masks traces the delightful confluence of the Yup’ik sensibility and the Western avant-garde movement and demonstrates the tremendous impact of Indigenous art in the most unexpected corners.

Neil Diamond and Joanne Roberton’s hugely entertaining film is part detective movie, part art doc. As it moves back and forth between Alert Bay, New York, and Paris, it provides an unusual and little-known perspective on art history while highlighting the crucial work of redressing the cultural genocide perpetrated by Canadian and American authorities. Vital and vibrant, this film is an outstanding achievement and a strong choice for teachers seeking Indigenous films this time of year, and want to show students history and colonial themes from a surprising and eye-opening perspective.

Q&A with directors Neil Diamond & Joanne Robertson