For some time now, we have been discovering more and more films by Sámi filmmakers at festivals and are thrilled by the power of the stories. But where do these films come from and why are we suddenly seeing so many? The International Sámi Film Institute, founded in 2009, provides answers and curated this year's special series Sámi Cinema - Stories from the North together with the BIFF.
The International Sámi Film Institute was established in 2009 in Kautokeino, Norway. You co-founded it, and it has been under your direction ever since. What values does the ISFI represent, what do you see as its most important tasks, and what can it achieve?
The ISFI works to develop the Sámi film industry. We support Sámi filmmakers financially, and assist with the production and distribution of their films. Our goal is to create a sustainable and innovative Sámi film industry that is visible and appealing worldwide. We Sámi people see ourselves as one people; national borders do not define us. We work closely together on both local and international levels. The ISFI staff is spread across Sapmi, a region that spans Norway, Sweden, Finland, and Russia. The ISFI’s most important role has been, and remains, a traditional gathering place, where our filmmakers can come together, and where their stories can ignite in a creative atmosphere.
The traditional culture of the Sámi, the only indigenous people in Europe, has many unique aspects: a more cyclical than linear concept of time, a perspective beyond national borders based on the traditional Sámi territory following reindeer migration routes, and the distinction of eight different seasons. What role can these values play in our times of globalization, digitalization, and climate change?
Indigenous values and ways of life remain deeply rooted in a connection with nature. Traditional livelihoods such as reindeer herding, fishing, hunting, and gathering emphasize a respectful and sustainable relationship with the environment. For us Sámi, nature is not a resource to be exploited at will; it is alive, filled with spirits, animals, and plants, and deserves gratitude. We take no more than nature can give, and we value everything it offers.
Our storytelling traditions are also closely linked to nature. Many characters represent the spirits of water, lakes, plants, mountains, and even the underground. Through these stories, we engage in a dialogue with nature, making it feel alive and tangible. This is essential for reminding people of their connection to nature. In the Western world, these values seem to have been forgotten, which has facilitated the exploitation of the land.
Like many indigenous peoples worldwide, the Sámi have long been subjected to damaging state assimilation policies. Children were forcibly removed from their families, culture and language were banned or suppressed, to name just some of these practices. What are the impacts of this today?
The damage is substantial, and while efforts to repair it have begun, the responsibility largely rests with the Sámi themselves. In recent years, all Nordic countries have initiated truth and reconciliation processes acknowledging the historical injustices committed against the Sámi people. These processes offer a glimmer of hope as they aim to address past wrongs and pave the way for change. For these initiatives to be effective, however, they must be supported by structural changes and financial aid for the Sámi.
Stories are told in cinema. What is the significance of storytelling in Sámi culture, and how can the modern medium of film build on this tradition?
Storytelling is at the heart of Sámi culture and has always been an essential way to pass on knowledge and values from one generation to the next. Traditionally, stories were not just a form of entertainment; they served as a means of conveying wisdom, cultural identity, and a deep connection with nature. Many stories feature characters and spirits from nature, reflecting the Sámi belief that all elements of nature are alive and interconnected.
Film is a powerful contemporary medium that can extend this storytelling tradition. Through film, we can share our stories with a broader audience, preserve our cultural heritage, and adapt it to new forms of expression. Film allows us to visualize and dramatize our stories in ways that resonate with modern audiences, both within the Sámi community and beyond. It can bring our myths, legends, and daily experiences to life and ensure that our culture remains vibrant and relevant in the modern world.
Furthermore, film gives us narrative sovereignty – control over how our stories are told. This is especially important in a world where indigenous stories are often marginalized or misrepresented by outsiders, reinforcing stereotypes or prejudices. Through film, we can reclaim our voices, challenge stereotypes, and convey the richness of Sámi culture from our own perspective. While media continue to evolve, the importance of storytelling remains timeless in preserving and strengthening cultural identity.
In our special focus Sámi Cinema – Stories from the North this year, we are showing PATHFINDER and JE‘VIDA, two films that stand out for their use of Sámi languages. PATHFINDER, once nominated for an Oscar, was the first film ever shot in Sámi. What significance did this film hold for the Sámi people, and how did you experience its release personally?
PATHFINDER premiered in 1987 at the cultural center in my hometown. I was 14 years old then. My cousin and I wore our gáktis, the traditional Sámi clothing, and went to the screening. The theater was full of people in gáktis. In the audience sat the director and the lead actor. The film began. The main character, Aigin, slid down the snowy tundra slopes in traditional Sámi winter clothing as an old Sámi song played. I remember the intense feeling of seeing my people – and myself – on a huge cinema screen for the first time. That was us!
After the screening, we had stars in our eyes, and our hearts were pounding. We felt changed after seeing the film. We had a new pride and admiration for our culture and our people. Bringing our indigenous stories to the big screen is a powerful statement. Because of our shared experiences with colonization and reclamation, indigenous films emerge from a drive to express and preserve our cultures and languages.
The Sámi languages are marked by a distinctive richness that reflects a unique worldview and specific knowledge. For instance, there are around 100 words for snow. Unfortunately, some Sámi languages are endangered. But the loss of language also means the loss of living diversity and cultural identity. What must be done to prevent this?
To preserve the Sámi languages, a coordinated rescue effort is urgently needed on national and Nordic levels. The Sámi community constantly faces chronic underfunding for its cultural and educational institutions. Many of us must endure the exhausting process of project-based funding for initiatives that should be permanently financed. Only with sustained core funding, with a special focus on supporting Sámi language initiatives, can we focus on the monumental task of preserving our languages.
In addition to the traditionally nomadic, reindeer-based lifestyle, the joik, the unique singing style of the Sámi, plays a significant role in the films of our special series. How would you describe this singing style?
The joik is one of the oldest living musical traditions in Europe and deeply rooted in Sámi culture. It is believed to date back thousands of years, making it one of the oldest continuous musical practices on the continent. In form and purpose, the joik is unique and is often used to express personal or spiritual connections to people, animals, or landscapes, rather than simply telling a story or following a structured melody. Its continued presence in Sámi culture, despite all attempts to suppress it, speaks to its profound meaning and resilience.
The films in our special focus this year have been strikingly often directed by women or tell stories with a focus on women – unusual by international standards. Is this representative, and how did this high proportion of women come about?
In the Sámi film industry, most directors and producers are women, a trend that has been observable since the early days of the industry. This reflects a broader pattern within Sámi society, where women often hold leadership positions. At the ISFI, we place great value on equality and therefore also seek to encourage more Sámi men to join the film industry, as their voices and stories are just as important. One possible explanation is that traditional occupations like reindeer herding, fishing, and farming are more often held by men. Additionally, the higher level of education among women may have contributed to their stronger presence in the film industry.
Several of the films we show address the effects of state assimilation policies on the Sámi and the loss of cultural identity. However, there is also a new sense of self-confidence. THE TUNDRA WITHIN ME, for example, reflects the relationships between young Sámi people with very different life choices. Is this setting a new direction? What does the future of Sámi cinema look like?
I see a bright future for Sámi cinema and for our people. We have incredible and courageous talent, strong stories, and a growing number of young people entering the Sámi film industry in various roles. When the long-awaited day arrives, for which we have worked since our founding in 2009, and we achieve narrative sovereignty over our films, along with sufficient funding, we will experience an extraordinary diversity of films in different genres.
The interview was conducted by Sigrid Weitemeyer and Beate Siegmann