Indigenous filmmakers discuss identity and storytelling

On Oct. 9, Navajo director and writer Sierra Nizhoni Teller Ornelas, as well as Mohawk film writer and actress Kaniehtiio Horn, visited Hamilton’s campus for a panel discussion where they shared the thought and intention behind their works.

Ornelas, co-creator of sitcom “Rutherford Falls”, began the panel with the story of her last name. When her grandfather was a young man, he was given a new Christian name, “Teller,” because of his reputation as an incredible storyteller. While Ornelas’ name reflects the pressure to assimilate experienced by generations of Native Americans, the filmmaker treasures the legacy she holds as a storyteller.

Storytelling has always been central to Ornelas’ family culture. She shared that her family uses storytelling and humor to navigate the world; she used her talent for storytelling to get out of trouble as a child. We see this humor in Ornelas’ show, “Rutherford Falls”, which highlights the comedic irony in a fictional town lacking a Native cultural center while featuring an expansive historical museum for the white Rutherford family.

Following Ornelas’ talk, Horn broke down elements of her debut film “Seeds”, which was released in October 2024. The film follows Mohawk influencer Ziggy, who makes a deal with the exploitative agricultural company Nature’s Oath. The company tracks Ziggy to her reservation and attempts to steal the unique corn, bean and squash seeds belonging to her family. These plants, known as the “three sisters,” are symbolic of Native heritage and culture.

Horn explained that the concept for the film was loosely based on Christmas classic “Home Alone”. However, rather than wealth, Nature’s Oath attempts to steal seeds. Horn explained that this switch to seeds reflects her values, as seeds are what she “would die for.” This film beautifully reinterprets the Western film Home Alone. Lines such as “This is my house. I have to defend it,” are translated into Kanienʼkéha, the native Mohawk language. In “Seeds”, Horn depicts not only the defense of home, but also the defense of legacy. Ziggy safeguards her family’s legacy by protecting these sacred seeds that provide nourishment.

Horn’s film concludes on a note of violence. Ziggy states: “My people the Kanienʼkehá, we are the original custodians of this land that you have encroached on and we were put here by creation to ensure that our mother, the Earth, is safe. So that she can do what she has done . . . and that is to provide for all of us. . . . War has been declared and you are a soldier in this war against our mother, and that makes you an enemy to my people, and do you know what my people did to our enemies in war time?” Ziggy then demonstrates her conviction by painting Bondsman—the primary antagonist of the film—in black paint and proceeding to torture and kill him in defense of her people. The final scene of the film ends with Ziggy eating the heart of Bondman while covered in blood. While violent, these final scenes are necessary for the film to express its themes. Horn mentions that “her people were a people of peace,” and that violence shown in the film was a last resort. Ziggy protects her people from exploitation and preserves her family’s legacy. Similarly, the film ties into Horn’s legacy—it depicts Native people as strong and resilient. Horn mentioned that she made this movie for her sixteen-year-old self and no one else.

Both filmmakers discussed how their Indigeneity shapes their work and how Native American cultures are perceived by audiences. Ornelas responded, “What makes me Native makes me good at my job, in terms of ways I’m recognized and opportunities I’m given . . . you have to find a way to circumvent a lot of stuff.” Orenelas stated that her identity is what makes her work brilliant and what has given her such incredible opportunities. Ornelas identifies the bias of modern society as favoring non-native and male-centric stories. In contrast, Navajo culture is rooted in matriarchy. Ornelas was encouraged to be a leader. This begs the question: if our brains were, as unrealistic as the prospect may seem, completely unbiased, what media would we consume? What media would we be moved by? How does bias dictate what media we consume? Engaging with media is an intentional choice. If we introduce ourselves to a variety of perspectives and elevate Native American voices, we will grow all the more and learn from the past evils of colonization. Both Ornelas and Horn have created incredibly moving art that is filled with humor and sharp insights on the lasting effects of colonization on Native American communities.