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Event Series Event Series: Orange Shirt Day 2023

Folil Trafün (Joining Roots) Festival – Main Showcase

September 28, 2023
2:00 PM – 8:00 PM
at UBC Robson Square (map)


About the Event

Folil Trafün (Joining Roots) is a showcase of Indigenous and Afro-diaspora films from Latin America (with English subtitles), followed by dialogues to deepen understanding of the films and their relationship with local realities. UBC Connects at Robson Square will be hosting the main showcase of this event, featuring several short films for adults and children, a feature length film, discussions, as well as a community dinner served by Salishan Catering.

The films and subsequent conversations will be framed on themes like Indigenous and Afro-descent identities, migration, Mother Nature, and complex relationships between industry and Indigenous communities. Special attention will be given to how communities work towards territorial sovereignty.

The project brings together three main partners: Ficwallmapu, an Indigenous and Latinx collective that puts on a yearly film festival and various smaller film events in the Wallmapu; Vancouver Latin American Cultural Centre, a local hub for both Latinx and non-Latinx residents to experience Latin American arts and culture; and the Justice, Equity, Diversity and Inclusion (JEDI) team from the UBC Faculty of Forestry, a leading forestry school globally.

For more information on other events of this festival, visit the main event webpage here.


Event Schedule

1:30 PM Doors open

2:00 PM Program begins, welcoming remarks

2:15 PM Short film and documentary screenings, followed by discussion

5:00 PM Community dinner, served by Salishan Catering

6:15 PM Feature film screening, followed by discussion

8:00 PM Program end


Theatre Screenings

Folil (Feature film – 2020)
Folil, root in Mapuzungun, the language of the Mapuche; is an invitation to question humanity’s relationship with nature, the way we think about it and inhabit it. Malen and Nawel, young Mapuche folks belonging to the communities of Pucura and Traitraico, in southern Chile, face the difficulty of protecting the forest in order to continue collecting wild mushrooms, their food and medicine. It is the territory itself and the affected Mapuche communities that, through this film, make their problems known to the world, where the languages of nature face the paradoxes of development.






Energía de los Pueblos (Documentary – 2020)
In Mexico and Guatemala, energy production is carried out to the detriment of the people through privatization, the dispossession of natural resources and the violent imposition of power plants to satisfy a growing industrial demand. Faced with megaprojects that threaten their territories and ways of life, rural and urban communities fighting for a dignified life made the commitment to produce their own electricity. Through the voices of those who walk towards fair, popular and sustainable energy models, the documentary allows us to discover experiences that challenge the system, considering energy as a common good and a right for everyone.

Kapaemahu (Short – 2020)
Long ago, four extraordinary individuals of masculine and feminine spirit brought the healing arts of Tahiti to Hawaii. Beloved by the people for their gentle ways and miraculous cures, they imbued four giant rocks with their powers.

Tita, tejedoras de raíces (Short – 2018)
Tita, who belongs to the Afro-Mexican community of Chacahua, on the Costa Chica of Oaxaca, supports her family through fishing. She is a strong woman who seeks opportunities to improve themselves on a personal level and thus be able to contribute to the well-being of their environment.

Mama para (Short – 2020)
In a remote Peruvian city lives Honorata Vilca, an ‘illiterate’ woman of Quechua descent who has been selling candy for more than 20 years. A story of effort and strength to sustain everyday life. The gray and the rain will cry to the sky itself.



Pichikeche (Children’s) Screenings

Muu Palaa (Short – 2020)
Ina and Siruma, two girls from the Gunadule (Urabá Antioqueño) and Wayuu (Guajira) ancestral cultures, accompany their grandmothers Nana Dummad and Manna, in their daily activities while learning their knowledge. Curious about the presence and the songs of Werwel and Ulepala (representative birds in the laws of origin of their cultures), Ina and Siruma get lost while they are guided to a space unknown to them, in which they find themselves on a dream trip with Muu (dulegaya) Palaa (wayuunaiki), the Ocean grandmother.

Trully (Short – 2016)
Trully was a happy and lonely wolf, every morning he liked to go for a run in the mountains, one day in one of his trips he met Kokopelly-mana, who was a female goddess. In their meeting they had a magical moment, but she could not stay long on earth, so she had to leave. Trully was sad to see that Kokopelly-mana had abandoned him, so he started running following the melody she played, this sound took him to the highest cliff of the mountain. Since then, the silhouette of a wolf is seen on the cliffs howling at the moon, where the goddess answers him with the beautiful sound of her flute, which represents the spring wind.



Hisham Zerrifi is the Associate Dean, Equity, Diversity and Inclusion for the Faculty of Forestry of The University of British Columbia.  Hisham’s EDI work takes a justice based approach to understanding and countering systemic and structural issues in academia as well as creating a more inclusive environment.  As Associate Dean he has responsibility for policy formulation and implementation (e.g. the Indigenous Strategic Plan), advising other administrators on EDI related issues, representing Forestry in university level EDI processes and acting as a resource person for any members of the Forestry community that require advise or guidance or wish to disclose and EDI related issue.  He is also an Associate Professor in Forest Resources Management where his research is at the intersection of technology, energy, and the environment, with a particular focus on energy poverty, energy justice and the relationship between energy and forests.

Alessandra Santos is from Brazil, and is an associate professor of Cinema and Media Studies at the University of British Columbia. She specializes in Latin America, and her interest areas are decolonial studies, utopias, gender and race. Her publications approach visual culture from interdisciplinary and social justice perspectives. Her research has been supported by multiple grants.

Jeannette Paillan is an Indigenous Filmmaker, Cultural Manager, and Scholar from the University of La Frontera in Chile. In 2013, she founded the International Festival of Indigenous Film and Arts in the Wallmapu region (FicWallmapu) and has served as its director for ten years. FicWallmapu offers a broad and diverse platform for Indigenous and Afro-descendant voices across various film formats. From 2008 to 2015, Jeannette held the position of Latin American Coordinator for Indigenous Film and Communication (CLACPI). CLACPI is committed to championing indigenous filmmaking and media as avenues for cultural expression and communication throughout Latin America. Concurrently, she was a member of the counsellor team at Wapikoni Mobile, a Canadian non-profit based in Montreal that fosters Indigenous talent. Jeannette has been honoured with multiple awards from Spain, Chile, and Argentina in recognition of her commitment to cultural filmmaking.

Antü Pradines Antillanca is a Williche Indigenous visual artist and graphic designer from Ranco Lake, in the southern territory of the Mapuche nation, where he lives alongside his community. He has been a part of various collective projects that highlight Mapuche art, contributing through design, illustration, exhibitions, and art curation, as well as forums, seminars, and meetings on contemporary Mapuche art. Currently, he is the Image Coordinator for FicWallmapu, having been part of this festival since its beginning. Antü’s work reaffirms that Indigenous universes in general, and the Mapuche world in particular, have their own visual narrative, as they retain their unique value codes and aesthetics. In a way, Antü captures the collision of his Indigenous universe with the world.


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