Director/screenwriter: Robert Morin – Producer: Nicole Robert – Diary by: Leo Rice-Barker

1989 to Spring 1990: Long before the advent of roadblocks around Canada’s Native settlements and the disturbing events leading up to Oka, director Robert Morin prepares a synopsis for a film called Chants des silhouettes, a metaphorical tale of an isolated northern community of Native people who confront various southern authorities with a declaration of independence.

Toward the end of this period, Morin participates in an ‘adventure film’ roundtable co-ordinated by Montreal’s Lux Films producer Nicole Robert (La Guerre des tuques Laura Laur). The same year, Morin wins the 1989 Alberta/Quebec Prize, and a major sogic bursary for a video film called Tristesse modele reduit.

1992: A respected video maker, Morin puts Chants aside to direct his first feature film, Requiem pour un beau sans-coeur. A story about a gangster as seen through the eyes of the people he meets during his brief escape from prison, the film is coproduced by Robert and Coop Video. It goes on to garner four Genie nominations, including best director, and wins the 1993 Prix L.E. Ouimet-Molson for best Quebec film, and the Prix sardec for best screenplay. It is also showcased at the Cannes Film Festival and wins the award for best Canadian film at the Toronto Festival of Festivals (now called the Toronto International Film Festival).

1993: Morin ultimately prepares ‘four or five major rewrites’ of Chants, later retitled Windigo. Robert says Morin is supported by the funding institutions despite the modest box office for Requiem. During the year, Telefilm Canada returns the project twice for rewrites.

Robert and Morin begin preproduction, ‘taking the cowboy approach,’ meaning they proceed even though financing isn’t finalized. Agency funding is confirmed in August.

Sept. 13 to Oct. 30, 1993: Windigo (a bad spirit in Native mythology) is shot on 35mm over 30 days in the mid-Northern Quebec reserve of Lac Baskatong and in the Maniwaki area.

The film tells the story of a Native leader and his people in the aftermath of a declaration of independence and the creation of a new country called Aki. Morin’s story is a wild expeditionary tale of contradiction, dreams, logic and absurdity.

The storyline evolves as a politician, tv journalist and others join the Natives for a three-day ride of their lives in an old tugboat down the untamed Windigo River.

The film’s narrative is based on the conversations of the passengers with the journalist. Each reveals his own fears and prejudices as they assess Chief Eddy Laroche, the band’s leader. Laroche follows through to the logical end, a tragic confrontation.

‘It’s not really about Indians, it’s about our perceptions of them,’ says Morin, adding the film is also a metaphor touching all minority peoples ‘who want to have their cake and eat it too.’

‘Filmmaking is the art of compromise between what you want to say and how it’s ultimately said,’ adds the director.

The film is budgeted at $2.8 million. sogic fully backs the project with a $500,000 investment. Telefilm invests an impressive $1.38 million, while the Quebec tax credit covers 18% of the budget. Lux invests over $150,000 and Allegro Films Distribution advances $275,000 for all rights to the property.

Leading players are English actor Donald Morin (First Blood) as Eddy Laroche, Guy Nadon, Nathalie Coupal, Richard Kistabish (an Algonquin chief in real life) as Conrad Volant, Serge Roberge as the warrior Hook, Yvon Leroux, Michel Laperriere and Paul Berval.

Craft credits include line producer Muriel Lize, dop James Gray, cameraman J.P. St-Louis, pm Daniel Louis, art director Marie-Carole de Beaumont, editor Lorraine Dufour, sound mixer Louis Collin, sound recordist Marcel Chouinard, and music composer Bertrand Chenier.

Robert says of Allegro: ‘I really like them. They’re aggressive, intelligent and good communicators. They’ve prepared a strong publicity campaign.’

Ad agency Cossette Communication-Marketing has been hired to target a ‘more thoughtful, intellectual audience’ for what Robert calls a ‘non-commercial film.’

Sept. 10, 1994: Windigo has its world premiere at the Toronto International Film Festival. Robert also hopes to screen the film at the Chicago and Sundance festivals.

Oct. 28, 1994: Allegro launches Windigo in Quebec theaters.