Directing
Famed romantic filmmaker Frederick Curtis is shooting a film about Geronimo just outside the Long Horn Saloon. Frustrated with the unconvincing performances of his lead actor, he pulls another young sexy Cree man into the role. Jealousy ensues as Curtis alternately gushes over the two Cree boys as he manipulates them into broad Hollywood caricatures. A “Lonesome Rider” intercedes, teasing the action to a tragic twist, which forces the boys to take control of Curtis’ film.
Against the terrifying backdrop of a biological apocalypse, a Native teenager, Brian, comes out to his older sister, Faith, and homophobic brother, Charles. Conflict erupts among them as desperate survivors from the city seek refuge on the rez from the horrors of a 'megapox' epidemic that is quickly devastating urban populations across North America. Through a perilous journey to the city for food, where they rescue Brian's 'friend' in the process (an outrageous drag queen named Tonya), the hungry and frightened youth reach acceptance by facing down their fears.
Robin's Hood is the final chapter in a trilogy of the adventures and histories of Miss Chief Eagle Testickle Kent Monkman, a wandering artist from the Great Plains of North America, who journeys far across the seas to study the unspoiled European Male in his native habitat. She meets the handsome Robin Hood in Sherwood Forest, but realizes too late that one can never trust a white man, especially on his own turf.
Group of Seven Inches borrows from the diaries of 19th century painters of “Indians,” George Catlin and Paul Kane, turning their dismissive writings on the “romantic savage” upside down and inside out. Miss Chief Eagle Testickle (the outrageous alter ego of Cree artist Kent Monkman), forces innocent naked white men to become her figure models, seduces them with whiskey, and when she’s done with them, dresses them up as more “authentic” examples of the “European male.” Shot on the grounds of the McMichael Canadian Art Collection in Kleinburg, Ontario, Group of Seven Inches subverts the subjectivity and authority of colonial art history and everything else it can get its hands on.
