Q&A: How 'Reservation Redemption' Connects Incarceration and Indigenous Healing
Yakama filmmaker Brenda Fisher discusses the documentary's Seattle screenings, Native cultural revitalization, and supporting those affected by incarceration.
Documentary filmmaker Brenda Fisher (Yakama descent) grew up with Chief Marchand Rice (Colville), the subject of the documentary Reservation Redemption. Both lived on the Yakama Reservation, in South Central Washington, where Fisher saw Rice enter a cycle of self-destruction. He eventually served time for murder that he committed at age 17, and after his resentencing to be released in 2028, Chief, as he's called in the film, found a new path centered on spirituality and culture.
Fisher, along with co-director Blake Pickens (Chickasaw), tells Chief's story in the film, which screened last weekend at the Central Library as part of the Seattle International Film Festival's (SIFF) cINeDIGENOUS program, an Indigenous-made film showcase. Prior to an upcoming public film screening at the Duwamish Longhouse and Cultural Center on May 16 , Fisher spoke about people impacted by incarceration and the concept of redemption.
This interview has been edited for length and clarity.
Would you share a little about your connection to Yakama Nation and the story's connection to Seattle? How did you decide to direct Reservation Redemption?
I am a Yakama descendant, and I grew up on the Yakama Reservation. "Chief," who is at the center of the documentary, grew up with me on the reservation; he is a Colville tribal member. Chief has connected with so many people in the state of Washington, several from Seattle such as Gabe Galanda (Round Valley), who is an attorney in Seattle who fights for Native American rights. Aaron Falatego (Samoan), formerly incarcerated, was a counselor at Restorative Community Pathways before the program lost its funding.
We also interviewed several people at Chief Seattle Club, another Native-led organization that supports those navigating life struggles, many who are formerly incarcerated. Minty LongEarth and Winona Stevens both worked in the reentry programs and went into the prisons to support the HOOPS (Native prisoners practicing their culture).
How would you describe the word "redemption"?
You can't erase the destruction that has been caused when you commit a crime. People have a choice, you can let your past define you or you can decide to reflect and make a change. It is what you do next that will either hold you back or move you forward. Redemption comes from doing things because they are the right thing to do. Changing your life to be in service to others and paying forward the mentorship and guidance that was given to you can create a ripple effect that can help others with rehabilitation.
How has this story shaped your ideas of redemption?
I have watched Chief go from an angry, lost, and destructive teenager to a man who has taught others how to take responsibility for their actions, as well as introducing them to Native culture. He has counseled hundreds of inmates over the years he has worked, to try to keep those being released from recidivating.
Could you share what storytelling means to you and how has it allowed you to connect with your communities (for both directors)? How has Reservation Redemption been received?
This documentary has done more than I could ever imagine. I started this film to tell Chief's story, a story about a kid who was branded a monster and became a mentor for many inside and outside of those prison walls. The culture was the catalyst. I interviewed so many people connected to Chief through his efforts to do outreach. This story took on a life of its own and turned one man's story into a movement of education and understanding. We have been asked if we can show the film for schools and other educational programs.
Do you feel that your communities have been fairly represented in the media, and how do you see this evolving?
I think the media could do so much more to educate people about how the destruction of Native and Indigenous cultures has taken so much from families. The systematic loss of the culture is tied directly to so many kids losing their way and entering the system. Much of this pipeline to incarceration began with colonization.
Can you describe what it means to you to bring this story to people who have been affected by incarceration?
It surprised me how many people have been affected by incarceration. It isn't something that people bring up unless they are in a safe space to discuss it. There is a strong stigma that paints the family members with the same brush as the incarcerated. No one goes to prison alone.
What excites you about Indigenous cinema, such as your collaboration with cINeDIGENOUS and local Native orgs?
Native stories being told by Native people makes all the difference. It is so great to see Indigenous filmmakers from around the world at the festival and hearing about the film programs supporting them is inspiring. We received our support to start our journey from the Kalispel Tribe of Indians and Vision Maker Media. We are also so grateful to our community partners the Seattle Public Library, HOY, 4th World Media, Chief Seattle Club, Daybreak Star Radio, and the Duwamish Longhouse. Being selected by cINeDIGENOUS at SIFF really makes us feel like we have a story that is important.
This article is a collaboration between 4th World Media, SIFF, and the South Seattle Emerald.
The Emerald's arts coverage is supported in part with funding from 4 Culture and the City of Seattle's Office of Arts & Culture. The Emerald maintains editorial control over its coverage.
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