“Nanook of the North” (1922), directed by Robert J. Flaherty, stands as a pioneering work in the realm of documentary film making. This silent film chronicles the life of an Inuk man, Allakariallak (called Nanook in the film), and his family as they navigate the challenges of the Canadian Arctic. While groundbreaking for its time, “Nanook of the North” blurs the line between documentary and staged narrative. Flaherty collaborated closely with Allakariallak to recreate traditional Inuit practices, many of which were already obsolete by the 1920s. The film’s “family” was assembled for dramatic effect, costumes were provided by a French fur company, and even the iconic igloo scene was specially constructed to accommodate filming equipment. These cinematic liberties were partly necessitated by the technical limitations of early 20th-century film making. However, Flaherty’s presentation of these staged scenes as authentic documentation sparked controversy and raised ethical questions about representation in documentary film. Despite its inaccuracies, “Nanook of the North” offers valuable insights into both early filmmaking techniques and the romanticized perception of Indigenous cultures during that era. The film can be viewed as a collaborative effort between Flaherty and the Inuit community, reflecting a shared nostalgia for traditional ways of life that were rapidly disappearing. It’s crucial to approach the film with an understanding of its historical context, recognizing both its groundbreaking nature and its problematic aspects. Modern viewers should be aware of the colonial perspective inherent in the film and the ethical issues surrounding representation of Indigenous peoples. Terminology note: The term “Eskimo” is considered offensive and should be avoided. “Inuit” is the preferred term for this ethnic group, with “Inuk” referring to a single individual.