North of 60 is a mid-1990s Canadian television series depicting life in the sub-Arctic northern boreal forest. It first aired on CBC Television in 1992 and was syndicated around the world. It is set in the fictional community of Lynx River, a primarily Native-run town depicted as being in the Dehcho Region, Northwest Territories. Most of the characters were Dene. Some non-native characters had important roles: the restaurant/motel owner, the band manager, the nurse and the town's main RCMP officer. The show explored themes of Native poverty, alcoholism, cultural preservation and conflict over land settlements and natural resource exploitation. Originally somewhat light-hearted, it quickly became a more dramatic and ponderous series.

The body of a trapper from the community of Swan Landing washes up on the banks of Lynx River while the two towns are in bitter negotiations over a new gas pipeline. The near violent discussions have rekindled an ancient feud between the bands over land boundaries and trapping rights. At the same time, a strange illness sweeps through the homes of Lynx River, only affecting the children. Sarah Birkett’s skill as a nurse proves to be no match for the mass hysteria that results.

Teevee Tenia has a plan - he intends to persuade Lynx River to dump the RCMP and establish an all Dene Police Force. But Corporal Michelle Kenidi is concerned: will a Dene Police Force in Lynx River be answerable to Canadian law, or to Teevee? When an elderly tourist is found beaten to death, Michelle’s concerns deepen as her suspicions fall upon Teevee’s friend, Matthew Fowler. As Michelle pursues the investigation, painful events from the past come alive. For the community of Lynx River, the investigation holds the town’s very future at stake.

After being raised in the wilderness, a teenage girl moves to the city hoping for a normal life with her anything but normal mother.

A beautifully paced and plotted journey into a series of still photographs taken in the Arctic in 1897 gracefully unravels the unseen and incomplete history of these images and the men who took them.

A resilient young woman navigates the silent solitude of her world and confronts the turbulent echoes of family addiction and buried secrets, all while forging a path toward redemption.

A beautifully paced and plotted journey into a series of still photographs taken in the Arctic in 1897 gracefully unravels the unseen and incomplete history of these images and the men who took them.

Four characters, four screens. The audience immersed, as stupefied as in a shopping mall electronics shop. Your attention flickers, trying to take it all in, not miss crucial details. The work seems unlimited in all directions, and it’s dazzlingly overwhelming. But you adjust to the overload. You realize the sound design is gently guiding your attention from screen to screen. You can make your own interpretations, even your own edit, your own film. So you discover moments that seem like outtakes: delightfully unexpected, notable non-incidents in the character’s lives that would usually be off-screen. But here, there is no off-screen.

Four characters, four screens. The audience immersed, as stupefied as in a shopping mall electronics shop. Your attention flickers, trying to take it all in, not miss crucial details. The work seems unlimited in all directions, and it’s dazzlingly overwhelming. But you adjust to the overload. You realize the sound design is gently guiding your attention from screen to screen. You can make your own interpretations, even your own edit, your own film. So you discover moments that seem like outtakes: delightfully unexpected, notable non-incidents in the character’s lives that would usually be off-screen. But here, there is no off-screen.

The story takes place nowadays, somewhere in Northern Hungary. Juli leaves home one day on a bicycle. She starts toward the North. Cycles comfortably on the bending mountain roads. She left the compass home, however, so she gets lost soon. On the road, she meets strange figures.