Indigenous studies have found increasing relevance in public debate as issues of environmental crisis and cultural survival have moved to the forefront. From the Canary Islands across North and Northwest Africa to the Siwa Oasis in Egypt, ancient and contemporary indigenous ways of life of Amazigh groups, formerly known as Berber, have likewise gained visibility. Building on long-term activism, this public presence is in part due to the availability of digital technology and the circulation of amateur and semi-professional videos and audio recordings, both in the form of popular TV dramas and musical recordings for home, diasporic, and world audience consumption. Drawing on the Canadian-born Anishinaabe cultural theorist Gerard Vizenor’s concept of “survivance,” which underscores Native resiliency and narrative agency in the face of historical erasure, and the work of Martin, Higby, and Bahmad in their examination of Transnational Moroccan Cinema, this panel introduces a new debate at MESA on the existence of an Amazigh Cinema and the cinematographic expression of North and Northwest African transnational indigeneity or Amazighity. Constituting a wide range of Amazigh-centered shorts, documentaries, and full-length features, and produced in countries across the Amazigh space and in the diaspora since the mid-1990s, these works have often struggled to secure funding and distribution and have been screened largely at film festivals, including the New York Forum of Amazigh Film (NYFAF) which is co-curated by the panelists. Both an element of national cinemas and a transnational genre of its own, Amazigh Cinema - film production by and about Amazigh subjects - turns such contradictions and dual loyalties into necessary and constructive conditions for its existence. From systemic repression to gradual official recognition to an active role in contemporary culture, the status and place of Amazighity can thus be examined through this body of cinematic work, which varies from one country, generation, and filmmaker to another and is shaped by national political pressures, the experience of diaspora, and access to film production means and skills. Working towards a forthcoming collection of essays, the panelists will critically examine the linguistic, narrative, and cinematographic choices of select filmmakers in their portrayal of Amazigh ways of life, indigenous relations to space and time, evolving social roles and aspirations, and contemporary cross-cultural dilemmas, while reflecting on the inherent contradictions this genre presents and its potential for creative reinventions.