Atanarjuat The Fast Runner (2001), the first independent Inuit film by Igloolik Isuma Productions, images the here and now of Canada, while propelling the spiritual automaton of itself-thinking-itself that arises from the force of creation within Inuit communities. This article foregrounds the image of thought operating in communal creative processes to argue that cinematic technology, as a circuit that strings together digital media and oral tradition, reframes the drastic change of time and space in the film. It draws upon relations among legendary storyline, structure of presence, and digital technology to access the creation of Inuit self-filmmaking. Atanarjuat The Fast Runner serves Inuit home communities, but it also directs all viewers to think upon images of the Arctic; in doing so, the film strategically communicates the incommensurable relation between Inuit and non-Inuit people. Atanarjuat The Fast Runner may also contribute to resisting colonial entanglement between the Inuit and the Canadian government, in that producing the film, or even viewing it, entails more than reassessing postcolonial space. Building upon an argument that the movement-image of Atanarjuat offers a medium to get beyond de-contextualization in representing ethnic groups, this essay posits that the endangered, decaying North in the cinematic landscape of the film gives way to the virtual of thinking the Inuit.