^{Credit: Endless Cookie (Obscured, Mongrel Media, Scythia Films)}

Endless Cookie is an animated documentary, although at times, it plays like an animated reality show. Imagine if you dozed off between reruns of The Real World and Liquid Television after eating a box of Chips Ahoy! in the 90s. Endless Cookie is the surreal dream you’d have. It prompts the question, “What’s the difference between a documentary and reality TV?” Documentaries seek to entertain while educating the audience about a pressing subject matter. Reality shows, specifically the ones without a competition angle, are essentially about nothing.

This doesn’t mean Endless Cookie has nothing to say. Seth and Peter Scriver’s film explores Cree culture, the injustices that Indigenous individuals still face, and the bonds of family that can stretch beyond borders. Other times, though, it’s about the vehicles in Halo games, a bear that marked its territory on a discarded couch, or toilets. Basically, whatever pops into the heads of the filmmakers and others who happen to be in the room. For anyone who doesn’t think an animated film can be improvised, they’ll feel differently after watching Endless Cookie.

Seth Scriver’s previous feature, Asphalt Watches, which he co-directed with Shayne Ehman, came out in 2013. This paved the way for Seth to make another, choosing his half-brother Peter as a subject. While they share the same dad, Seth is white, while Peter is Indigenous. The brothers are not only separated by age, Peter being 16 years older, but they also live thousands of miles apart. Whether they’re on the phone or in the same room, the brotherly love between these two is undeniable. Seth seeks to record his brothers’ stories, which are visualized through animation.

While Julian Gallese lent a hand, Seth animated 90% of Endless Cookie himself. The offbeat character designs and vibrant colors are reminiscent of Gary Baseman’s work on Teacher’s Pet, but Scriver’s approach is more restrained. Many scenes consist of characters sitting on the couch or at the table, with one sipping from a Garfield mug. Although the film revolves around their family’s history, there are more than a few interruptions. Peter has several dogs and children, including the titular Cookie. Rather than edit them out, Seth integrates the background noise into the film, giving Endless Cookie the endearing sentiment of an animated home movie.

The film opens with a National Film Grant officer telling Seth that he only has several months to complete the film. Seth jokes that he should’ve asked for seven years. Turns out that Seth wasn’t entirely joking. The titular Cookie was about ten when he started. She’s nineteen by the time he finishes. Occasionally, Seth will show the NFG officer what he has so far. The officer is perplexed, questioning where the film is going and why it’s taking so long. It’s as if Seth is trolling the person financing the project, but the result is a film that they can all be proud of.

You get the impression that even Seth didn’t entirely know what this movie would be when he started, other than that his brother would be a part of it. Perhaps the film was just an excuse for him to hang out with his family. It's a fun hang-out film that does touch upon important subject matter between the casual conversations. While Endless Cookie might not always be the most focused film, editor Sydney Cowper manages to cobble together a cohesive narrative that captures the simple charms of family life. Whether you find Peter’s stories profound, meandering, or a bit of both, the film provides an overarching sense of comfort, much like the kind you’d find in a chocolate chip cookie.

Nick Spake is the Author of Bright & Shiny: A History of Animation at Award Shows Volumes 1 and 2. Available Now!