The documentary movie by Robert Flaherty, Nanook of the North was the first full length anthropological account in cinematographic history that received wide recognition for its outstanding ideas that remain nearly incomparable for filmmakers even today to execute them. It was innovative in the sense that it brought to light the details of an unknown primitive culture, the struggles of an Eskimo Nanook and his family braving the brutal cold conditions at the Hudson Bay region in Canada for his survival that Western audiences weren’t much aware of and that charm them thoroughly. The daily acts of trading, hunting and fishing of the inhabitants barely touched by modern age technology. The exotic examples such as the reference to “happy-go-lucky Eskimos,” staged walrus and seal hunts, and the encounter with the gramophone, were all an attempts to preserve the fleeting traditions of the life of the people in the Arctic in the hearts of the contemporary world. As a harbinger of depiction of an alien, mysterious civilization it was unique as compared to other movies of the same genre and age. It underscored a primitive period in history and the subject of the native life, and work of the native transcending the picturesque journey to change a realistic image of the details of the lives and challenges of people thriving in parts of the cold frontier depicted in the documentary was based on the prevailing situation that intrigues audiences. The treatment of the movie was based on realism and was portrayed with honesty. At the crux of the documentary are the two themes that captivate the audience even today namely- the representation of the process of human involvement and the duration of executing things inherent to the daily lives of these people such as fuel generated by burning moss, shielding their kayaks, negotiating ice floes, hunting animals, and rearing their children. For instance the portrayal of the remarkable intriguing igloo building scene that reveal the fruit of human labor and team effort. It also sheds light on the exemplary dexterity of Nanook and is a cinematic treat of surreal beauty and spirituality. The classic images of the inside of the igloo in the film were actually shot in a special three-walled igloo for Flaherty’s bulky camera so that there would be enough light for it to capture interior shots. The creation of shelter, followed by warmth and light streaming through the window all depict the power, skills, and artistry of humans who despite the unfavorable condition and odd are able to create unparalleled buildings and structures for survival.