This article examines how the documentary Le Peuple invisible (2007), directed by Richard Desjardins and Robert Monderie, addresses the historical and contemporary marginalization of the Algonquin people in Québec. Building on Julia Kristeva’s concept of abjection, the analysis interrogates how invisibility and dispossession are narrated and visualized through documentary techniques such as voiceover, archival imagery, and direct testimony. The central problematic is twofold: how can a documentary made by non-Indigenous filmmakers contribute to the self-awareness and visibility of a marginalized First Nation, and what are the limits of such an exogenous narrative voice? The findings indicate that Le Peuple invisible succeeds in revealing structural racism, systemic land dispossession, and the intergenerational trauma linked to residential schools, while also provoking a national debate on Indigenous living conditions and rights. However, the film’s narrative stance inadvertently reproduces an external gaze, casting the Algonquins as passive victims and reinforcing images of deprivation and alienation. The article concludes that while activist documentaries like Le Peuple invisible are crucial for raising public awareness, they must be complemented by Indigenous-led visual narratives that reframe cultural agency and epistemologies, shifting from an emphasis on abjection to one of empowerment and recognition.