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Whenever Prime Minister Justin Trudeau or his Cabinet ministers speak in certain parts of Ontario or Quebec, they begin by acknowledging they are on ��unceded Algonquin territory.��

That recognition is just one of the ways Trudeau��s government has been trying to signal a top priority: righting the wrongs Canada has done to indigenous people, especially over land that aboriginals say was taken from them unjustly.

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But finding common ground on this issue has proved to be one of Trudeau��s most difficult policy initiatives, and critics say efforts to resolve the land disputes have bogged down. But both sides agree on the importance of sorting out the claims.

��The process of negotiating land claims should be an absolute pillar of reconciliation,�� said Ken Coates, a historian at the University of Saskatchewan who studies treaties and is a consultant to indigenous groups. ��This is our chance to get it right and if we don��t �X boy, when will we get the chance again?��

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Of the many issues dividing Canada��s federal and provincial governments from its indigenous people, land claims are among the most symbolically important and economically consequential, often involving vast amounts of territory.

Some claims involve hundreds of millions of dollars, and tribes are often interested in controlling the land at issue, by, for example, having a say over logging, oil exploration and mining.

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One claim by various Algonquin groups involves the 8.9 million acres of the Ottawa watershed �X which includes Canada��s Parliament buildings and Supreme Court. The government thought it had settled that claim in principle a year ago, but it has ended up in litigation anyway.

The claims are legally thorny, often requiring historians, archaeologists, geographers and geologists to give evidence sometimes stretching back before recorded history to support, or challenge, them.

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In some regions, land may have been occupied by different indigenous groups at different times, even changing hands after battles that were unrecorded. These groups may all assert rights, and claims can overlap.

Then there is the problem of treaties. Some indigenous groups, like the Algonquins, never signed treaties giving up their land. The government says it is talking with about 140 indigenous groups in that situation.

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Others did sign treaties, and a government tribunal that deals with treaty disputes has 72 cases and is so overwhelmed that it cannot estimate how long it will take to resolve them.

The result is that settlement negotiations occur at a frustratingly slow pace.

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A gruesome murder has been committed on a train in the middle of the night. Only 13 occupants of the carriage could have committed the dastardly deed. Was it a) the Russian princess; b) the American widow; c) the English governess; or d) the Hungarian count? Or any of the nine other multinational posh people and their servants rubbing shoulders on the luxury locomotive, snowbound in the middle of Eastern Europe, with a brilliant Belgian detective inconveniently in their midst?

Chances are this sounds familiar. It��s the setup for one of the most famous detective stories in the world: Agatha Christie��s 1934 novel ��Murder on the Orient Express,�� which has sold millions of copies. It was made into a sumptuous 1974 movie, directed by Sidney Lumet with the starriest of casts (Lauren Bacall, Sean Connery, Ingrid Bergman!). It has been adapted for television, stage and radio. There is a Japanese television version and a computer game.

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All this meant that Kenneth Branagh, the director and star of the new film version, which opened in the United States on Friday with the starriest of casts (Johnny Depp, Michelle Pfeiffer, Penélope Cruz, Judi Dench!), had his own mystery to solve. How do you reinvent one of the world��s best-loved whodunits for a new era? Branagh��s solution was to modify, and sometimes entirely change, character and plot details in ways that may dismay purists but that he felt would give the piece a more contemporary resonance.

��There is always the thorny issue of who will know the plot and how can we divert them,�� Branagh said in a telephone interview. ��We knew we had to get people��s attention for a recalibrated character in Poirot,�� Christie��s idiosyncratic Belgian detective.

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To that end, Branagh and the scriptwriter, Michael Green, begin the movie with a showdown at the Western Wall in Jerusalem, as the detective solves another mystery. ��I wanted to embrace the exotic and worldly side of Christie, to come into the big, hot open skies and find a new Poirot, our ticket for an exotic adventure,�� Branagh said.

With an opening that has Poirot tripping up an escaping villain in a positively James Bond-esque manner, Branagh immediately established the detective as a far more dashing man of action than the novel��s small hero ��muffled up to the ears of whom nothing was visible but a pink-tipped nose and the two points of an upward curled mustache.��

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