The most exciting NZIFF line-up we've ever seen

Posted Monday 03 Jul 2017

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We're stoked to bring you this special NZIFF edition of e-news - because there's a power of good news in the items that follow.

Today's e-news highlights all the films at this year's New Zealand International Film Festival in which WIFT members played a key role: directing, producing, writing, acting, supervising. We don't think we've ever seen a NZIFF year where WIFT and women in general have been so strongly represented; nice one, Bill Gosden and the programming team!

In the listings that follow, in random order, we're highlighting the features and shorts of WIFT members. Their names and roles are in bold.

We also want to acknowledge all the unsung WIFT heroines and heroes who've worked on these films, and other films in the line-up. There are so many unseen yet vital roles in the making of a film, and you're all part of telling our stories that run the gamut from valuable to whimsical.

You know what we're going to say next - book your tickets, put on your scarf and hat, and head out to support your fellow filmmakers in the wonderful creative community we're part of. See you at the festival!

 

 

Next Up...


Waru

Posted Monday 03 Jul 2017

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This is something a bit special: director/writers Ainsley Gardiner and Katie Wolfe and producer Kerry Warkia are part of a collaborative narrative feature film, directed by eight M?ori women, that tackles a tough subject.

Waru
2017, 88 minutes, World Premiere
Directors: Awanui Simich-Pene, Ainsley Gardiner, Briar Grace-Smith, Casey Kaa, Paula Jones, Katie Wolfe, Renae Maihi, Chelsea Cohen
Screenplay: Briar Grace-Smith, Ainsley Gardiner, Katie Wolfe, Chelsea Cohen, Casey Kaa, Paula Jones, Renae Maihi, Josephine Stewart-Te Whiu
Producers: Kerry Warkia, Kiel McNaughton

A sisterhood of M?ori female directors bravely share their insights into the complexity of child abuse, in a sequence of eight short films that seamlessly become one. At the centre of their stories is Waru, a boy killed at the hands of a caregiver. His tangi, set on a small rural marae, is the centrepiece of the film, but there is an underlying disturbance of heavy themes touching on culture, custom and shame.

We see a single death through the differing lenses of the extended family, community, and in one sharp sequence, national media too. Waru weaves multiple reactions and offers a glimpse into the events that ensue upon the killing of a child and the conflict created among loved ones.

As Waru's grandmothers, Kararaina Rangihau and Merehake Maaka deliver electrifying performances, demonstrating their skill in the art of karanga. As their wailing and laments call on their ancestors to safely take their mokopuna, a challenge for his body unfolds.

M?ori humour isn't absent, and neither are the subtexts within the banter, leaving me to wonder if our ability to laugh in times of sorrow is a cloak to mask our pain. Antonio Te Maioha and Miriama McDowell are powerful in challenging roles, which left me questioning if I would have the same courage to intervene.

The subject could hardly be heavier, but this is a hugely important film. Unless we are willing to be tested, we have no chance of reducing our shameful child abuse rate here in Aotearoa. It's a film everyone in the family should see and talk about. - Mihingarangi Forbes, M?ori Issues Correspondent, RNZ/The Hui