#maori movie

[tinyreviews]

Tiny Review: New Zealand Historical Fiction.

The topic is interesting. The execution is middling. I would have loved to see more buildup to the key moments in the last act.

The Convert is a 2023 film directed by Lee Tamahori, and starring Guy Pearce and Te Kohe Tuhaka.

[hazellight11]

I saw that Ender's Game was on Netflix so I watched it on Monday and I had a copy on hand so I reread it and I just finished my reread. Technically my 3rd read but last time was when I read the whole thing in an afternoon during lockdown (I was trying to cheat/speedrun an assignment, it didn't work) and I don't remember when it was I read it the first time, so I didn't remember most of it (I remembered the handful of major plot points I think)

Anyway point is, reading it now that I'm older and have more media literacy, HOLY SHIT. I wanted to make a post but i'm feeling like this rn

Something something the themes and the patterns and the way they all come together etc etc etc

But uh yeah read Ender's Game. ESPECIALLY if you've watched the movie. It's so much more, the movie really softens and skims over literally everything, there's one thing I like that the movie did over the book but it was a smaller thing that's now a headcanon of mine. I'll put it in the tags i guess for minor spoilers

[anissapierce]

"ive nvr seen anything that focused on a queer indigenous man in my whole 27 years of life so thts why i love this racist pirate show"

Skill issue

[maaruin]

I suspect Taika Waititi put some of the modern Maori experience into the Asgardians. Admittedly, I don't know a lot about what Maori culture is like today, but as far as I know:

War/being a warrior was traditionally very important in that culture, and it is a difficult question how the traditions can be translated into a largely peaceful world.

In the past, they were an independent polity and successful conquerors, but as the result of being defeated by an enemy now they live as a minority in a state controlled by another culture and a modern capitalist economy. There is pressure to cater to that culture and economy, particularly by performing for tourists.

These are true for the Asgardians in Thor: Love & Thunder as well.

The basic problem is that much of a culture, every culture, is based on their practical way of life (how they subsist, how often they go to war, etc) and preserving a culture through a changing way of live is always an uphill battle. Western cultures have the advantage that modernity developed among them so the transition went somewhat smoother than for cultures that had it forced on them from the outside (in-between are cultures that modernized on their own under the pressure to stay competitive).

[extincto]

This is my first time watching Whale Rider properly and I can't handle this shit Rawari Paratene

[o-the-mts]

90 Movies in 90 Days: Boy (2010)

Every day until March 31, 2024 I will be watching and reviewing a movie that is 90 minutes or less. Title: Boy Release Date: March 25, 2010 Director: Taika Waititi Production Company: Whenua Films | Unison Films | New Zealand Film Production Fund | New Zealand Film Commission | New Zealand On Air | Te Mangai Paho Summary/Review: “Boy” (James Rolleston) is an 11-year-old Maori child whose mother…

[rebeljyn-moved]

Watched Avatar 2 with a friend… it’s… it’s definitely a movie

[rhysdarbinizedarby]

Couch surfer in his 30s. Oscar winner in his 40s. Why the whole world wants Taika

**Notes: This is very long post!**

Good Weekend

In his 30s, he was sleeping on couches. By his 40s, he’d directed a Kiwi classic, taken a Marvel movie to billion-dollar success, and won an Oscar. Meet Taika Waititi, king of the oddball – and one of New Zealand’s most original creative exports.

Taika Waititi: “Be a nice person and live a good life. And just don’t be an arsehole.”

The good news? Taika Waititi is still alive. I wasn’t sure. The screen we were speaking through jolted savagely a few minutes ago, with a cacophonous bang and a confused yelp, then radio silence. Now the Kiwi ­ filmmaker is back, grinning like a loon: “I just broke the f---ing table, bro!”

Come again? “I just smashed this f---ing table and glass flew everywhere. It’s one of those old annoying colonial tables. It goes like this – see that?” Waititi says, holding up a folding furniture leg. “I hit the mechanism and it wasn’t locked. Anyway …”

I’m glad he’s fine. The stuff he’s been saying from his London hotel room could incur biblical wrath. We’re talking about his latest project, Next Goal Wins, a movie about the American Samoa soccer team’s quest to score a solitary goal, 10 years after suffering the worst loss in the game’s international history – a 31-0 ­ignominy to Australia – but our chat strays into ­spirituality, then faith, then religion.

“I don’t personally believe in a big guy sitting on a cloud judging everyone, but that’s just me,” Waititi says, deadpan. “Because I’m a grown-up.”

This is the way his interview answers often unfold. Waititi addresses your topic – dogma turns good people bad, he says, yet belief itself is worth lauding – but bookends every response with a conspiratorial nudge, wink, joke or poke. “Regardless of whether it’s some guy living on a cloud, or some other deity that you’ve made up – and they’re all made up – the message across the board is the same, and it’s important: Be a nice person, and live a good life. And just don’t be an arsehole!”

Not being an arsehole seems to have served Waititi, 48, well. Once a national treasure and indie darling (through the quirky tenderness of his breakout New Zealand films Boy in 2010 and Hunt for the Wilderpeople in 2016), Waititi then became a star of both the global box office (through his 2017 entry into the Marvel Universe, Thor: Ragnarok, which grossed more than $1.3 billion worldwide) and then the Academy Awards (winning the 2020 best adapted screenplay Oscar for his subversive Holocaust dramedy JoJo Rabbit, in which he played an imaginary Hitler).

Waititi playing Adolf Hitler in the 2019 movie JoJo Rabbit. (Alamy)

A handsome devil with undeniable roguish charm, Waititi also slid seamlessly into style-icon status (attending this year’s Met Gala shirtless, in a floor-length gunmetal-grey Atelier Prabal Gurung wrap coat, with pendulous pearl necklaces), as well as becoming his own brand (releasing an eponymous line of canned ­coffee drinks) and bona fide Hollywood A-lister (he was introduced to his second wife, British singer Rita Ora, by actor Robert Pattinson at a barbecue).

Putting that platform to use, Waititi is an Indigenous pioneer and mentor, too, co-creating the critically acclaimed TV series Reservation Dogs, while co-founding the Piki Films production company, committed to promoting the next generation of storytellers – a mission that might sound all weighty and worthy, yet Waititi’s new wave of First Nations work is never earnest, always mixing hurt with heart and howling humour.

Waititi with wife Rita Ora at the 2023 Met Gala in May. (Getty Images)

Makes sense. Waititi is a byproduct of “the weirdest coupling ever” – his late Maori father from the Te Whanau-a-Apanui tribe was an artist, farmer and “Satan’s Slaves” bikie gang founder, while his Wellington schoolteacher mum descended from Russian Jews, although he’s not devout about her faith. (“No, I don’t practise,” he confirms. “I’m just good at everything, straight away.”)

He’s remained loyally tethered to his ­origin story, too – and to a cadre of creative Kiwi mates, including actors Jemaine Clement and Rhys Darby – never forgetting that not long before the actor/writer/producer/director was an industry maven, he was a penniless painter/photographer/ musician/comedian.

With no set title and no fixed address, he’s seemingly happy to be everything, everywhere (to everyone) all at once. “‘The universe’ is bandied around a lot these days, but I do believe in the kind of connective tissue of the universe, and the energy that – scientifically – we are made up of a bunch of atoms that are bouncing around off each other, and some of the atoms are just squished together a bit tighter than others,” he says, smiling. “We’re all made of the same stardust, and that’s pretty special.”

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We’ve caught Waititi in a somewhat relaxed moment, right before the screen actors’ and media artists’ strike ends. He’s ­sensitive to the struggle but doesn’t deny enjoying the break. “I spent a lot of time thinking about writing, and not writing, and having a nice ­holiday,” he tells Good Weekend. “Honestly, it was a good chance just to recombobulate.”

Waititi, at right, with Hunt for the Wilderpeople actors, from left, Sam Neill, Rhys Darby and Julian Dennison. (Getty Images)

It’s mid-October, and he’s just headed to Paris to watch his beloved All Blacks in the Rugby World Cup. He’s deeply obsessed with the game, and sport in general. “Humans spend all of our time knowing what’s going to happen with our day. There’s no surprises ­any more. We’ve become quite stagnant. And I think that’s why people love sport, because of the air of unpredictability,” he says. “It’s the last great arena entertainment.”

The main filmic touchstone for Next Goal Wins (which premieres in Australian cinemas on New Year’s Day) would be Cool Runnings (1993), the unlikely true story of a Jamaican bobsled team, but Waititi also draws from genre classics such as Any Given Sunday and Rocky, sampling trusted tropes like the musical training montage. (His best one is set to Everybody Wants to Rule the World by Tears for Fears.)

Filming in Hawaii was an uplifting experience for the self-­described Polynesian Jew. “It wasn’t about death, or people being cruel to each other. Thematically, it was this simple idea, of getting a small win, and winning the game wasn’t even their goal – their goal was to get a goal,” he says. “It was a really sweet backbone.”

Waititi understands this because, growing up, he was as much an athlete as a nerd, fooling around with softball and soccer before discovering rugby league, then union. “There’s something about doing exercise when you don’t know you’re doing exercise,” he enthuses. “It’s all about the fun of throwing a ball around and trying to achieve something together.” (Whenever Waititi is in Auckland he joins his mates in a long-running weekend game of touch rugby. “And then throughout the week I work out every day. Obviously. I mean, look at me.”)

Auckland is where his kids live, too, so he spends as much time there as possible. Waititi met his first wife, producer Chelsea Winstanley, on the set of Boy in 2010, and they had two daughters, Matewa Kiritapu, 8, and his firstborn, Te Kainga O’Te Hinekahu, 11. (The latter is a derivative of his grandmother’s name, but he jokes with American friends that it means “Resurrection of Tupac” or “Mazda RX7″) Waititi and Winstanley split in about 2018, and he married the pop star Ora in 2022.

He offers a novel method for balancing work with parenthood … “Look, you just abandon them, and know that the experience will make them harder individuals later on in life. And it’s their problem,” he says. “I’m going to give them all of the things that they need, and I’m going to leave behind a decent bank ­account for their therapy, and they will be just like me, and the cycle will continue.”

Jokes aside – I think he’s joking – school holidays are always his, and he brings the girls onto the set of every movie he makes. “They know enough not to get in the way or touch anything that looks like it could kill you, and they know to be respectful and quiet when they need to. But they’re just very comfortable around filmmakers, which I’m really happy about, because eventually I hope they will get into the ­industry. One more year,” he laughs, “then they can leave school and come work for Dad.”

Theirs is certainly a different childhood than his. Growing up, he was a product of two worlds. His given names, for instance, were based on his appearance at birth: “Taika David” if he looked Maori (after his Maori grandfather) and “David Taika” if he looked Pakeha (after his white grandfather). His parents split when he was five, so he bounced between his dad’s place in Waihau Bay, where he went by the surname Waititi, and his mum, eight hours drive away in Wellington, where he went by Cohen (the last name on his birth ­certificate and passport).

Waititi was precocious, even charismatic. His mother Robin once told Radio New Zealand that people always wanted to know him, even as an infant: “I’d be on a bus with him, and he was that kind of baby who smiled at people, and next thing you know they’re saying, ‘Can I hold your baby?’ He’s always been a charmer to the public eye.”

He describes himself as a cool, sporty, good-looking nerd, raised on whatever pop culture screened on the two TV channels New Zealand offered in the early 1980s, from M*A*S*H and Taxi to Eddie Murphy and Michael Jackson. He was well-read, too. When punished by his mum, he would likely be forced to analyse a set of William Blake poems.

He puts on a whimpering voice to describe their finances – “We didn’t have much monneeey” – explaining how his mum spent her days in the classroom but also worked in pubs, where he would sit sipping a raspberry lemonade, doodling drawings and writing stories. She took in ­ironing and cleaned houses; he would help out, learning valuable lessons he imparts to his kids. “And to random people who come to my house,” he says. “I’ll say, ‘Here’s a novel idea, wash this dish,’ but people don’t know how to do anything these days.”

“Every single character I’ve ever written has been based on someone I’ve known or met or a story I’ve stolen from someone.” - Taika Waititi

He loved entertaining others, clearly, but also himself, recording little improvised radio plays on a tape deck – his own offbeat versions of ET and Indiana Jones and Star Wars. “Great free stuff where you don’t have any idea what the story is as you’re doing it,” he says. “You’re just sort of making it up and enjoying the ­freedom of playing god in this world where you can make people and characters do whatever you want.”

His other sphere of influence lay in Raukokore, the tiny town where his father lived. Although Boy is not autobiographical, it’s deeply personal insofar as it’s filmed in the house where he grew up, and where he lived a life similar to that portrayed in the story, surrounded by his recurring archetypes: warm grandmothers and worldly kids; staunch, stoic mums; and silly, stunted men. “Every single character I’ve ever written has been based on someone I’ve known or met,” he says, “or a story I’ve stolen from someone.”

He grew to love drawing and painting, obsessed early on with reproducing the Sistine Chapel. During a 2011 TED Talk on creativity, Waititi describes his odd subject matter, from swastikas and fawns to a picture of an old lady going for a walk … upon a sword … with Robocop. “My father was an outsider artist, even though he wouldn’t know what that meant,” Waititi told the audience in Doha. “I love the naive. I love people who can see things through an innocent viewpoint. It’s inspiring.”

After winning Best Adapted Screenplay Academy Award for JoJo Rabbit in 2020. (Getty Images)

It was an interesting time in New Zealand, too – a coming-of-age decade in which the Maori were rediscovering their culture. His area was poor, “but only ­financially,” he says. “It’s very rich in terms of the ­people and the culture.” He learned kapa haka – the songs, dances and chants performed by competing tribes at cultural events, or to honour people at funerals and graduations – weddings, parties, ­anything. “Man, any excuse,” he explains. “A big part of doing them is to uplift your spirits.”

Photography was a passion, so I ask what he shot. “Just my penis. I sent them to people, but we didn’t have phones, so I would print them out, post them. One of the first dick pics,” he says. Actually, his lens was trained on regular people. He watches us still – in airports, ­restaurants. “Other times late at night, from a tree. Whatever it takes to get the story. You know that.”

He went to the Wellington state school Onslow College and did plays like Androcles and the Lion, A Midsummer Night’s Dream and The Crucible. His crew of arty students eventually ended up on stage at Bats Theatre in the city, where they would perform haphazard comedy shows for years.

“Taika was always rebellious and wild in his comedy, which I loved,” says his high school mate Jackie van Beek, who became a longtime collaborator, including working with Waititi on a Tourism New Zealand campaign this year. “I remember he went through a phase of turning up in bars around town wearing wigs, and you’d try and sit down and have a drink with him but he’d be doing some weird character that would invariably turn up in some show down the track.”

He met more like-minded peers at Victoria University, including Jemaine Clement (who’d later become co-creator of Flight of the Conchords). During a 2019 chat with actor Elijah Wood, Waititi ­describes he and Clement clocking one another from opposite sides of the library one day: a pair of Maoris experiencing hate at first sight, based on a mutual suspicion of cultural appropriation. (Clement was wearing a traditional tapa cloth Samoan shirt, and Waititi was like: “This motherf---er’s not Samoan.” Meanwhile, Waititi was wearing a Rastafarian beanie, and Clement was like, “This ­motherf---er’s not Jamaican.”)

With Jemaine Clement in 2014. (Getty Images)

But they eventually bonded over Blackadder and Fawlty Towers, and especially Kenny Everett, and did comedy shows together everywhere from Edinburgh to Melbourne. Waititi was almost itinerant, spending months at a time busking, or living in a commune in Berlin. He acted in a few small films, and then – while playing a stripper on a bad TV show – realised he wanted to try life behind the camera. “I became tired of being told what to do and ordered around,” he told Wellington’s Dominion Post in 2004. “I remember sitting around in the green room in my G-string ­thinking, ‘Why am I doing this? Just helping someone else to realise their dream.’ ”

He did two strong short films, then directed his first feature – Eagle vs Shark (2007) – when he was 32. He brought his mates along (Clement, starring with Waititi’s then-girlfriend Loren Horsley), setting something of a pattern in his career: hiring friends instead of constantly navigating new working relationships. “If you look at things I’m doing,” he tells me, “there’s ­always a few common denominators.”

Sam Neill says Waititi is the exemplar of a new New Zealand humour. “The basis of it is this: we’re just a little bit crap at things.”

This gang of collaborators shares a common Kiwi vibe, too, which his longtime friend, actor Rhys Darby, once coined “the comedy of the mundane”. Their new TV show, Our Flag Means Death, for example, leans heavily into the mundanity of pirate life – what happens on those long days at sea when the crew aren’t unsheathing swords from scabbards or burying treasure.

Waititi plays pirate captain Blackbeard, centre, in Our Flag Means Death, with Rhys Darby, left, and Rory Kinnear. (Google Images)

Sam Neill, who first met Waititi when starring in Hunt for the Wilderpeople, says Waititi is the exemplar of a new New Zealand humour. “And I think the basis of it is this,” says Neill. “We’re just a little bit crap at things, and that in itself is funny.” After all, Neill asks, what is What We Do in The Shadows (2014) if not a film (then later a TV show) about a bunch of vampires who are pretty crap at being vampires, ­living in a pretty crappy house, not quite getting busted by crappy local cops? “New Zealand often gets named as the least corrupt country in the world, and I think it’s just that we would be pretty crap at being corrupt,” Neill says. “We don’t have the capacity for it.”

Waititi’s whimsy also spurns the dominant on-screen oeuvre of his homeland – the so-called “cinema of ­unease” exemplified by the brutality of Once Were Warriors (1994) and the emotional peril of The Piano (1993). Waititi still explores pathos and pain, but through laughter and weirdness. “Taika feels to me like an ­antidote to that dark aspect, and a gift somehow,” Neill says. “And I’m grateful for that.”

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Something happened to Taika Waititi when he was about 11 – something he doesn’t go into with Good Weekend, but which he considered a betrayal by the adults in his life. He ­mentioned it only recently – not the ­moment itself, but the lesson he learnt: “That you cannot and must not rely on grown-ups to help you – you’re basically in the world alone, and you’re gonna die alone, and you’ve just gotta make it all for yourself,” he told Irish podcast host James Brown. “I basically never forgave people in positions of responsibility.”

What does that mean in his work? First, his finest films tend to reflect the clarity of mind possessed by children, and the unseen worlds they create – fantasies conjured up as a way to understand or overcome. (His mum once summed up the main ­message of Boy: “The ­unconditional love you get from your children, and how many of us waste that, and don’t know what we’ve got.”)

Second, he’s suited to movie-making – “Russian roulette with art” – because he’s drawn to disruptive force and chaos. And that in turn produces creative defiance: allowing him to reinvigorate the Marvel Universe by making superheroes fallible, or tell a Holocaust story by making fun of Hitler. “Whenever I have to deal with someone who’s a boss, or in charge, I challenge them,” he told Brown, “and I really do take whatever they say with a pinch of salt.”

It’s no surprise then that Waititi was comfortable leaping from independent films to the vast complexity of Hollywood blockbusters. He loves the challenge of coordinating a thousand interlocking parts, requiring an army of experts in vocations as diverse as construction, sound, art, performance and logistics. “I delegate a lot,” he says, “and share the load with a lot of people.”

“This is a cool concept, being able to ­afford whatever I want, as opposed to sleeping on couches until I was 35.” - Taika Waititi

But the buck stops with him. Time magazine named Waititi one of its Most Influential 100 People of 2022. “You can tell that a film was made by Taika Waititi the same way you can tell a piece was painted by Picasso,” wrote Sacha Baron Cohen. Compassionate but comic. Satirical but watchable. Rockstar but auteur. “Actually, sorry, but this guy’s really starting to piss me off,” Cohen concluded. “Can someone else write this piece?”

Directing Chris Hemsworth in 2017 in Thor: Ragnarok, which grossed more than $1.3 billion at the box office. (Alamy)

I’m curious to know how he stays grounded amid such adulation. Coming into the game late, he says, helped immensely. After all, Waititi was 40 by the time he left New Zealand to do Thor: Ragnarok. “If you let things go to your head, then it means you’ve struggled to find out who you are,” he says. “But I’ve always felt very comfortable with who I am.” Hollywood access and acclaim – and the pay cheques – don’t erase memories of poverty, either. “It’s more like, ‘Oh, this is a cool concept, being able to ­afford whatever I want, as opposed to sleeping on couches until I was 35.’ ” Small towns and strong tribes keep him in check, too. “You know you can’t piss around and be a fool, because you’re going to embarrass your family,” he says. “Hasn’t stopped me, though.”

Sam Neill says there was never any doubt Waititi would be able to steer a major movie with energy and imagination. “It’s no accident that the whole world wants Taika,” he says. “But his seductiveness comes with its own dangers. You can spread yourself a bit thin. The temptation will be to do more, more, more. That’ll be interesting to watch.”

Indeed, I find myself vicariously stressed out over the list of potential projects in Waititi’s future. A Roald Dahl animated series for Netflix. An Apple TV show based on the 1981 film Time Bandits. A sequel to What We Do In The Shadows. A reboot of Flash Gordon. A gonzo horror comedy, The Auteur, starring Jude Law. Adapting a cult graphic novel, The Incal, as a feature. A streaming series based on the novel Interior Chinatown. A film based on a Kazuo Ishiguro bestseller. Plus bringing to life the wildly popular Akira comic books. Oh, and for good measure, a new instalment of Star Wars, which he’s already warned the world will be … different.

“It’s going to change things,” he told Good Morning America. “It’s going to change what you guys know and expect.”

Did I say I was stressed for Waititi? I meant physically sick.

“Well…” he qualifies, “some of those things I’m just producing, so I come up with an idea or someone comes to me with an idea, and I shape how ‘it’s this kind of show’ and ‘here’s how we can get it made.’ It’s easier for me to have a part in those things and feel like I’ve had a meaningful role in the creative process, but also not having to do what I’ve always done, which is trying to control everything.”

In the 2014 mockumentary horror film What We Do in the Shadows, which he co-directed with Jemaine Clement. (Alamy)

What about moving away from the niche New Zealand settings he represented so well in his early work? How does he stay connected to his roots? “I think you just need to know where you’re from,” he says, “and just don’t forget that.”

They certainly haven’t forgotten him.

Jasmin McSweeney sits in her office at the New Zealand Film Commission in Wellington, surrounded by promotional posters Waititi signed for her two decades ago, when she was tasked with promoting his nascent talent. Now the organisation’s marketing chief, she talks to me after visiting the heart of thriving “Wellywood”, overseeing the traditional karakia prayer on the set of a new movie starring Geoffrey Rush.

Waititi isn’t the first great Kiwi filmmaker – dual Oscar-winner Jane Campion and blockbuster king Peter Jackson come to mind – yet his particular ascendance, she says, has spurred unparalleled enthusiasm. “Taika gave everyone here confidence. He always says, ‘Don’t sit around waiting for people to say, you can do this.’ Just do it, because he just did it. That’s the Taika effect.”

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Taika David Waititi is known for wearing everything from technicolour dreamcoats to pineapple print rompers, and today he’s wearing a roomy teal and white Isabel Marant jumper. The mohair garment has the same wispy frizz as his hair, which curls like a wave of grey steel wool, and connects with a shorn salty beard.

A stylish silver fox, it wouldn’t surprise anyone if he suddenly announced he was launching a fashion label. He’s definitely a commercial animal, to the point of directing television commercials for Coke and Amazon, along with a fabulous 2023 spot for Belvedere vodka starring Daniel Craig. He also joined forces with a beverage company in Finland (where “taika” means “magic”) to release his coffee drinks. Announcing the partnership on social media, he flagged that he would be doing more of this kind of stuff, too (“Soz not soz”).

Waititi has long been sick of reverent portrayals of Indigenous people talking to spirits.

There’s substance behind the swank. Fashion is a creative outlet but he’s also bought sewing machines in the past with the intention of designing and making clothes, and comes from a family of tailors. “I learnt how to sew a button on when I was very young,” he says. “I learnt how to fix holes or patches in your clothes, and darn things.”

And while he gallivants around the globe watching Wimbledon or modelling for Hermès at New York Fashion Week, all that glamour belies a depth of purpose, particularly when it comes to Indigenous representation.

There’s a moment in his new movie where a Samoan player realises that their Dutch coach, played by Michael Fassbender, is emotionally struggling, and he offers a lament for white people: “They need us.” I can’t help but think Waititi meant something more by that line – maybe that First Nations people have ­wisdom to offer if others will just listen?

“Weeelllll, a little bit …” he says – but from his intonation, and what he says next, I’m dead wrong. Waititi has long been sick of reverent ­portrayals of Indigenous people talking to kehua (spirits), or riding a ghost waka (phantom canoe), or playing a flute on a mountain. “Always the boring characters,” he says. “They’ve got no real contemporary relationship with the world, because they’re always living in the past in their spiritual ways.”

A scene from Next Goal Wins, filmed earlier this year. (Alamy)

He’s part of a vanguard consciously poking fun at those stereotypes. Another is the Navajo writer and director Billy Luther, who met Waititi at Sundance Film Festival back in 2003, along with Reservation Dogs co-creator Sterlin Harjo. “We were this group of outsiders trying to make films, when nobody was really biting,” says Luther. “It was a different time. The really cool thing about it now is we’re all working. We persevered. We didn’t give up. We slept on each other’s couches and hung out. It’s like family.”

Waititi has power now, and is known for using Indigenous interns wherever possible (“because there weren’t those opportunities when I was growing up”), making important introductions, offering feedback on scripts, and lending his name to projects through executive producer credits, too, which he did for Luther’s new feature film, Frybread Face and Me (2023).

He called Luther back from the set of Thor: Love and Thunder (2022) to offer advice on working with child actors – “Don’t box them into the characters you’ve ­created,” he said, “let them naturally figure it out on their own” – but it’s definitely harder to get Waititi on the phone these days. “He’s a little bitch,” Luther says, laughing. “Nah, there’s nothing like him. He’s a genius. You just knew he was going to be something. I just knew it. He’s my brother.“

I’ve been asked to explicitly avoid political questions in this interview, probably because Waititi tends to back so many causes, from child poverty and teenage suicide to a campaign protesting offshore gas and oil exploration near his tribal lands. But it’s hard to ignore his recent Instagram post, sharing a viral video about the Voice to Parliament referendum starring Indigenous Aussie rapper Adam Briggs. After all, we speak only two days after the proposal is defeated. “Yeah, sad to say but, Australia, you really shat the bed on that one,” Waititi says, pausing. “But go see my movie!”

About that movie – the early reviews aren’t great. IndieWire called it a misfire, too wrapped in its quirks to develop its arcs, with Waititi’s directorial voice drowning out his characters, while The Guardian called it “a shoddily made and strikingly unfunny attempt to tell an interesting story in an uninteresting way”. I want to know how he moves past that kind of criticism. “For a start, I never read reviews,” he says, concerned only with the opinion of people who paid for admission, never professional appraisals. “It’s not important to me. I know I’m good at what I do.”

Criticism that Indigenous concepts weren’t sufficiently explained in Next Goal Wins gets his back up a little, though. The film’s protagonist, Jaiyah Saelua, the first transgender football player in a FIFA World Cup qualifying match, is fa’afafine – an American Samoan identifier for someone with fluid genders – but there wasn’t much exposition of this concept in the film. “That’s not my job,” Waititi says. “It’s not a movie where I have to explain every facet of Samoan culture to an audience. Our job is to retain our culture, and present a story that’s inherently Polynesian, and if you don’t like it, you can go and watch any number of those other movies out there, 99 per cent of which are terrible.”

*notes: (there is video clip in the article)

Waititi sounds momentarily cranky, but he’s mostly unflappable and hilarious. He’s the kind of guy who prefers “Correctumundo bro!” to “Yes”. When our video connection is too laggy, he plays up to it by periodically pretending to be frozen, sitting perfectly still, mouth open, his big shifting eyeballs the only giveaway.

He’s at his best on set. Saelua sat next to him in Honolulu while filming the joyous soccer sequences. “He’s so chill. He just let the actors do their thing, giving them creative freedom, barely interjecting unless it was something important. His style matches the vibe of the Pacific people. We’re a very funny people. We like to laugh. He just fit perfectly.”

People do seem to love working alongside him, citing his ability to make productions fresh and unpredictable and funny. Chris Hemsworth once said that Waititi’s favourite gag is to “forget” that his microphone is switched on, so he can go on a pantomime rant for all to hear – usually about his disastrous Australian lead actor – only to “remember” that he’s wired and the whole crew is listening.

“I wouldn’t know about that, because I don’t listen to what other people say about anything – I’ve told you this,” Waititi says. “I just try to have fun when there’s time to have fun. And when you do that, and you bring people together, they’re more willing to go the extra mile for you, and they’re more willing to believe in the thing that you’re trying to do.”

Yes, he plays music between takes, and dances out of his director’s chair, but it’s really all about relaxing amid the immense pressure and intense privilege of making movies. “Do you know how hard it is just to get anything financed or green-lit, then getting a crew, ­getting producers to put all the pieces together, and then making it to set?” Waititi asks. “It’s a real gift, even to be working, and I feel like I have to remind ­people of that: enjoy this moment.”

Source: The Age

By: Konrad Marshall (December 1, 2023)

[apollos-olives]

wait i'm confused isn't taika waititi a maori??? i dont watch the pirate show i promise i'm not trying to stir shit up i'm just so confused by your post. why would an indigenous man be pro-genocide like What Happened (/gen)

i've already talked about him a lot but to recap

taika is pro israel. he's not a practicing jew or whatever and doesn't really consider himself very jewish except for when he uses his "jew card" to get what he wants and it's really fucking disgusting. ofmd is a show that woobifies literal slavers and the black community has been telling people for ages to not watch it and boycott it. taika fired a pro palestinian person on that show as well. along with woobifying slavers, he played hitler in a movie and made hitler seem like a silly goofy little guy and reduced hitler to something unserious and it was REALLY fucking disgusting on his part. it's clear he wanted to be like "a jewish man playing hitler as a 'hah! gotcha' moment" but it was genuinely distasteful and wrong. he's a fucking horrible person and he refuses to support palestine because "well my people are oppressed and no one cares so i shouldn't be expected to care about this other oppressed group". he's a fucking weirdo and needs to be confronted.

[cyren-myadd]

Do you have any thoughts on the fact that in first scenario Spider was supposed be from Mexico and his name was Javier?

I don't think we ever had any real confirmation of original-Spider's ethnicity or nationality, but when his name was first announced as "Javier Socorro" a lot of people assumed he would be Latino Hispanic (from a Latin American country) instead of White Hispanic (from Spain) like he ended up being. That meant he very well could've been Mexican, or at least half-Mexican on his mom's side since I think he was always intended to be Quaritch's son. I believe they changed his first name to "Miles" to make the connection to Quaritch more obvious.

If Spider had been Mexican, it wouldn't have really changed anything in The Way of Water. He's still a human, and being a different color wouldn't change the way the other characters perceive him. The only thing that would've been different is that he wouldn't have had the nickname "monkey boy/monkey mascot," since having Sigourney Weaver and Stephen Lang calling a Hispanic kid monkey would NOT have gone over well.

Even though making him a different ethnicity wouldn't have changed the movie itself, I actually think it might've changed the way he was perceived by the audience.

This is a thought I've had in the back of my head for a long time, and this question finally gave me a reason to type it all out. But before I get into it, I do want to say that I am white and American, so I'm speaking from the perspective of a white American when I make this analysis of Spider's character and how he was perceived by American audiences. Now let's get into it:

Spider was a pretty controversial character. A lot of people hated him, but there was also a minority of people who really loved him too (me lol). Some people hated him because they felt like Neteyam's death was his fault or because they didn't like that he saved Quaritch in the end, which are reasons that wouldn't change because of his ethnicity, but there were also people who hated him because of his appearance. Spider was often described as "feeling out of place" and off-putting to some viewers. After I saw the Way of Water with my cousins, one of them (he is also white) told me that he hated Spider. When I asked him why, he shrugged and said, "he's a white boy with dreadlocks!" like that was the only reason he needed.

Now I'm just speculating here, but I think a small part of the reason why so many people can't stand Spider might be because he is white. Not because of racism against white people, but because of the context in which Spider exists as a white person. The Na'vi are very obvious allegories for indigenous American, African, and Maori people, and the RDA is a very obvious allegory for European colonizers and US corporations that exploited those groups. I can't speak for the rest of the world, but in America there are social controversies over white American people taking items that are culturally significant to other groups and wearing them as costumes. I know there's a lot of controversy over what is and isn't cultural appropriation, but when it comes to specifically white people wearing specifically Native American clothing, it's generally regarded negatively since most Native American people have said it's disrespectful because the clothing has cultural and spiritual significance.

And then we have Spider, who is not only white, but is also the son of two people who actively harmed the Na'vi, and he wears Na'vi clothing.

In the context of the Avatar movies, it makes perfect sense that Spider would dress and act the way that he does. He was raised alongside the Na'vi so it's all he knows. If you were going to fit Spider into the greater allegory of Avatar, he is similar to the historical figure, Olive Oatman. When Oatman was a child in the 1800s, her family was killed by a group of Native Americans, and she and her sister ended up being taken in by the Mohave people. She lived with them for several years before returning to a white settlement, and during that time she was assimilated into the Mohave tribe, wearing their clothing and receiving traditional tattoos. (Her story is super interesting, you should totally read more about it!). Spider is like a sci-fi version of Oatman, since his parents were killed by natives and he ended up being taken in by them and assimilating into their culture. In the context of modern day culture, a white woman getting Mohave tattoos would be considered appropriation, but in the context of Oatman's situation, it makes sense. Same thing with Spider. In-universe, adopting Omaticaya culture makes sense.

However, if you look at Spider through the lens of modern American cultural context, he looks an awful lot like a white kid dressing up in the traditional clothing of a culture his people harmed. If Spider had been raised on earth and was actively benefiting from the RDA's exploitation of Pandora, then what he's doing would be considered appropriation. But he wasn't. Even though that's not what Spider is, the association is still there. So when people see this "white boy with dreadlocks" as my cousin put it, they feel like there's something wrong with what they're looking at because they associate his appearance with cultural appropriation. I think if Spider had been cast as Latino, he might have been received a bit more favorably by the audience.

Once again, this is all just speculation, I don't really know if Spider's perception would've been different if he'd been a different ethnicity, and I acknowledge that most of the hate Spider received had to do with his character actions. However, I do believe that American audiences may have been partly influenced by the concept of cultural appropriation, which is where that feeling of Spider being "off-putting" comes from. I think it's definitely where my cousin's dislike of him comes from, since it's not about anything he did, but rather how he looks like.

[magnoliamyrrh]

other ppl: get depressed bc we dont live on a planet like pandora

me *banging pots and pans* WE DO. WE DO THATS THE POINT. the neural network is real. the energy network is real. this planet is insanely wonderous, its mindblowing and we dont even understand all of it. for most of human nature we have had much more of a connection to it, all of us!!! but we have forgotten and are destroying it for self gain!!! problamatic aspects and all, james cameron most likely went to south america, tripped on ayahuasca with indigeneous people, Saw and Understood, was upset by their struggles and modern society,, and made something to try to get that point across!! you're depressed by the modern world not because its so different from pandora but because our world is so similar!!!! you Are on pandora damn it fight while you still have it Thats The Point

ppl: blue people avatar is so unrealistic, damn tree hugging movie

the actual earth we live on: plants are speaking to each other and connected. fungi spread across the world and connect plants in a way incredibly remarkablely similar to the human brains nervous system. they communicate to each other, they talk. if you take a psychadelic like jake did in that deleted scene you will literally feel and see and become part of the energy network which bind everything together. when you hug a tree it does literally react to you. the world is sentient and we are arrogant and have forgotten this

[sullyfortress]

I definitely don't think Avatar is above criticism and we should always be evaluating movies, but as someone with North American indigenous ancestry, I will say that one thing I've always appreciated is that James Cameron hires actual indigenous actors and consults them on the project. In Avatar 1 a lot of the background Na'vi were indigenous, including most famously the actor who played Eytukan who is Cherokee. Avatar 2 stepped that up even more and had a lot of Maori actors involved as well as doing the filming in New Zealand and working with a native New Zealand studio to help with accuracy. Again, are the movies perfect? No. And indigenous people who are offended have every right to be along with those who actually love the representation. It's a complicated issue with people on both sides. However, I do think there is an effort by James Cameron in trying to accurately represent and honor the cultures he is depicting by actively involving members of those communities which has always made me glad and is better than 99% of movies made today.

☝️

[akajustmerry]

Curious to hear your takes on the new Avatar movie. It’s getting a lot of backlash for being culturally appropriative due to its casting of nearly all white actors (which I agree).

my nuanced take is that a film can be INCREDIBLE at a technical level, and be an epic cinema experience, AND be well intentioned as an anti-imperialist text, while at the same time failing to actually represent Indigeneity.

I'm an Indigenous fan of this franchise and have been since I was 15. Avatar 2 makes many of the same mistakes as the first and the layers to it are complicated. It's a white saviour narrative, it fetishises Indigenous (coded) women, it appropriates isolated aesthetics and aspects of various Indigenous cultures without cultural consultation, the majority of na'vi actors are white/non-indigenous ppl putting on ~voices~, and Avatar as a concept allegorically dehumanises Indigenous people by portraying us as aliens.

I will say that the sequel does have Cliff Curtis (who is Maori) playing a Na'vi, along with a handful of Indigenous extras, which is an improvement on than the previous. Also, Avatar 2 has a lot more Na'vi women as important characters so fetishism of the women is much less than the first (still there though). I'm aware of James Cameron's gross past "they should have fought harder" comments and I'm not excusing or condoning them. That dismissive attitude contributes to ongoing colonisation and I would have hoped a man creating a large scale anti-colonial story would know better.

Because that's the rub of it all. Avatar and Avatar 2 are explicitly anti-colonial and anti- imperialist. For all its layers of Nativism, that doesn't make it any less anti-occupation and anti-colonial. I'd argue the 2nd one doubles down on the anti-occupation angle even more than the first. The first had so many "good apples" among the invading humans, the 2nd has none. The invading force is just that, an invading force that you're not expected to sympathise with at all. You're positioned, in every way to empathise with the Na'vi.

My feelings are so complicated because at a technical level this film is a master-class of precision that pushes the boundaries of what's possible with live action VFX. Cameron and the team craft a truly immersive epic about family, solidarity, the beauty of nature and how its desicreited by colonial entitlement.

In short, a film can be both extremely Nativist and a technical masterpiece. Avatar 2 is one of those films and I'm not here to tell anyone how to feel about it. I enjoyed watching it at the movies with my best friend as someone whose an unironic enjoyer of the franchise, but I also felt disappointed that Cameron advanced the franchise at a technical level that did not extend to any genuine representation of Indigenous people.

In a strange way, it's a GREAT anti colonial story but a terrible pro-Indigenous one that demonstrates that a hatred of colonialism and respect for Indigenous peoples are (sadly) not mutually exclusive.

Always love seeing my girl Neytiri though ��

[egrets-not-regrets]

Blue Planet

Korio the Space Shark Astartes, watches the The Blue Planet documentary with his bonded human, Runa.

Author’s Notes:

Dialogue in High Gothic are bolded and italicized.

This is partly based on this post about what kind of present day media survives in 40k. Do not talk trash about Imperial Saint Sir Davyyd At’unnbrugh unless you want to die by Tyberos! This is my new Space Shark boy for #Space Marine Husbandry Sentience.

whai (stingray - Maori Dictionary)

Also, spoilers? for what's in The Blue Planet documentary series?

Tagged: @shadowfirecat , @kit-williams , @bleedingichorhearts , @barn-anon , @gallifreyianrosearkytiorsusan

@sleepyfan-blog , @bispecsual , @c-u-c-koo-4-40k , @ms--lobotomy , @whorety-k

@gra93fruit-blog , @i-am-a-dragon34 , @felinisnoctis, @thevoidscreams

It’s their weekly movie night. His little whai enthusiastically pulled out a set of DVDs. The cover of the set of discs looked oddly familiar. He remembered having seen something similar in passing on a bookshelf in the Red Wake’s office among his personal collection of archeotech. Korio had asked about what it was, and the Red Wake replied that it was some ancient relic of Davyyd At’unnbrugh, an Oothecan Imperial Saint of great importance. He held the saint in high regard, to the point of killing an ignorant idiot who decided to insult the saint. Korio wouldn’t deny that he was interested in what these discs contain since Tyberos had never let anyone watch the contents in those discs to his knowledge. He wondered if the Oothecan Imperial Saint may have been a descendent of David Attenborough of Ancient Terra.

Runa put down the bowl of popcorn on the coffee table then opened the DVD case. Apparently, Korio heard of someone who had a very similar sounding name as David Attenborough in his time, that also made something similar, so he was very interested in watching this documentary series. If he enjoyed it, Runa considered borrowing other Attenborough documentary sets for future movie nights. 

Korio settled onto the couch, watching Runa insert the first disc into the DVD player. She returned to his side and pressed play on the remote control. Dramatic music started playing as David Attenborough started narrating about the power of the oceans and the lives of the creatures that reside in them. What a variety of strange alien creatures... all within and around the oceans of Ancient Terra. He never expected that Terra once had been such a lush place that teemed with life. 

He felt a round bowl placed in his lap, the strong smell of buttered popcorn wafting into his nose. 

Runa tapped his hand and said, “Have them. There enough for us.” her grammar in High Gothic still stumbling. Not for the lack of trying. High Gothic was rather difficult to learn. 

The Carcharadon turned on the translator egg and corrected her, “Have some. There is enough for both of us.” saying what she was trying to convey, letting the device repeat the phrase so she could understand. 

Runa listened carefully, then repeated what he said, understanding the words that were left out. Her bonded astartes nodded his approval. 

Korio rarely spoke the local baseline language, preferring to speak High Gothic. They had been getting by using the translator egg and basic sign language. However, Runa started to learn High Gothic, wanting to better communicate with her bonded Astartes. 

To Korio’s surprise, it was Runa who asked him to help her to practise speaking in High Gothic, let alone taking the initiative to learn the language. Using the translator device, she expressed that it was getting frustrating using the translator all the time in order to talk to him directly, since he rarely spoke in her native language. At that, the Carcharadon felt a tinge of guilt for not learning more of her language. Perhaps their bonding wouldn’t have been fraught with so many difficulties had he learned and spoke the local language earlier. That was not a mistake he was going to make twice. He agreed and bit by bit, they learned to communicate in each other’s languages, slowly relying on the translator device less and less. 

These small practice sessions had the added bonus of doubling as bonding sessions as well; allowing Runa to slowly lose her fear towards her bonded Astartes, and allowing Korio to establish a closer relationship with his bonded human. It was pleasing to see Runa relax more in his presence and even catch a few laughs on occasion. Those were rare and Korio kept the memory of her laughter close to his hearts. 

That eventually led to their almost weekly movie/documentary nights like the one tonight. Sometimes they watched shows in High Gothic with subtitles in english, other times they watched the opposite. Any shows relating to sharks usually drew his interest, but while some were interesting, others with their poor animation and nonsensical plot quickly got rejected. However, he found historical movies and documentaries depicting Ancient Terran historical technology and natural history the most fascinating. 

For this particular documentary, it was in english with High Gothic subtitles, which was probably for the best since it allowed the Carcharadon to listen to David Attenborough’s actual voice. Korio watched with interest, wishing that he had asked the Red Wake’s permission to view the contents of that relic so he could have a comparison. The blue whale was introduced first, the largest animal on Terra, even bigger than the carcharodon that was kept on the bridge of Nicor. Korio inwardly scoffed, he has killed Tyranids larger just as big and ten times as deadly. The blue whale would be a walk in the park, but he couldn’t deny the curiosity to see that large creature in person one day. 

Runa looked up at him and noticed his focused interest. She said, “There are tours to go see whales. I will take you some day.”

“Tours. Tours.” Korio corrected her, then asked, “Blue whales?”

She smiled, “Yes, tours for blue whales and others.”

There was a softened look in his normally stoic expression, “Some day.” he quietly replied as his grey hand tenderly caressed her cheek. Runa blushed, still getting used to Korio’s random affectionate gestures.

The documentary continued, introducing other sea creatures from other parts of Ancient Terra, showing bait balls of small fish, followed by their aerial and underwater predators. As he watched the different species of sharks grouped up into giant shoals to follow the massive biomass of small prey fish; Korio was reminded of how the multiple battle companies came together to rejoin the chapter’s main fleet in preparation for the next large battle. 

Korio and Runa started on the popcorn while watching the pack of orca attacking the mother-calf pair of grey whales. Despite her larger size, the mother grey whale was unable to save her calf. He wasn’t sure if he should be impressed by the prey or disappointed by predators since the whole ordeal lasted six hours as Attenborough mentioned. 

Runa suddenly took the translator egg, commenting, “Different groups of orcas around the world, can develop hunting techniques to specialize hunting certain prey.” 

Korio listened to the translation and hummed in acknowledgement. That was similar to the different fighting styles from the different legions and chapters of Astartes. 

The scene switched to a whalefall being consumed by the scavengers of the deep. The Carcharodon recognized the hagfish as he had seen them in the research laboratory at the aquarium. Glancing down, he saw Runa reaching into the bowl and taking another handful of popcorn. Impulsively, he bent down and sneaked a mouthful of popcorn from her hand. His bonded froze and looked at him with a strange expression. He sat back up and looked back at her, a glint of sly humor in his dark eyes. Runa’s expression twisted into something between consternation and amusement, before bursting out in giggles. Korio felt pretty proud at that moment. 

Runa caught her breath, “You sneak! If you wanted to be fed, you could have just said so. No need to be like that sneaky leopard shark at the aquarium!”

“Here. Sneaky shark.” She snorted as she held up a few pieces of popcorn at her fingertips to his mouth. 

Korio gently picked the popcorn from her fingers, his sharp teeth barely grazing her skin. He swallowed then replied with a slight grin, “Your sneaky shark. More.”

Runa huffed, “Yes, yes. My sneaky shark.” holding up another few pieces of popcorn for him with a wry smile on her face. Korio felt pleased that Runa responded positively to his impulsive attempt to get her to feed him. Not that he needed to be hand-fed, but at least it confirmed that she was willing to touch him and how much more at ease she was with his presence now. 

He went back to watching the documentary, watching the shoal of squid laying and fertilizing the masses of egg capsules on the seabed, every now and then eating the popcorn that Runa fed him. How alien that they laid eggs in large clusters like that, but in numbers that big, Korio supposed there would be enough young to survive despite predation. To be fair, they were rather delicious, it was a good thing these small squid existed in such large numbers. 

There were only a few pieces of popcorn left. Korio quickly took the handful and placed it in front of his bonded, “Have some, Runa.” he said quietly. 

She looked surprised at first, but then smiled at him and grabbed the popcorn then stuffed them in her mouth. 

“Thank you.” she said. His mouth twitched into a slight smile. 

The first disc came to an end. Runa asked him, “Do you like it? You want more?”

The Carcharodon grinned, looking forward to view the next disc in the series along with his bonded human, “Yes. More.”

[alpaca-clouds]

The Stories We Are Missing

I hate Disney. I really do. I hate them, because they are shitty to a lot of workers. I hate them, because they consolidate so many IPs only to then make the most generic stuff with them. I hate them, because they don't invest in new ideas anymore. And I hate them for being such cowards.

However... I will give them credit for producing Iwájú and Kizazi Moto. Two afrofuturist series. Iwájú being one series that actually just tells one story - while Kizazi Moto is an anthology series like Love Death + Robots on Netflix. Well, that is all that it has in common with LD+R is that it is a scifi anthology series. It has less issues with the sexism and racism of LD+R.

And thinking about this has brought me to the one aspect of our lack on Solarpunk media, that I think gets ignored too much. Again, because white people. And this is... Well, the lack of well published afrofuturist and amazofuturist stories - or movies. And I would assume also the equivalent for other indigenous cultures. (I think the name right now is "Pacificafuturism" for the polynesians, I have no idea whether the indigenous people still living in Asia have something along the lines.)

The irony is that I actually think, well... Let's face it: There is a reason why Disney of all people is investing in some Afrofuturist projects. And that reason is that there is a big audience for this stuff. Disney probably just saw how Black Panther was printing money and was like: "I guess we'll make more of that!"

Now what does this have to do with Solarpunk?

Well, I will remind you: Solarpunk originated with Amazofuturism. And futuristic indigenous stories tend to have a lot of Solarpunk vibes at the very least. Not all of those stories will be Solarpunk, no, but even those that are not will offer us things to learn. Because I will say it once again: We really, really do have a big issue in a lot of SciFi/Fantasy that way too white and way too stuck in the storytelling conventions of western society.

And here is the thing: I doubt most people will be able to name a lot of afrofuturist media other than Black Panther, and maybe the series above. Or maybe you actually can think of some novels like the ones from N. K. Jemisin, Octavia E. Butler, or Nnedi Okorafor. But not much more.

Now, in terms of Afrofuturism there is a bit more - but the other things? Most Amazofuturism is only ever published in Portugese or maybe Spanish in some cases. And I am honestly not certain if there is even anything that is not self-published out there in terms of Pacificafuturism. (I mean, I know a few Maori movies that I guess you could consider, but...)

What I am trying to get at: I think we need more indigenous futurism/indigenous scifi. Not only so that we read more that breaks out of western storytelling conventions, I think we also just need other perspectives on the future. Because our western, white perspective is limited - and we got to imagine the future for way too long.

[ierotits]

TOBY STEPHENS IN A MĀORI GOTHIC HORROR MOVIE FILMING IN AOTEAROA WHAT THE FUCK HOLY SHIT