Mahika Kai: A Discussion Of Culture, Conservation And Connection

Mahika Kai

Mahika Kai Rating

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Mahika Kai introduces a group of Māori conservationists and cultural custodians on a quest to rehabilitate ecological systems and food sources, and in turn the identities and wellbeing of their people.

Filmed in picturesque Wānaka, located in New Zealand’s South Island, we learn about the interconnectedness of physical and spiritual elements in the Māori world view and the kaitiaki (guardians) seeking to reconnect with and promote traditional Māori knowledge to create healthier modern lives, in harmony with nature.

As narrator Tūmai Cassidy explains, Mahika Kai is the procurement of food, including gathering, harvesting, preserving, sharing and, pertinently, caring for food. The mission of caring for food is illustrated here with specific reference to the plight of tuna (eel) populations, whose wetland habitats, and very survival, are imperiled by hydroelectric dams restricting their migration pathways;

As Cassidy notes, the impact of this plight is not isolated, as their destruction – effecting 90% of wetlands in the Otago region alone – means the loss of identity and traditional ways of life. We are told it needn’t be this way, where hydroelectric dams overseas are designed and operate without impacting crucial migration pathways, or harming respective species.

The kaitiaki hope through greater awareness of the issue, the local community and government will support their conservation kaupapa (objectives) and re-prioritize the life and health of habitats and species, which support life and health among human communities.

In addition to the conservation kaupapa of Mahika Kai, the kaitiaki share their pepeha (a traditional Māori introduction including details of connection to land) waiata (song) and kapa haka (performing arts). These koha (gifts) beautifully portray the life-force connecting past and present, physical and spiritual, and memorably highlight the kaupapa which makes Mahika Kai timely and important viewing – which I highly recommend.

To book tickets to the Maori Mini Film Festival, please visit https://www.bunjilplace.com.au/events/maoriland-film-festival

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Indian Film Festival: My Melbourne

My Melbourne

My Melbourne Rating

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My Melbourne—aahhh, I love that city; it is vibrant, alive, and pulsing with stories. Joyfully, that is what the film My Melbourne also presents to the audience: four main characters at a turning point in their lives… an intimate brief look.

The cinematography has few flaws, and the short films blend effortlessly, thrusting the viewer into the middle of a new story. All stories are relatable to the viewer: the parents’ disappointment in their son’s life choices, the marriage that sees the culture questioned, the talented dancer with a progressive disease, and the refugee with the burden to be successful.

But what is human nature if not a trial and a fight to succeed? These stories are about hope, acceptance, fulfilment, and belonging. They are beautifully brought to life, each with elements of truth based on real-life experiences.

It’s well worth a trip to the cinema so you can sit and enjoy, feel real-life emotions, and feel a sense of gratitude. What happened to bring these characters to this point in their lives, and where do they go from here?

My favourite was the story of Setara—the interaction between her, her sister, and her mother didn’t need translation. The glimpses of her father were meaningful and moving. This would be a movie I would enjoy on the big screen or the television.

Keep an eye out for the screenings of My Melbourne, which will be released in Australia on March 6. Take a good friend and a box of tissues just in case. For more information about the Indian Film Festival of Melbourne, please visit https://www.iffm.com.au/.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Maori Mini Film Festival: Telesia 2 The World

Telesia 2 The World

Telesia 2 The World Rating

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It’s easy to look at a film made by a recent high school graduate, raised either looking down the barrel of a phone camera or haphazardly pointing it at others, and assume they simply don’t know any better. But it quickly becomes apparent that this is not the case at all. There are a lot of things in Telesia that you discover in sitting with her for just 20 minutes as she recounts her relationship with the Chinese language, Polynesian identity, social empowerment, and cross-cultural connection. She’s a polyglot, extremely intelligent and fiercely creative, a leader in her community, and above all, a kind soul.

Telesia 2 the World is directed and edited by Telesia Tanoa’i, a young Samoan New Zealand woman with an international view of the world. While at home, Telesia has become a leader in youth advocacy, cultural representation, and climate activism. Growing up, living and travelling abroad imbued Telesia with a natural curiosity and interest in the world, particularly through the lens of the Chinese language. The home-movie clips we open with see child Telesia showcase her natural jubilance and confidence as she explores with her parents.

Returning home and entering her teens, she begins to use her sense of humour and creativity to make videos for TikTok, while acknowledging the difficulty in maintaining language practice. Motivated by her Chinese language teacher at school, Telesia enters the Chinese Bridge Language Competition. The film comes alive as Telesia’s efforts see her travel to China to compete in each stage of the competition. The sights from her bus and the vlog posts she records are brightened by the array of rich colour in Chinese architecture and gardens, as well as Telesia’s beaming smile.

 

You’ll see Telesia speak about how nervous she is as she takes to the stage in front of an international audience. Not only does Telesia showcase her ability to converse and orate in Chinese; the combination of Telesia’s linguistic capabilities and musical talent make her an exciting competitor. Nothing about her presence on stage suggests the anxiety she internalises – Telesia projects coolness and confidence in front of a crowd. When she speaks directly to the audience in her ‘interview’ segments, you have the chance to see that warm and empathetic side of her on full display.

It’s because of this empathy that Telesia manages to overcome the challenges thrown her way. She carries the spirit of her culture and family with her, proudly wearing Maori-designed clothing and continuing to advocate for her home across international borders. The power of trans-linguistic communication is shown full force in a clip where Telesia introduces her competition roommate, Arwen from Malaysia. The two speak in Chinese, their friendship overcoming the language barriers that might usually challenge two people from across the world connecting with each other in such a powerful way. This theme runs throughout as Telesia celebrates the success of her competitors, people who she has come to regard as international friends through their shared love of Chinese language.

Now, Telesia has graduated, and her film has premiered. If this is any indication of her future, Telesia is sure to accomplish a lot. If you’re in doubt about the state of the world – international tension or the alarming increase of global temperatures – spare half an hour to see what our future leaders are already accomplishing as you follow Telesia on her journey to the world!

To book tickets to the Maoriland Mini Film Festival, which is running on 1st-2nd March, please visit https://www.bunjilplace.com.au/events/maoriland-film-festival.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Hard Truths: British Film Festival

Hard Truths

Hard Truths Rating

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Set among the lush gilded halls of the Palace Cinemas in Como begins this year’s British Film Festival here in Melbourne for 2024! Upon arrival, I was guided towards a table filled with glasses, offered a glass of wine (which, of course, I take), and then showed towards Cinema 1. Whilst my heart is beating fast from almost running late and my feet are throbbing from not choosing the comfiest shoes to run almost late in, all this is left at the door as I am welcomed by a plush chair and ample foot space (thank goodness).

As an audience, we are officially welcomed to the Media Night of the British Film Festival and shown some trailers of upcoming movies (many of which look incredible) before the movie starts. I highly suggest checking out the program as this year’s running has such an intriguing mix of stories to view by some promising, talented, established directors and actors.

And then, the movie starts. As an audience, we follow the story of Pansy, a short fused woman who appears to be in a deep hole of depression, frustration and anger. Pansy, played by Marianne Jean-Baptiste and directed by Mike Leigh (All Or Nothing, Happy Go Lucky) plays a character whose emotions are on her sleeve and affect those around her to a detrimental point.

Now, while this movie does have a somewhat linear plot, I still came away a little confused. It felt a bit like the movie was trying to follow all of the main characters but, in the end, left so many loose ends. I suppose if the movie was trying to mimic real life, then this approach feels very realistic. However, the ending felt abrupt.

 

On the flip side, this does not diminish the acting ability of the actors in this film. Each character felt deeply thought out, thoroughly lived in and exciting to watch. Jean-Baptiste acted with such a tangible sense of rage and grief that it was so easy to get caught up in it all. I laughed at a few of her insults (almost rivalling Shakespeare in their wit) and cried along with her too. But it was hard to view such a continually confrontational character which did break my immersion for longing to psychoanalyse her right then and there. Instead of focusing on the story, I wanted to focus on the character of Pansy as that seemed more directly interesting to me.

Some other honorary mentions go to both Michelle Austin (who played Chantelle) and David Webber (who played Curtley). Austin’s portrayal of a tender sister (and tender character all round) who coaxes her sister slowly out of a deep hole of grief had me longing for a sister of my own. And Webber playing Curtley shows a stark contrast to the other people in his life, consistently withdrawn, quiet, a human doormat for Pansy to walk all over. I felt bad for this character, but it was also really hard to watch Curtley not stand up for himself. He was so in his shell and, as an audience, it was really difficult medicine to take knowing that almost everyone has someone like Curtley in their life and yet don’t always know how to help.

In summary, this film has a tremendous array of portrayals of the British middle class, but also accesses a confronting amount of emotions which are hard to sit with whilst watching the story unfold. I wish it made more sense to me, but perhaps I am in the minority. I think it would be worth a rewatch just to see what I potentially missed. I will, however, be looking at the rest of the program for the British Film Festival and attending what I can as there are a large number of films in it that pique my interest. This festival is on until the 6th of December and is worth checking out even just for the ambience of the Palace Cinemas!

The British Film Festival 2024 runs from Nov – Dec 8.

To book tickets to this or other films click https://britishfilmfestival.com.au/ for session and venue details.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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