Latest news with #Tinā
RNZ News
2 days ago
- Entertainment
- RNZ News
Tinā star Angela Potata'ivo is hitting notes
Anapela Polata'ivao, star of the recent hit film Tinā has announced her new project and it's a departure from her role as an actor. Instead, she's directing 'The Monster In The Maze' with the New Zealand Opera. Photo: Andi Crown
NZ Herald
7 days ago
- Entertainment
- NZ Herald
NZ film Tinā set for US release after Rialto Distribution acquires global rights
NZ Film Commission chief executive Annie Murray opens up on public funding and the importance of taking New Zealand film projects to the world. Listening to articles is free for open-access content—explore other articles or learn more about text-to-speech. Access to Herald Premium articles require a Premium subscription. Subscribe now to listen. NZ film Tinā set for US release after Rialto Distribution acquires global rights The global rights to New Zealand film Tinā have been acquired by Rialto Distribution, with a United States theatrical release date set for next month. One of the most successful local productions to date, Tinā – which was written, co-produced and directed by New Zealand-Samoan filmmaker Miki Magasiva – will begin screening in US cinemas from August 29. Rialto Distribution will then prepare the film for international release once it's rolled out in the US. 'Tinā is a rare gem – brimming with authenticity, rhythm and emotional power,' said Kelly Rogers, Rialto's managing director, in a statement to Deadline. 'We're incredibly proud to champion this uniquely Pasifika story and deliver it to global audiences hungry for heartfelt, original cinema.'
Yahoo
10-07-2025
- Entertainment
- Yahoo
Rialto Distribution Sets U.S. Theatrical Release For ‘Tinā' By Samoan-New Zealand Filmmaker Miki Magasiva
Rialto Distribution has acquired worldwide rights to Tinā and is planning a nationwide U.S. theatrical release on August 29 for Labor Day weekend. The film, written and directed by Samoan-New Zealand filmmaker Miki Magasiva, premiered at the 2024 Hawaii International Film Festival, going on to garner multiple accolades including the Best Narrative Feature Award at the 2025 Palm Springs International Film Festival and the Golden Space Needle Award at the Seattle International Film Festival. More from Deadline Seattle International Film Festival: 'Seeds,' 'Tinā,' 'Suburban Fury,' 'The Crowd' Among Top Prize Winners Malachi Beasley To Star Opposite Jamie Foxx In Netflix Sports Drama 'Fight For '84' Broadway 'Smash' Actor John Behlmann Cast As Dolly Parton's Husband Carl Dean In 'Dolly' Nashville Musical Tinā has grossed over $10 million in box office revenue across New Zealand, Australia and the Pacific and currently stands as the most successful New Zealand release in nearly a decade. Rialto Distribution will spearhead the rest of the film's international rollout (excluding Australia and New Zealand) following its U.S. debut. Magasiva's feature debut is the deeply moving story of Mareta Percival, played by Anapela Polataivao (Our Flag Means Death, Night Shift), a grieving mother still mourning her daughter's death in the 2011 Christchurch earthquake. When she reluctantly takes a substitute teaching role at an elite, predominantly white, private school, she draws on the musical traditions of her Samoan roots to form a rebellious, soulful student choir, rekindling connection, identity and healing across generations. The film also stars Antonia Robinson (The New Legends of Monkey, The Brokenwood Mysteries), Beulah Koale (Hawaii Five-O, Next Goal Wins), Nicole Whippy (Madam, My Life Is Murder), Dalip Sondhi (Better Man, Mother of the Bride), Jamie Irvine (The Brokenwood Mysteries, Sweet Tooth) and Alison Bruce (The Power of the Dog, The World's Fastest Indian). It was produced by Magasiva alongside Dan Higgins and Mario Gaoa. Jamie Hilton and Victoria Dabbs served as Executive Producers. 'TINĀ is a rare gem – brimming with authenticity, rhythm and emotional power,' said Kelly Rogers, Managing Director of Rialto. 'We're incredibly proud to champion this uniquely Pasifika story and deliver it to global audiences hungry for heartfelt, original cinema.' 'This is a film made by our community, for our community,' Magasiva said, 'but from day one, we believed it could resonate everywhere. We're humbled and excited to finally share TINĀ with audiences across America, especially in cinemas – where stories like ours come to life in full.' Annie Murray, CEO of the New Zealand Film Commission, praising the U.S. release, called TINĀ 'a powerful film that's attracting record audiences here at home and drawing unprecedented interest from North America. It's a shining example of the strength and spirit of New Zealand storytelling, and we're so proud of Miki and the team for sharing this unforgettable film with the world.' Best of Deadline 'The Buccaneers' Season 2 Release Schedule: When Do New Episodes Come Out? 'The Buccaneers' Season 2 Soundtrack: From Griff To Sabrina Carpenter 2025 TV Series Renewals: Photo Gallery
Otago Daily Times
24-06-2025
- Business
- Otago Daily Times
How are cinemas surviving?
By Ke-Xin Li of RNZ The winter school holidays are about to begin - the perfect time for a family trip to the movies. But with rising cost of living, the slow economy and numerous streaming options like Netflix and Neon, how are New Zealand cinemas surviving? Neil Lambert, owner of premium cinema chain Silky Otter is busy opening his eighth cinema. The new Christchurch theatre has bagels and fried chicken bao buns on its menu. Silky Otter Hollywood is set to open on Saturday, June 28. Lambert said hospitality was key to its success. "Wages have gone up dramatically in the last five years, and on top of that, rents are more expensive, food costs are more expensive. But if you look at the way that the ticket price has increased and how consumers have allowed the ticket price to increase, it hasn't gone up much. It hasn't gone up anywhere near in capacity to that [cost increases]. "Now as a business to thrive and not even thrive, to survive, you have to get an all-round hospitality experience. You have your customers come in the door, pay for a movie ticket - which we have to split with the studios - and it's quite a substantial split. So for us food and beverage are huge. That's why we have full service kitchens." Richard Dalton bought Auckland's historic Lido cinema 24 years ago. He said business at the theatre in Epsom was improving. "Business has picked up this year. It's still not perfect because I think the recession is still biting lots of people, but it's definitely showing signs of life returning back to normal." He said for Lido, it was not always the blockbusters that brought in the cash. "Every cinema is different, so if you talk to the guys at Events and Hoyts, I'm sure they would tell you completely different stories. For them it's all about the blockbusters and it's all about the first two weeks of business on those. "For us, we always pay a lot more money in the first week back to the film company and then as the weeks go by, the amount you pay back to the film companies starts to fall. "Tinā is still popular at six, seven, eight weeks into its season, so we probably made more money at the end of its life than we did at the beginning of its life. For us in this particular model it's all about keeping films going for as long as possible." Dalton said it was special to have movies like Tinā in the cinema. "Everyone comes out crying and you know they're loving it because they sit there for the whole credits. The credits are running and people are still sitting there sniffling, trying to compose themselves and talking. It's a real bonding film. It was such a pleasure to play." While Dalton's main audience are older adults, he thought it was important for cinemas to get children in too. "We got Elio coming up in the school holidays. We'll play things for very young children because often the grandparents might even bring them along. "I do feel strongly about this, so our ticket pricing for kids is just $10 and I kind of wonder why the chains want to charge so much for children's tickets. I think in these tough times, I think they've scared a lot of the market off by overpricing. Especially for a family day out, it becomes really expensive. "You got two parents and three children and popcorn and everything, you're gonna end up spending over $100 or something, which is madness. Children absolutely are the future, if you can get them at a young age and give them a good time and not scare parents off." For a Saturday morning show of Elio, it would cost $58 at the Lido for a family of four. But with up to $20 for a child at Hoyts and Event Cinemas, the same family could be spending $68 at Hoyts, or $113.80 at Event. However, Event does offer discount tickets to members of its Cinebuzz programme. Steve Newall, editor at the film and media website Flicks, said 2025 and 2026 would see a wide range of movies hitting the screens, and New Zealanders in cities were in the prime spot to choose their cinema experience. "I think the cinema offerings in some ways mirror the range of releases out there and that just as there are titles for different ranges of people, there's also price points that you can find. "A bit of research will really help a prospective movie goer. There are good weekly deals, there are certain cinemas that have specific discounts, and the loyalty schemes that the big chains have offer some advantages too." Matthew Liebmann, chief product, innovation and marketing officer at cinema technology firm Vista Group was a big fan of the cinema experience. "I've been to the cinema 24 times this year and we tend to go all around town, wherever the best time and the best film is." He was at Cineeurope, a convention for the cinema industry. He said the sentiment was shared at the convention. "This is an industry that reinvents itself. It doesn't put its head in the sand. It doesn't pretend that the world's not changing, and it's always looking for new technology and new ways to serve guests. So while the technology, the fit out and the food might be changing, that innovative spirit of exhibition remains the same."
Newsroom
10-06-2025
- Entertainment
- Newsroom
Speaking of Michael Forbes
A new literary event in Auckland feels like crumbs from a rich man's table, looks like crumbs from a rich man's table, and quacks like crumbs from a rich man's table, but some crumbs are a lot better than no crumbs at all when it comes to patronage of the arts. Ockham Residential, principal sponsors of the national book awards, are also behind a small, perfectly formed venture at The Nix in Grey Lynn. On the first Thursday night of each month for the next six months, two well-known actors will give onstage readings of two New Zealand short stories. The first event was held last Thursday. It was packed, exciting, and unexpectedly topical. The Nix is a six-level redbrick apartment building on the city's edge. It has 32 apartments. Ockham comms: 'Each apartment is provided with a stainless steel fridge, dishwasher, heat-pump, washing machine-dryer combo, and a Samsung cordless vacuum cleaner.' The ground floor art space has couches and not very good artwork and a little stage. Performances happen fairly regularly and selected writers are welcome to go there on Tuesday mornings to write in each others' company. But is there food? At the inaugural Thursday night short story event there were a range of wines, but no snacks. I asked Bridget van der Zijpp, mastermind of the Writers Write: Actors Read series, 'Are there any biscuits?' Perhaps next time. The seats filled up. A number of people said they came after reading a preview that I wrote in the ReadingRoom newsletter. I sat in the second row. The windows were slightly below street level. Van der Zijpp took the stage, and introduced the two readers for the evening: Elisabeth Easther, playwright, author, and actor (she will forever be known for playing the terrible Carla Crozier, Shortland Street's first murderer), and Jamie Irvine, who plays mandolin, lawn bowls, and the headmaster in the 2025 hit movie Tinā. Easther read first. She chose 'Collateral', a short story from the newly published collection Surplus Women, by Michelle Duff. It was about three women who break into a house in Coromandel and tie up a guy accused of sexual violence. 'The assault, Tom. Tell us about it.' The story felt didactic and kind of artless but as Easther continued reading, very well and very dramatically, there was a sense that something else was going on behind the lines, that the story was resonant with the big news revelation made public that day – the Prime Minister's deputy press secretary, Michael Forbes, had quit after Stuff journalist Paula Penfold published details of how he took intimate photos of women without their knowledge and stored them on his phone. Creeps, secrecy, abuse….Duff's fiction had imitated #MeToo and now, with Forbes, current events was imitating Duff's fiction. Forbes has been cancelled with immediate effect. The central character in 'Collateral', too, fears cancellation. 'We know you enlisted a PR team to help downplay the allegations.' Her portrait of a creep had everyone thinking: Forbes, and what he had done and what would happen to him. But the power of the short story existed on its own terms. It captured attention, it drew listeners into its imaginative setting. 'Collateral' takes place in the near-future. The home invasion seemed to be a kind of legally sanctioned course of justice. The creep was interrogated, and asked to explain his actions. He seemed more worried about the damage to his house. 'Was that the Hindu sculpture he'd bought in Bali in pieces on the floor?' He didn't give a lot of thought to his victim. 'He could barely remember her if he was honest…' There was a break at half-time to drink wine and look in cupboards for biscuits, and to further ponder the relationship between fiction and Forbes; and then Jamie Irvine read 'American Microphones' by Damien Wilkins, the literary man of the hour in all the hours that have passed since he won $65,000 fiction prize at the Ockham national book awards last month for his novel Delirious. The short story was further proof of how good he is, how assured and sensitive and really, really funny. 'American Microphones' was fiction as stand-up comedy, a laugh out loud masterpiece, and deeply meta: a short story about a man reading a short story out loud in front of an audience was read out loud by a man in front of an audience. A further layer of meta was that the narrator was Damien Wilkins, reading a short story set in New Zealand to a writing class he was teaching somewhere in America. Irvine put on very good American accents and his comic timing was superb. The story partly served as a portrait of Americans. 'At some profound level,' says the narrator, 'I think of Americans as dangerously carbonated people.' But the story was universal. Just like the Duff story, it opened up quiet and unsettling thoughts; the audience members in the short story were lost, poignant souls, and everyone in the audience at The Nix was surely thinking, Am I sitting in a room full of likewise lost, poignant souls? And: Am I, in fact, one of those souls? The story first appeared in For Everyone Concerned, a short story collection published in 2007. Wilkins's publishers are about to reissue his 2021 novel Chemistry (about a drug addict who goes home to Timaru). Good. I hope they also reissue For Everyone Concerned. Huzzah to Ockham and to Bridget van der Zijpp for Writers Write: Actors Read. The short story is in good health in New Zealand–Gigi Fenster was given $10,000 in funding from CNZ last week to create 'an anthology of New Zealand writers and educators discussing New Zealand short stories'; entries close at the end of this month for New Zealand's richest short story award, the Sargeson Prize, open to adults and secondary school students–and The Nix event was a great idea, professional executed. The audience, possibly lost and poignant but hoping they were not, drained one last glass and headed out into the winter's evening, thinking of Duff and Wilkins, of Easther and Irvine, and the name that has been dredged out of a black lagoon of New Zealand life, Forbes. The new short story collection Surplus Women by Michelle Duff (Te Herenga Waka University Press, $35) is available in bookstores nationwide. A review of considerable length will appear in ReadingRoom tomorrow (Thursday, June 12).
