Latest news with #WeWereDangerous
NZ Herald
19-06-2025
- Entertainment
- NZ Herald
Five classic Kiwi films to get you into the Matariki mood this holiday
Starting with the obvious, this drama film set around the holiday itself follows a chain of events in the South Auckland suburb of Ōtara leading up to Matariki, with the Māori New Year acting as a motif throughout. In the spirit of US-produced epics such as Magnolia and Crash, Michael Bennett's Matariki draws on human emotion and features a diverse cast who all give authentic and honest performances of their realistic (sometimes grim, sometimes darkly comedic) storylines. Multiple languages are used throughout and the script highlights the redeeming power of friendship and the importance of community after a random act of violence. With music by Don McGlashan and cinematography by regular Sir Peter Jackson collaborator Alun Bollinger, this raw display is sure to get people thinking about what Matariki means to them. Whale Rider (2002, dir. Niki Caro) Keisha Castle-Hughes in Whale Rider, an adaptation of the Witi Ihimaera novel of the same name. Whānau acceptance and ancestral ties lie at the heart of Niki Caro's groundbreaking adaptation of the Witi Ihimaera novel Whale Rider, which itself was based on the Māori mythological tales of Paikea. As a young girl longs to lead her tribe and make her family proud, she also strives to connect with her cultural heritage and her community's ancestral ties – a poignantly prominent story when thinking about it in the context of Matariki. Paikea Apirana, played by a young Keisha Castle-Hughes, is one of the best Kiwi characters to appear on-screen and stands as an empowering symbol for young wāhine everywhere. Meanwhile, Leon Narbey's beautiful cinematography expertly captures the beauty and ruggedness of Aotearoa's land, sea and sky (which also coincidentally make up some of the stars in the Matariki cluster). We Were Dangerous (2024, dir. Josephine Stewart-Te Whiu) Josephine Stewart-Te Whiu's film We Were Dangerous tells a fictional story about a rebellious trio of girls railing against the system in 1950s New Zealand. Photo / 818 Sometimes, acceptance and a sense of community can be found in the most unlikely of places. The delinquent girls' camp in We Were Dangerous is one of those places. While the main themes of rallying against patriarchy and oppression are significant in this film, it also highlights the importance of embracing diversity and sticking together to overcome challenges. A mix of dry humour and drama, the film is anchored by strong performances from the lead actors and a cracking script by Maddie Dai. Make sure you watch out for a particularly great scene where a long-standing te reo Māori language game is played, because it looks so fun, you might even want to give it a go yourself this Matariki. Boy (2010, dir. Taika Waititi) Taika Waititi's film Boy won the Best Feature award at the Berlin International Film Festival. Quite possibly the funniest Kiwi movie ever made and also the film that showed the world Taika Waititi was a force to be reckoned with, Boy is the perfect Matariki watch because it doesn't shy away from hard truths on family and togetherness. The simple story about a young Māori boy from Gisborne trying to reconnect with his vagabond father struck a chord with audiences across the motu upon its release and has since become a cult classic. Much of the humour is tinged with sadness, and the themes of belonging and new beginnings run deep while still coming across as natural in the story thanks to anchored performances by Waititi and James Rolleston. Complete with a great soundtrack, whip-smart dialogue and a very memorable Michael Jackson dance, Boy is a great example of a film that takes the audience along for the ride and leaves them feeling like part of the family when they are done. The Dead Lands (2014, dir. Toa Fraser) Lawrence Makoare as The Warrior in the New Zealand movie The Dead Lands. While brutal, bloody violence and skull-crushing isn't the first thing that comes to mind when you think Matariki, The Dead Lands is still, at its heart, a story about finding your place and following in the footsteps of ancestors. Shot entirely in te reo Māori, it not only depicts New Zealand's history from a tribal warrior's perspective but also dives deep into traditional mythology and explores cultural identity in a way rarely seen on screen. Intense scenes of tribal warfare come across as rather realistic, as do the depictions of traditional Māori culture and tradition. There's even a pivotal scene featuring the lead character, Hongi, looking up at the stars while seeking guidance, something that many people across the motu will be doing this Matariki season. Mitchell Hageman joined the Herald's entertainment and lifestyle team in 2024. He previously worked as a multimedia journalist for Hawke's Bay Today.
Yahoo
22-05-2025
- Entertainment
- Yahoo
Call the Midwife star confirmed for Jane Austen role in new "beautiful" BBC period drama
An overlooked Pride and Prejudice character will take centre stage in a "beautiful" upcoming BBC series starring Call the Midwife's Ella Bruccoleri. Jane Austen's beloved classic revolves around headstrong protagonist Elizabeth Bennet, giving readers a glimpse of her eldest sister Jane's goodheartedness and beauty, and more than a hint of the recklessness of younger sisters Kitty and Lydia. The middle sister, Mary, doesn't appear very often in the novel. When she does, she's described as a bookish, wallflower character, a homebody who has some social awkwardness to her and doesn't love partaking in the activities of polite society. Inspired by the novel of the same name by Janice Hadlow, The Other Bennet Sister turns Mary's story into a bigger arc of self-discovery and independence as she steps out of her sisters' shadow. Coming to BBC One at a later date, the series will be primarily written by Sarah Quintrell (The Power), while Maddie Dai (We Were Dangerous) will pen one of the 10 episodes. Related: Bruccoleri, known for playing Sister Frances in Call the Midwife, takes on the role of Mary. Celebrating the announcement, the star shared that she's always "related more" to the middle Bennet sister than protagonist Lizzy. "As someone who has always related more to Mary than Lizzy – something that was confirmed even more by reading Janice Hadlow's brilliant novel – I feel incredibly lucky to be spending these next few months exploring her world in depth, as envisioned by these incredible women," she said in a statement. "Sarah Quintrell's scripts are packed full of beautiful idiosyncratic detail, empathy, humour and such warmth... revealing that beneath Mary's awkwardness and formality, lies a woman longing for purpose and connection." As for Quintrell, the writer said: "I feel incredibly lucky to have Ella Bruccoleri on board as Mary Bennet. She brings the perfect balance of heart, sensitivity and humour to the role. I can't wait for audiences to see her take centre stage and shine!" Author Janice Hadlow joined in praising Bruccoleri, saying: "I'm absolutely delighted that Ella will be playing Mary Bennet. I know she'll be the Mary I've always imagined - awkward, stiff, always saying the wrong thing – but also vulnerable, lonely and desperate to find love. "I'm sure she'll make audiences feel her plight as deeply as I do, and think she'll make the perfect Other Bennet Sister." Much like in the novel, the series is set to take Mary away from Meryton and into the soirees of Regency London, with a detour to the Lake District. "Ella Bruccoleri is the perfect choice to lead The Other Bennet Sister," executive producer Jane Tranter said. "Mary's journey takes her from overlooked to unforgettable, and I am positive that Ella will capture every shade of that transformation with wit, grace, and emotional depth. We are thrilled to have her at the heart of this story." Bruccoleri's other acting credits include Bridgerton, Mark Gatiss's Bookish, Extraordinary, murder mystery Ludwig and Paddington threequel, Paddington in Peru. The Other Bennet Sister will be on BBC iPlayer and BBC One, and in the US and Canada it will be on BritBox. Digital Spy's first print magazine is here! Buy in newsagents or , now priced at just £3.99.£49.99 at at at Audible at EE at £99.00 at Amazon at £18.99 at at at at at at EE£91.40 at at at Amazon at at at at at at at at at Game at EE at at at Pandora at at Sky Mobile at at at Game£123.99 at at at Three at at at at Pandora at at at Fitbit£49.99 at at at AO$15.00 at at at at at at at at at at at at at at at at at John Lewis£39.99 at at at at at at at Amazon£184.00 at John Lewis & Partners at at John Lewis at at at at at at at Three£32.99 at Amazon at at at at at John Lewis & Partners at at at at Fitbit$29.85 at at at Amazon at at Amazon at at at at at Three at Apple at at at at £49.99 at at Audible at at at at at at at at EE at at John Lewis at at at John Lewis at EE at at £379.00 at at at at Amazon at at at Apple at at at Apple at at at at Three at $365.00 at Microsoft at at John Lewis£79.00 at Samsung at at AO£79.00 at Samsung£79.98 at at at crunchyroll at at John Lewis£22.00 at Amazon£299.00 at Microsoft at at John Lewis & Partners£92.98 at at at at at Microsoft£79.98 at at Amazon at at at at at John Lewis at at at at John Lewis & PartnersShop now£16.00 at Microsoft at at at at at John Lewis at at at at at at at at at at at at at at at at at at at at at at at at You Might Also Like PS5 consoles for sale – PlayStation 5 stock and restocks: Where to buy PS5 today? IS MISSION: IMPOSSIBLE 7 THE BEST IN THE SERIES? OUR REVIEW AEW game is a modern mix of No Mercy and SmackDown
NZ Herald
20-05-2025
- Politics
- NZ Herald
Outrage! Te Pāti Māori, pay equity and the rules of Parliament
Their sin: they left their seats in Parliament and performed a haka in front of Act MPs, as the vote on Act leader David Seymour's Treaty Principles Bill was ending. Labour's Peeni Henare joined in the haka but has escaped punishment because he has expressed remorse. It's not because they did a haka, Prime Minister Christopher Luxon told RNZ on Monday. 'That actually happens often. It's actually about not following the rules of Parliament.' It so often is. The merits of a complaint against power are sidelined by the powerful, who would prefer not to debate the complaint itself. The sanctity of the rules is far safer ground. For one thing, the rules are a-political, or so we're supposed to think. For another, focusing on the rules appeals to a desire for order and even for fairness: if we don't have rules, how can we know what justice is? But if rules are for regulating behaviour, that also points to a deeper purpose: they reinforce the authority of those who make them. Rules aren't a-political, or neutral. They protect the powerful. We all know this, we learned it when we were little children. What else did we learn when we were young? Naughty people must be taught a lesson. And by 'taught a lesson', we don't mean 'given a special educational opportunity'. We mean punished. We cling to that one, even when our culture is full of warnings of what can go wrong. Everything from the Abuse in Care report to movies like Hunt for the Wilderpeople and We Were Dangerous reminds us that punishment is often meted out not on merit, but to reinforce power. That's what's happening here: a reminder of the hierarchy of power is being visited on some 'uppity' people who won't sit down, won't show contrition, won't shut up. And what of the rules themselves? Both Luxon and Judith Collins, who chaired the committee, have hung their desire to punish on the suggestion the haka prevented Act MPs from voting. But Act had already voted. Given that, why has Collins not apologised and recalled her committee to reconsider its decision? If the committee was a proper court and not a politically motivated circus, the manifest falseness of this 'they were stopped from voting' argument wouldn't survive half a second on appeal. Some have said TPM was doing it for show, that it was all theatre. Excuse me? What goes on in the debating chamber is all for show. Besides, the committee didn't agree it was just performative. Its report says, 'There is no question the behaviour of Ms Maipi-Clarke, Ms Ngarewa-Packer and Mr Waititi could have the effect of intimidating other members.' But there very much is a question. Te Pāti Māori says interpreting its MPs' actions as 'a potential threat of violence reflects personal prejudice and ignorance of tikanga Māori, not reality'. The evidence suggests the Act MPs agree with that. Photos and video of the incident do not show them taking evasive action, defending themselves or even looking worried. They seem to be doing their best to look bored. Members of Te Pati Maori perform a haka in front of Act MPs during the first reading of the Treaty Principles Bill in Parliament. Photo / Adam Pearse These politicians have been confronted by challenging haka before, at Waitangi and elsewhere. They're well versed in the rituals. We all are. Seymour likes to call haka a 'war dance', but that's demonstrably not the role of haka today. They can be ferocious, confronting, sometimes even fuelled by rage. But in the modern age no one gets hurt. Whatever the occasion, haka provide a ritualised outlet for some very strong emotions. That should be respected. Haka also say: Just because I'm not literally going to attack you with my taiaha doesn't mean you should ignore this. I really am enraged. That should be respected too. Haka are ubiquitous now, and on the whole that's a good thing. But it does tempt us to think their proper role is to entertain or to mark a significant moment. Te Pāti Māori has reminded us that isn't true. The thing about rules is that they don't always correlate with doing the right thing. This has been coming up a lot. The Government undid the provisions of the Equal Pay Amendment Act, a law that established a framework for assessing pay equity claims. Most Government MPs were part of the Parliament that voted unanimously for this law in 2020. The abolition of that framework is retrospective and it was done under 'urgency', so there was no chance for public input or considered lawmaking. The rules allowed all this but that doesn't make it right. It's another blatant example of the way rules can be used against those without power. The Government has tried to claim the act needed changing because it had got 'out of hand'. Social workers, they scoffed, were being compared with detectives! But why not? The most common type of crime in this country is family harm. Juvenile offending is also common. We expect social workers to know who's committing both these types of crime and somehow to manage the households involved so it stops. And we blame and shame them when they get it wrong. Detectives face very little of that. The pay equity provisions of the 2020 law constituted a good bunch of rules, but they threatened the power balance. Can't have that. I've got another comparator: Why don't we compare teachers with MPs? Teachers have to think on their feet every second of the working day. Their base salary range is $61,329 to $103,086 and two-thirds of them are women. MPs, most of whom are men, are told how to vote and get an entry-level salary of $168,000. Abandoning the pay equity rules means scrapping 33 claims already in the system, each of which represented good-faith commitment to research and analysis that was going to be held up to rigorous scrutiny. That's a disgraceful way to treat the rules. That's also true for not allowing select-committee hearings: it undermines the democratic process and invites bad law. As for making the new law retrospective, that's frightening, because it suggests none of us know if we are currently breaking the law. Not the current law, but some law from the future that could be used against our behaviour now. Maybe you think that's a stretch. In my view, anyone who holds to the sanctity of rules should be well exercised about that one. Protesters rally outside Minister Tama Potaka's electorate office in Hamilton opposing the Government's pay equity legislation. Photo / Mike Scott 'I think it's really important that the rules are upheld,' said Luxon about the haka incident. But he doesn't think that about the pay equity rules he voted for in 2020. Worst of all, binning the 2020 act means an estimated 150,000 women and their families have been denied billions in income that was going to be theirs. Why did the Government chose to make women the victims of its Budget cuts? Not because it was the right thing to do. How could they think that, after voting for the 2020 act? They did it because they could. The rules let them get away with it. Rules, eh. No political party has been hauled before the courts for electoral corruption, despite considerable evidence that at the very least deserves close legal examination. The rules allow it. The Government has imposed a funding regime on the health system that puts lives in jeopardy and undermines the well being of tens of thousands of people. The rules allow it. Speed limits are rising, which means, say experts everywhere, that more people will die. The rules allow it. The rules also allow Parliament to take no clear stand over one of the most pressing moral touchstones of our time: what's happening in Gaza. I know opinion is divided, but I agree with UN Special Rapporteur Francesca Albanese, who calls it 'genocide'. And the Government has signed up to an agreed set of rules for lowering climate emissions, even though it is in the process of breaking them. The rules allow that too. It's a trope of this debate that the rules of Parliament have already been bent to let Māori in. Te reo is officially allowed, haka and waiata are heard in the galleries and on the floor, some parts if the Parliamentary complex contain beautiful, richly meaningful whakairo (carving), raranga (weaving) and other expressions of tikanga Māori. We should be proud of all this. But almost none of it has changed the Victorian protocols of our Parliament. An insistence on the archaic behaviours of the English ruling class are everywhere. Worst of all, the rules allow much of the business of Parliament to be conducted with little to distinguish it from a cockfight. Pun intended. I'm not arguing against rules. They are helpful and often necessary, especially when they safeguard freedoms and protect the vulnerable. But rules designed to insulate the powerful are a different matter. And so is keeping a sense of proportion. Hana-Rawhiti Maipi-Clarke became a global sensation when she ripped up the Treaty Principles Bill in Parliament. An awful lot of people understand what she did and why. They've heard 'you can't break the rules' before, many of them perhaps all their lives. They know what it means.
