Mad Chapman agreed to write a review of Tinā and found it impossible. Instead she argues with herself about the biggest film in Aotearoa right now.

I can’t believe we’re resorting to this format. What’s so hard about writing a review? Lots of other writers have written reviews.

Reviewing in New Zealand is a fraught exercise. Those reviewing are often practitioners themselves, or know the creatives behind the project. Even so, I’ve reviewed plenty of local films, TV shows and plays, but this one felt different. The only thing more fraught than reviewing in New Zealand is reviewing something from “within the community”. Be too glowing and people assume you’re just saying that because of proximity, be too critical and you’re “bringing down your own people”, tall poppy etc. 

OK so argument it is. But first let’s get the usual “review” context out of the way. Tinā is the story of Mareta Percival aka Tinā (Anapela Polataivao), a grieving mother who begins teaching at a snooty Christchurch private school and starts a choir there. 

Set in 2014, three years on from the Christchurch earthquakes (in which Percival loses her only daughter), Tinā is Percival’s journey of grief, acceptance and generosity. A classic fish-out-of-water tale.

And I loved it! Even before I saw it I knew it was right up my alley. Good cast, underdog tale, Samoan hymns. The acting across the board was some of the best I’ve ever seen in a local film. Antonia Robinson as struggling student Sophie was given plenty to work with to show off her range and she delivered. Beulah Koale was the standout of the supporting cast as Percival’s concerned nephew fighting his own demons.

I agree, and Polataivao was of course the star. But for an actor of her skill, the role was perhaps underutilised. She has such a presence that the writers could have afforded to give her character more edge without losing her humanity. Yes she swears and is snarky and a bit messy but is ultimately a resigned, humble woman. I was waiting to see Polataivao rage out, or turn on some faux charm even just to show off her skills. 

The film is very clearly marketed as a wholesome tearjerker and on that it absolutely delivers. Did you cry?

Yes I did cry.

Exactly. And did you crack up at the island humour and side-eyes?

You know I did.

So what’s so hard about saying that? Review done.

Because as much as Tinā was exactly the type of movie I’d typically love, and as much as I did love parts of it, and very much love the fact that it exists, I have many other thoughts about it.

Sigh… you’re going to bring up the brown martyr aspect aren’t you.

Yes! Did you pause at all when you realised this was a Samoan story but only like four of the speaking characters are actually Samoan? 

I kind of did, but it’s set in a private school in Christchurch so it would be unrealistic for everyone to be brown. And the whole point of the story is that they are from completely different worlds, which I liked. 

Sure, but then is it really a story about a Samoan woman or is it a story about a group of palagi rich kids being taught that poor people and other cultures exist? I couldn’t help but grimace at the martyr storyline of this (literally) poor brown woman being given a job at a private school because she could “offer the kids something different” with zero consideration of what that might take away from her (which is not insignificant). And it’s all a lovely thing, apparently.

But isn’t that a realistic portrayal of private school administrations? You went to private school and encountered similar expectations so as grating as some of those characters might be, they’re sadly accurate which means you can’t fault the filmmakers for being true to life.

You’re right that it’s accurate but in Tinā the character that says that is supposed to be the good guy! He’s the well-meaning character who is ultimately all good. The villain characters are absolutely caricatures, with the evil principal-in-waiting and abusive board chair – who, by the way, could’ve just been the same character. 

Again, sadly these are people who exist in real life. I guarantee there are board members at private schools around the country who say far worse things behind closed doors than the characters in this movie. And the audience in my screening audibly gasped when those characters had their worst moments, so evidently it’s doing something to shock people into remembering this stuff is out there and experienced by Pasifika constantly.

Is it shocking them or is it making them feel good about the fact that they themselves don’t do that? I would’ve loved to see the “villains” be a bit more realistic, which is that those same men are often beloved and respected in their own communities, and often for good reason. They can be genuinely lovely and generous and kind, and also racist and narrow-minded. 

When I wrote a scathing critique of private schooling (as someone who benefited from private schooling) following the revelation that MP Sam Uffindell had assaulted a fellow student at King’s and been quietly moved along, I immediately received an email from my alma mater. I dreaded opening it, assuming they’d be furious at my criticisms. They should’ve been because they were absolutely part of the problem I was critiquing. But it was the opposite. A senior staff member had emailed to say she loved what I’d written because of course their private school would never do that. 

That woman was well-meaning and a great teacher, but genuinely believed she was exempt from class criticism because she didn’t condone violence. I guarantee she will watch  Tinā and love it, and would view herself as the noble, well-meaning principal who hired Percival so she could “offer something different”. See what I mean? In another movie (that I’d absolutely watch) that character would be the only villain you needed, but here he’s one of the heroes.

I suppose that does sound like an interesting sequel. I agree that some of the framing at times felt clunky but that is one hell of a tightrope you’re expecting films like these to walk. It’s a movie designed for a broad audience and you can’t argue with the reception, it’s been pretty much universally applauded so you may be alone in your hating. 

I’m not actually hating, I did genuinely enjoy it! But unfortunately given the dearth of both reviewers and also Pacific journalists I feel compelled to point out that while it is a beautiful film, it feels more targeted to a “mainstream” (read: palagi) audience. Percival is “flawed”, meaning she swears and is on the benefit and doesn’t start out particularly interested in anyone else, but ultimately she only ever behaves in noble, righteous ways. She’s an extremely easy brown person to get behind. And likewise, outside of the caricatured villains, all the white characters are equally noble and righteous, they just need to be patiently shown the way by *checks notes* the poor, Samoan teacher. 

So what if it’s made with a mainstream/white audience in mind? Are all Pacific creatives required to only ever make art that is for Pacific audiences? And by the way, I’ve heard only glowing reviews from Pacific audiences as well. Aren’t you a big promoter of Pacific artists just making whatever they want and not having to be representatives all the time? Nothing wrong with just making a movie, getting some work and moving on to the next project. Not everything has to tick every box. Sounds like you’re expecting a lot more from Pacific films than other films.

Maybe I am. And I’m sure the synopsis of this film made it easier for funding bodies to support it (bleak) so can’t fault the team behind it for that. But part of me shudders whenever a film falls into the dreaded middle ground. I would’ve loved a buzzy, random, weird film made by Pacific people. I would have also loved a deeply cultural film that is ten toes down Samoan. I would have also loved a classic tearjerker where people’s race is irrelevant and nothing to do with the plot.

I think my conflict around Tinā is that it is presented and marketed as a deeply Pacific film where race and culture is at the heart of its story, but in execution is closer to a classic tearjerker for a predominantly Palagi audience. Either would be great! But it will inevitably become the most recognisable Pacific-New Zealand film in the world, and despite its name and title character, Tinā feels, to me, more about the palagi people (and audiences) Tinā is helping to grow than Tinā herself.

OK well that is much more convoluted than my thoughts in the theatre which were “wow great acting” or “I love this hymn” or *crying*. Did you like any parts of it?

I loved a lot of it! The scenes where Tinā’s teaching the kids, especially the beautiful scene of them learning to breathe together. I loved when she was at home or interacting with her old teacher friend (Nicole Whippy, excellent as always as the audience conduit). I loved any interaction with other non-private school characters and wished we’d got to spend more time with her alone.

I loved the soundtrack, even the crack up choral rendition of ‘Welcome Home’ which was very on the nose. Anyone who’s ever tried to find Samoan hymns on Spotify will recognise the Samoan Teachers Training College choir throughout.

I also loved the soundtrack but would have loved more silence in the score. For a film about the silent struggle of grief, there was pretty much not a single moment of silence. 

I was impressed that it carried to two hours without feeling long, where typically local films feel as if they’re stretching to get to 90 minutes. There was enough story there to last the distance.

I agree. There were probably a couple of side plot points that could’ve been cut without losing the heart of the story (probably one too many hospital scenes and not sure what was going on with the Palagi priest speaking Samoan and being so prevalent), but that’s the editor in me talking.

I think I know the answer to this but what did you think of the ending? I was extremely emotional watching it and found it quite beautiful. There were plenty of sniffles around me too.

I think the ending nearly worked but for me it didn’t quite stick the landing, largely because of what I’ve ranted about above and some other points I can’t detail for spoiler reasons. I’m sure most others would disagree though.

So do you think people should watch Tinā?

Absolutely. Just please don’t clap when the white teenager pronounces “talofa” correctly.