The closing night for the Melbourne Women in Film Festival was actually a film from New Zealand, but focusing strongly on diasporan peoples making their home in that country and the challenges that await. It’s as much about creating a future that doesn’t exist, I suppose, as in reflecting some kind of existing multicultural society (as I think NZ is a fair way away from that), but it’s great to see the work on show. I hope some of these filmmakers go on to make their own feature films; I’d love to see them.
I’m not sure this quite hits as hard as the same producers’ earlier portmanteau collections, Waru and Vai, but that’s not to say it’s not great. Indeed, it’s a wonderful tribute to the diversity of filmmaking culture in Aotearoa — or at least, potential filmmaking culture, as I don’t think the small number of films that the country makes each year really fully embraces that yet, but I certainly wish it would. Whereas the previous film Vai went to locations around the Pacific Islands to find stories that were united through the focus on the water, on the connective threads between them, Kāinga is grounded (literally) in the soil of a single home in Tāmaki Makaurau/Auckland, specifically the southern suburb of Māngere.
The film is split into eight segments moving through the years, taking in each decade from the 1970s onwards, before moving forward in shorter increments, as families from different ethnicities move in, the changes in the families and the changes in the home tracking the changes in society, in aspirations and expectations, and the way that things come full circle. It’s about an idea of New Zealand that I still don’t think is fully part of society there, but is something I think it is working towards a bit better than some other countries (albeit haltingly, as we perceive a little in a later segment of the film, where the home is owned by a racist pākehā couple), of embracing cultural difference as a generative source, and a positive one, but it’s comforting to see it in film.
Not all the individual segments fully work on their own (as is natural for any film of this nature), but the vision is consistent, the work of the set designers and actors and all the filmmakers is impressive in just getting it done (all these 10-minute unbroken takes is a flex, carried over from Waru), and most of all it’s a model and an inspiration, I hope, for future indigenous and pan-Asian filmmaking.
Directors Michelle Ang, Ghazaleh Golbakhsh غزاله گلبخش, Nahyeon Lee, Angeline Loo, Hash Perambalan [as “HASH”], Asuka Sylvie, Yamin Tun and Julie Zhu 朱常榛; Writers Shreya Gejji, Golbakhsh, Mei-Lin Te Puea Hansen, HASH, Lee, Loo, Mia Maramara and Sylvie; Cinematographer Drew Sturge; Starring Mya Williamson, Izumi Sugihara, Patricia Senocbit, Eliana Hwang, Sneha Shetty, Masoumeh Hesam Mahmoudinezhad, Dharshi Ponnampalam, Katlyn Wong; Length 87 minutes.
Seen at ACMI, Melbourne, Monday 27 February 2022.