13 Pacific Islander Movies that Showcase the Richness and Diversity of Pasifika Cinema

Undoubtedly one of the most important New Zealand films of all time. Once Were Warriors – based on the best-selling novel of the same name by Alan Duff, with a powerful screenplay from Riwia Brown – became such a cultural touchstone that it made international stars out of its central cast (trio of Rena Owen, Temuera Morrison, and Cliff Curtis) and catapulted Lee Tamahori into becoming one of Hollywood’s most sought-after directors. It’s a challenging film to revisit in basically every sense given its brutal portrayal of domestic violence, poverty, sexual assault, suicide, and alcoholism for an urban Māori family. That’s not to say any of these things are untrue, yet such was Once Were Warriors‘ impact, they almost become over-represented and stereotyped on screen in the decade following. An unflinching and uncompromising look at the continued impact Colonialism has on Indigenous peoples globally.—Maria Lewis

To me, Pacific Islanders have an innate sense of comedy – they never take themselves too seriously and are always up for a laugh. Which is why Sione’s Wedding is so special to me, because it’s the first movie I saw where the story and characters revolved around Polynesians being funny. The premise of the film is simple and of its early 2000s time period: four largely immature friends are banned from their best friend’s wedding unless they can find girlfriends. It’s the Samoan Wedding Crashers meets The Hangover. What could go wrong?–Tali Aualiitia

It always upsets me when someone tells me they’re a Taika Waititi fan, but haven’t seen Boy: It is the best Waititi movie and it’s a hill I will die on. Set in the 1980s, Boy centers on an 11-year-old Michael Jackson fan desperately seeking the approval of his criminal father, who re-enters his life to collect a stash of money he hid before going to jail. Of course it’s funny, but there are also moments of incredible innocence and vulnerability that make this well-rounded movie both a joy and a heartbreak to watch. Come for the laughs, stay for the Māorified version of Michael Jackson’s “Thriller” dance complete with haka and poi.–Tali Aualiitia

I would be remiss not to talk about Disney’s Moana. Set in Ancient Polynesia, the movie tells the story of Moana, who must enlist the help of demigod Maui to lift the curse on her island by navigating the oceans and restoring the heart of Te Fiti. Yes, it’s inclusive Disney. Yes, it’s got a powerful strong independent female lead. But for me, it’s the music. Disney enlisted music group Te Vaka’s Opetaia Foa’i to be the voice of the Pacific, and listening to Foa’i open “We Know the Way” in Samoan instantly made it feel new and exciting, but also home and familiar. Also, the movie serves as a constant reminder that my ancestors navigated the oceans using the stars while I can barely get Google Maps to work.–Tali Aualiitia

In being given the task to help create a “Guide to Films from the Pacific Islands,” I wanted to be very intentional in amplifying lesser known voices and issues. While Island Soldier wasn’t directed by a Pacific Islander, it is an important documentary that gives viewers a reliable insight into the exploitative and destructive nature of US militarism in the Pacific, specifically Kosrae in the Federated States of Micronesia. It’s becoming more and more common for this type of content to be what tips the scales in changing policy, so I encourage audiences to take the time and educate themselves by watching stories like this one and Anote’s Ark, on climate change in Kiribati, as well as Out Of State, on addiction and incarceration in Hawai’i, all of which share colonization and capitalism as the root of our problems. These are just some of our realities that don’t get the attention and certainly not the reparation they deserve.–Kristian Fanene Schmidt

Released in 2019, Vai is a beautiful collection of eight shorts spanning the Pacific, tied together by a common thread of mana wahine. What I love most about this film is that in addition to being directed by nine Pacific women, we get to see dark-skinned grandmas, mothers, daughters, and sisters in such fullness and beauty, thanks to Solomon Islands filmmaker Matasila Freshwater and Fijian filmmakers the Whippy Sisters, respectively. Due to colorism that permeates every nation, Melanesians often get erased and excluded from Pacific discourse, so I’m looking forward to seeing more content like this and the Vanuatu love story Tanna! Vai is actually a follow-up to another great movie showcasing eight Māori women directors, Waru. Be sure to watch them together, and keep an eye out for a third installment with a focus on our Aboriginal whānau coming soon.–Kristian Fanene Schmidt

Kumu Hina follows the life of Hinaleimoana Wong-Kalu, a Native Hawaiian activist and teacher (and also the Haku Mo’olelo and narrator of this documentary). As a queer Samoan, I would be remiss not to include a narrative that speaks to the diversity in gender expression and sexuality in the Pacific that has long been demonized and outlawed because of the church and colonization. Hina is māhū, and while some māhū may identify as trans or nonbinary, I’m going to resist labeling her as such because not all do. (The trouble with using Western terms to describe Indigenous peoples is that they do not necessarily relate to them nor are they neat translations.) Navigating a world she seldom finds acceptance in, Hina is steeped firmly in her role as a cultural and spiritual leader, fighting for her people while holding true to who she is. We’re now starting to see a rise of queer Pacific content, as evidenced by another documentary made by the same creators, Leitis in Waiting, along with the animated short Kapaemahu, in which Hina serves as both a directer and producer. Hopefully there’ll be more to come.–Kristian Fanene Schmidt

This year marks the 40th anniversary of the South African Springboks 1981 Rugby Tour of New Zealand – a tour met by huge anti-Apartheid protests in NZ – and it’s time to remember this watershed of mass civil disobedience. It’s also timely to remember and honor the Māori woman, single mum, self-taught filmmaker, activist and teacher, and global Indigenous film icon, Merata Mita, and how she captured on film one of the most essential documents of civil unrest in cinema history. Māori cinema exists because of her. PATU! reminds me as a Polynesian Māori woman just what Merata sacrificed and how she and a handful of creatives bravely ushered in a new age of Māori nationalism using celluloid to tell our stories. Manaaka me te Honore.–Sonja Hammer

This is Toa Fraser’s cinematic love letter to his Fijian matriarchal culture, another part of Pasifika that is rarely represented in cinema. The film is set in the largest Polynesian city on the planet, Auckland, aka Tamaki Makaurau, “The Place of Many Lovers.” Twenty years ago, every language from Te Moana-A-Kiwa (Māori for the Pacific Ocean) could be heard in its inner-city suburbs, like Ponsonby, Grey Lynn, Freemans Bay, and Toa’s own Mount Roskill – where the filmmaker grew up and the film is set – with Tongans, Samoans, Tokelauans, Niuean, Kuki Airani, and Fijian voices. These groups, once labelled as “overstayers” and FOBs ( “Fresh off the Boats” ), today are the blended cultures of post colonial Aotearoa. Toa’s on-screen neighborhood re-imagines those Islander communities I remember where beautiful elder matriarchs like Nanna Maria – the matriarch of the Fijian family in the film – sustained them with bounties of kai and plenty of aroha.–Sonja Hammer

This legendary film made by a Samoan, spoken in Samoan, explores the Fa’a Samoa way of life. Director Tusi Tamasese’s debut is the tale of a taro farmer, Saili, a little person who exists along with his banished wife Vaaiga and daughter as outsiders, ridiculed and stalked by nearby villagers. A showdown between the chiefly hierarchy of the village and Saili comes in the form of an oratory face off. The movie’s lingering pace and profound depth of emotion – along with its authentic sense of “Island Time” – signaled that a new age had arrived in Pasifika cinema: stories about us, told through our ways of seeing.–Sonja Hammer

Okay, disclaimer: my heritage is Tongan. So, you know, there is an obvious bias here. But any movie with “Tonga” or “Tongan” in the title? I’m there watching it and supporting it from the jump. Sure, this New Zealand-made movie may not be up there with cinematic greats like Whale Rider or Boy, but its low-budget charm and slapstick comedy does give you a hearty chuckle. Oh, and speaking of Boy, see if you can spot a super-young Taika Waititi playing a cook in the kitchen scene.–Hau Latukefu

Another disclaimer: the actor in the lead role, Uli Latukefu, is my little brother. Regardless, this is a gem of a movie. Also filmed in New Zealand, The Legend of Baron To’a is a story of love, loyalty, and legacy, following the story of a man who must recover his father’s championship wrestling belt after it is stolen. The humor is on point, so too the emotional beats, which is important because those dual elements are what make up your your average Pacific Islander. Laughing one minute, crying the next.–Hau Latukefu

A genuine heartstring-puller. If you’re like myself, a child born outside of the islands and whose father still has a strong connection and responsibility to the homeland, then you will relate to this. As a matter of fact, you don’t have to be from the islands to feel this one: the message is universal and specific at the same time. At its core, My Father’s Kingdom explores the culture clashes that generations experience when growing up between two different worlds. Misunderstanding and miscommunication can strain relationships, and the film makes you feel that sense of frustration and hurt when watching the families go through it. Yet in the end, like all family stories, there’s still a lot of love.–Hau Latukefu