Hunt For The Wilderpeople has garnered critical acclaim and smashed New Zealand box
office records. I haven't met anyone who didn't like it, it is funny
and charming and incredibly heart warming. And to me, it also imbues
a perhaps more accurate depiction of bicultural New Zealand. In it
Ricky a misguided youth ends up in an unlikely partnership with his
foster parent, Uncle Hec. We discussed in class Waititi's film 'Boy'
and whether it could be defined as a work of Fourth Cinema. Though
there was mixed opinion I believe there is decent enough of a case
for it to be. HFTWP however I believe would not fall under that
category. Though Waititi is Maori and it features a largely Maori
cast, its theme and subject matter I don't believe offer enough of
the act of 'talking-in' for it to be a work of Fourth Cinema. It is
however distinctly different from other works of mainstream cinema
–in that it shows a depiction of New Zealand which is not white
washed, it shows a contemporary example of the interdependent
relationships of Pakeha and Maori. The duo of Uncle Hec and Ricky, a
rugged Pakeha bush man and a smart-talking urban Maori boy
immediately brings into the foreground the reality of bicultural New
Zealand. Not in a way in which mainstream likes to depict –with
Pakeha views and practices dominating all spheres, Maori culture only
entering into the conversation to add 'flavour'. In HFTWP we see a
more authentic image of what NZ is like, and perhaps as Homi Bhabha
articulated a “hybrid” identity emerges. In HFTWP the characters
embody the diversity of contemporary identities, Ricky likens himself
to a Maori warrior fighting off colonials as well as his musical idol
Tupac. HFTWP is not I believe a political commentary of any sorts, I
think it is what Waititi intended it to be a fun and sweet New
Zealand comedy. However I think it is of political importance because
it has so widely reached and spoken to Kiwis across the country –it
indicates that we identify with these characters and their story and
that the works of Indigenous directors like Waititi are so important
in creating films which offer diverse perspectives. Waititi is on his
way to becoming a film auteur with his distinct style and humour,
HFTWP I believe would have been an entirely different adaptation
without Waititi's directorial perspective. He manages to blend
multiple identities into his work which begins to create a feeling of
what New Zealand actually is, a place of bicultural interdependence.
Hunt For The Wilderpeople has garnered critical acclaim and smashed New Zealand box
office records. I haven't met anyone who didn't like it, it is funny
and charming and incredibly heart warming. And to me, it also imbues
a perhaps more accurate depiction of bicultural New Zealand. In it
Ricky a misguided youth ends up in an unlikely partnership with his
foster parent, Uncle Hec. We discussed in class Waititi's film 'Boy'
and whether it could be defined as a work of Fourth Cinema. Though
there was mixed opinion I believe there is decent enough of a case
for it to be. HFTWP however I believe would not fall under that
category. Though Waititi is Maori and it features a largely Maori
cast, its theme and subject matter I don't believe offer enough of
the act of 'talking-in' for it to be a work of Fourth Cinema. It is
however distinctly different from other works of mainstream cinema
–in that it shows a depiction of New Zealand which is not white
washed, it shows a contemporary example of the interdependent
relationships of Pakeha and Maori. The duo of Uncle Hec and Ricky, a
rugged Pakeha bush man and a smart-talking urban Maori boy
immediately brings into the foreground the reality of bicultural New
Zealand. Not in a way in which mainstream likes to depict –with
Pakeha views and practices dominating all spheres, Maori culture only
entering into the conversation to add 'flavour'. In HFTWP we see a
more authentic image of what NZ is like, and perhaps as Homi Bhabha
articulated a “hybrid” identity emerges. In HFTWP the characters
embody the diversity of contemporary identities, Ricky likens himself
to a Maori warrior fighting off colonials as well as his musical idol
Tupac. HFTWP is not I believe a political commentary of any sorts, I
think it is what Waititi intended it to be a fun and sweet New
Zealand comedy. However I think it is of political importance because
it has so widely reached and spoken to Kiwis across the country –it
indicates that we identify with these characters and their story and
that the works of Indigenous directors like Waititi are so important
in creating films which offer diverse perspectives. Waititi is on his
way to becoming a film auteur with his distinct style and humour,
HFTWP I believe would have been an entirely different adaptation
without Waititi's directorial perspective. He manages to blend
multiple identities into his work which begins to create a feeling of
what New Zealand actually is, a place of bicultural interdependence. 
"Though Waititi is Maori and it features a largely Maori cast, its theme and subject matter I don't believe offer enough of the act of 'talking-in' for it to be a work of Fourth Cinema."
ReplyDeleteI absolutely agree with this. I have always felt that Waititi has made almost fantastical, indie films that have one foot in the door of 4th cinema, while remaining relatively commercial and universal.
While Waititi includes Maori themes and subject matter, I feel as though the direction and storytelling is relatively universal. If you look at Eagle vs. Shark, we see dry elements of Napoleon Dynamite and Paul Thomas Anderson's 'Punch Drunk Love'. Boy and Beasts have similar direction and themes such as fatherhood - which certainly appeals to the indie festival circuit.
Fourth cinema is great, as it obviously is made by (and for) indigenous folks, but Waititi's hybridity featured in his films is a huge positive too as it acts as a bridge: people outside the lens, from all different walks of life are able to consume the films and find a part of themselves in it. This is only a great thing for Maori cinema as it sheds light on the importance of diversity.
Hey! Thanks for your post-- I recently watched Hunting for the Wilder People myself, and coming from an American perspective, I'm inclined to agree with your assertion that the film is a little more authentic image of what New Zealand is actually like. When I watched it, I enjoyed the film tremendously myself, but I'm about 75% sure that most of what I thought was funny I would not have understood if I hadn't been already living in New Zealand for a fair amount of time. I feel relatively sure that a lot of the film wouldn't have been funny, in fact, if I hadn't already spent some time meeting people, traveling, and exploring. So I think that you're right-- this film talks out (it rated well outside of New Zealand) but also talks in (there are jokes in it that are only funny because I've been here). Overall, a great film!
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