Te Whatanui Skimworth Movies

This is a historical melodrama set against the backdrop of Easter Island's mysterious stone monoliths, directed by Kevin Reynolds and produced by his frequent collaborator, Kevin Costner. Jason Scott Lee stars as Noro, a pre-colonial tribesman living on the remote Pacific island that his people call Rapa Nui. A member of the elite "Long Ears" sect, Noro is to represent his clan in an annual ritual, a dangerous race along rocky cliffs and through shark-infested waters to retrieve the first egg from a sacred bird hatchery that lies offshore. Noro, however, is in love with Ramana (Sandrine Holt), a member of the "Short Ears," a slave class that builds the "Moai," which are giant stone carvings dotting the island. The tribal shaman rules that Noro and Ramana may marry if she spends six months in an isolated cave and he wins the contest. Make (Esai Morales), another Short Ear, is a rival for Ramana and leader of unrest in his exploited caste. Make trains to represent the Short Ears against Noro in the race, but judgment in the contest's result is interrupted by the sudden appearance of an iceberg. Interpreted as an omen, the "white canoe of the gods" leads to a civil war. ~ Karl Williams, Rovi

Writer/director Jane Campion's third feature unearthed emotional undercurrents and churning intensity in the story of a mute woman's rebellion in the recently colonized New Zealand wilderness of Victorian times. Ada McGrath (Holly Hunter), a mute who has willed herself not to speak, and her strong-willed young daughter Flora (Anna Paquin) find themselves in the New Zealand wilderness, with Ada the imported bride of dullard land-grabber Stewart (Sam Neill). Ada immediately takes a dislike to Stewart when he refuses to carry her beloved piano home with them. But Stewart makes a deal with his overseer George Baines (Harvey Keitel) to take the piano off his hands. Attracted to Ada, Baines agrees to return the piano in exchange for a series of piano lessons that become a series of increasingly charged sexual encounters. As pent-up emotions of rage and desire swirl around all three characters, the savage wilderness begins to consume the tiny European enclave. Campion imbues her tale with an over-ripe tactility and a murky, poetic undertow that betray the characters' confined yet overpowering emotions: Ada's buried sensuality, Baines' hidden tenderness, and Stewart's suppressed anger and violence. The story unfolds like a Greek tragedy of the Outback, complete with a Greek chorus of Maori tribesmen and a blithely uncaring natural environment that envelops the characters like an additional player. Campion directs with discreet detachment, observing one character through the glances and squints of another as they peer through wooden slats, airy curtains, and the spaces between a character's fingers. She makes the film immediate and urgent by implicating the audience in characters' gazes. And she guides Hunter to a revelatory performance of silent film majesty. Relying on expressive glances and using body language to convey her soulful depths, Hunter became a modern Lillian Gish and won an Oscar for her performance, as did Paquin and Campion for her screenplay. Campion achieved something rare in contemporary cinema: a poetry of expression told in the form of an off-center melodrama. ~ Paul Brenner, Rovi

New Zealand educator Sylvia Ashton-Warner (played by Eleanor David) is the subject of this informative and slightly uneven biography, based on the events in Ashton-Warner's adult life. During the 1930s Ashton-Warner moves to a remote village with her husband who has been appointed to be the headmaster in the school there. She tries to teach the Maori children but is having absolutely no luck at all -- that is especially discouraging considering that she is also fighting off culture shock and the effects of a recent emotional breakdown. Driven to find some solace in music, painting, and sculpting, she one day realizes she can use these types of creative activities as teaching tools -- and begins to develop an innovative way to reach her students. She is surprisingly successful, a fact which does not interest the all-male administrators at the school who insist she teach using traditional methods. The stand-off is severe enough that the men burn the manuscript for a new primer Ashton-Warner wrote, insisting later that this was an accident. No one seems to have come out a winner in Sylvia Ashton-Warner's battle with the provincial educators, least of all the students. ~ Eleanor Mannikka, Rovi