I’ve moaned enough about the lose-lose nature of reviewing Kiwi films (and it felt so good), as well as the possible reactions brewed from local critiquing. When you’re outlining cons of a beloved New Zealand film, public backlash is to be expected. Sure enough, the moment my review for Fantail went up, I set my egg-timer from “zero” to “aggravation”.
I could just go over what I’ve already stated about reviewing Kiwi films, or point out how the rating of three stars is a GOOD thing, but that would be taking away from something more important: Fantail itself. Although I did not herald it as “exceptional” in my review, it’s a film with many important exceptions that go beyond my sole opinion of it.
The point of this blog isn’t to retaliate to John, even though I really, really, really want to (and already have, unabashedly). Instead, I want to BECOME John and give you the reasons why you should go see Fantail in cinemas immediately, despite everything I said about it.
Do not mistake me: I’m not backing down in my opinion of the film or awarding it a charitable fourth star, because a film of Fantail’s quality does not deserve to be patronised. However, when a patron sees the rating of “only three stars”, they can believe the opposite to be true – that I arrogantly put myself above the film. But I’m not that aggressively narcissistic, though I’m sure there’s a condescending cluster-douche version of me in a parallel universe.
But enough about me; it’s Fantail that deserves your attention. As the first nationally-released product of the Escalator scheme – a New Zealand Film Commission initiative that grants $250,000 to new filmmaking talent – Fantail already succeeds by churning out a quality feature on such a low budget. If this success reflects its taking in the NZ Box Office, then it’s nothing but a vivid encouragement for Escalator to fund other Kiwi features of the same (if not higher) calibre from other up-and-coming cinematic storytellers. It’s a win all ‘round.
This is also the first film Curtis Vowell has ever directed. I’m not only talking about feature films – he hasn’t even made a bloody short film either. But somehow, he was able to direct Fantail with such a natural confidence and fluidity. On top of all this, he’s a really nice guy in person too; I kinda hate him.
He and his wife/writer/lead Sophie Henderson need to make more movies, and the best way to make that happen is to support them with movie tickets. I see room for improvement in their craft, one that can easily be filled with their new-found experience. To think what Vowell and Henderson could achieve with a second, and even third, film with higher budgets and resources excites me greatly.
However, this is the point I want to stress the most: seeing a film tackle the complexities of contemporary Maori and Polynesian identity is something we hardly ever see on film, whether done masterfully or adequately. Aotearoa has become a heavily Pakeha’ed melting pot over the last few decades, a current identity crisis that is sure to be a catalyst of many unique stories that only our nation can tell.
With the likes of Boy, Shopping, White Lies and Mt. Zion, we’ve been cinematically lamenting the past over the last few years. While these stories of cultural identity are very well told, it feels like oversaturation at this point. A move into the contemporary side of such issues should be welcomed with opened arms, and while The Pa Boys gave it an honest attempt at the start of this year, Fantail is the superior film.
We need more quality films like it and you can help make that happen by buying a ticket and judging the film for yourself (like this good man has). That desire rises above and beyond any number of stars I give it.
