Tinā is a heart wrenching and soul stirring film from New Zealand, premiering at the Hawaii International Film Festival in 2024. It marks Miki Magasiva’s directorial debut and signals to everybody that the New Zealand film scene is one to watch closely for such gems.
Featuring the inimitable Anapela Polataivao as Mareta Percival, a recently bereaved mother who lost her only daughter to the 2011 Christchurch earthquake, Tinā is a story about parenthood and education. Mareta, coming out of her depressed slump, decides to take a job as a substitute teacher at St. Francis School, standing out due to her Samoan ethnicity and lower-class background. However, she sees that these children need her as much as her own child did and forms a choir group with them. Through the film, Mareta confronts and moves past her grief, using the time she has to give these children the greatest gift she knows music.
Polataivao has been acting since she was eight years old and has extensive experience on the stage. This is evident in her raw, heart stoppingly honest portrayal of Mareta. Every eye roll and grimace feel real and seems to come from a deep well of emotion. You truly believe that this woman has lived through some of life’s toughest challenges and come out swinging. In her brightly patterned clothes and unabashed Samoan speech, Mareta is a rebel at the prim and proper school. She stands firm in her beliefs and makes no compromises on her need for dignity, inspiring her students to do the same.
The standout young stars of the cast are Antonia Robinson as the gifted yet troubled Sophie and Zac O’Meagher as the popular yet compassionate Anthony. Sophie and Mareta’s relationship in particular is deeply touching. Their mother-daughter bond drives much of the heart of the film, as they both find what they are missing in each other. It is a lot to demand from the young actress, but Robinson can convey more emotion with a tremble of her lips than many others can with a full page of dialogue. The writing, while sentimental, stays away from the melodramatic, saving Sophie from becoming a ridiculously tragic or tortured figure. She remains a complex teenage girl, filled with joy and sorrow and fighting spirit that carries her through to the end.
Anthony is torn between the competitive and exacting St Francis rugby coach and the understanding Mareta who believes that students must find their own path in life. She symbolizes the path of self-fulfilment and joy that Anthony longs for, free from the pressures of the school and elite rugby tournaments. The choir evidently means a lot to him, and he forms the strong backbone of the group. His dynamic with the feisty Mei Ling, played by the charismatic Talia Pua, is a source of great comedy.
Despite the dark themes of the film, Tinā is not devoid of full-on belly laughs. Polataivao has impeccable comedic timing as Mareta and her blunt personality contrasted with the posh children is a wonderful dynamic. A personal favorite moment is her habit of making the kids do burpees whenever they offend her. The short outfit and dance montage is also incredibly adorable and funny, showcasing the kids’ personalities in a dynamic way. In the moments of the students bonding and growing as people with Mareta as their wry guide, the film almost becomes a Samoan choral School of Rock (2003). Tinā’s ability to balance the lightness and darkness of its plot is admirable and allows it to truly capture life as it is.
Some elements of the film could certainly use improvement, such as the involvement of Mareta’s close friend Rona and her understandable anger at Mareta choosing the pākehā private school rather than her own community. The villainous Peter Wadsworth is also underdeveloped, not receiving his comeuppance or final moment of understanding. His actions are obstacles until he becomes irrelevant to the plot and is simply forgotten.
However, the heart and soul of the film makes up for these small flaws. The performances and the deep power of the music carry the film. Every scene with the actors harmonizing is a delight, and the final performance brings a tear to the eye. While it might be a predictable plot, Tinā performs each story beat with such emotion and respect that the cliches do not bother the viewer. An honest and heartfelt look at Samoan New Zealand culture, the movie is a great representation of a world that is not often seen by American moviegoers. Tinā means mother, a name not only used by Mareta’s daughter but also her students and neighbourhood kids. A woman with a big and loving heart, she welcomes all into her community. After her daughter’s passing, she shuns the name, but is inevitably bestowed it again when she opens her heart once more to the St Francis Choir. Mareta is a mother through and through, making her the ideal teacher, and making this film like a warm and bracing hug from a parent. It might be a tearjerker and make you confront some harsh truths, but Tinā will also be there to comfort you in the aftermath with inspired beauty.