TINA (MOTHER), New Zealand, 2025. Starring Anapela Polataivao, Antonia Robinson, Dalip Sondhi, Jamie Irvine. Directed by Miki Magasiva. 124 minutes. Rated M (Mature themes and coarse language).
This New Zealand film is set in the elite St Francis secondary school, Christchurch (with a vivid reminder of the 2019 earthquake). Focus: Samoan choir teacher, Mareta. Special feature: a great deal of choral music.
The title, Tina is not the central character’s name. Rather, pronunciation-wise, there is an emphasis on the a of Tina with the parenthesis indicating that it actually means mother. And the screenplay is definite at some moments indicating that Samoa is pronounced with the emphasis on the initial a rather than on the o.
Audiences may well anticipate many of the directions in which this film is going – the teacher, her personal tragedies, opportunities at the school, the students and their behaviour, the school authorities, music, choir, the possibilities of participation in a competition. However, there are many variations on the theme as the film progresses, drawing in the audience and playing on sympathies, hopes, enjoyment of the music.
The strength of the film comes from the presence of Samoan-born New Zealand actress, Polataivao (a presence in a great number of significant NZ films and television series). She is a powerful screen presence – demanding of those she comes in contact with, commanding attention, especially of the audience.
She plays Mareta, a talented musician and singer who encourages her daughter to do an audition for a scholarship in music to a British university. And then the earthquake. It has a devastating effect on Mareta who, because of her grief, is unable to settle for three years until challenged by a young man she cared for with her family, to go for a job interview.
In fact, she takes charge of the interview with the school authorities at St Francis of Assisi, an up-market secondary school. It is elitist presumptions and attitudes of staff and students who are not used to having anyone of Samoan origin on the staff, especially with her brightly coloured Polynesian.
Members of the staff are rather expected, some kind and understanding, the vice principal almost a caricature of the ambitious, controlling, indignant racist school authority.
But, of course, the main thrust of the film and its enjoyment is Mareta’s encouragement of a disturbed but talented young musician, her encouragement of choir volunteers and their involvement with Polynesian musical traditions. There is a blend of confrontations and enthusiasm. The final competition is enjoyable, with singing from several colleges but there is great zest in the grand finale.
One hopes that younger audiences will identify with some of the issues and enjoy the film. But, for most audiences, it is pleasingly entertaining.
Madman
Released 1 May 2025