504:
mother, Aroha, and her unborn baby. Paraiti is left powerless as the matron in charge threatens to send her to jail for possession of medicinal herbs, leaving her to witness the unspeakable tragedy. Paraiti is also unable to save the whenua (placenta) of the unborn baby to return it to her ancient lands and people. In MÄori culture, the whenua is often returned to the earth and buried in a place of significance or on tribal lands. It has been suggested that the burial of the whenua can help to "establish a sense of āhomeā or ābelongingā for a child." It has also been suggested that the practice serves to āmerge the landā¦ ancestresses and female goddesses, with mother and baby.ā The scene shows the matron in charge tossing the placenta onto a rubbish heap, forcing
Paraiti to retrieve it from a rusted tin garbage can. The scene can be viewed as a turning point for Paraiti's character, as she experiences firsthand the violation of her traditional knowledges and practices. In being unable to save the whenua, Paraiti must confront the āundeniable reality that her world, the universe of her ancestors and the very possibility of continuity of her culture, is crumbling under the power of the imposition of a new and foreign law.ā
500:
destiny and death. The challenges and decisions that each of the main characters make in relation to the pregnancy contribute to their journey of self-identity, even when such a journey points to a ātragic destiny.ā The three female protagonists each have a different view of the pregnancy at the film's inception - Rebecca
Vickers is susceptible to her mother's wishes, and Maraea believes that revealing the true identity of the child will have life-changing consequences for her daughter. This becomes the central irony of the film, as Maraea imposes her beliefs upon Rebecca believing it is her own motherly duty to protect her, however ultimately prevents Rebecca from experiencing motherhood herself. The relationship dynamic between the two characters departs significantly from Ihimaera's original novella, in which Rebecca gives birth and attempts to murder her child, and Maraea tries to stop her.
293:). Rebecca is pregnant and seeks to terminate the pregnancy before her wealthy husband, a businessman, returns from an extended absence in Europe. Paraiti would be paid handsomely for her services and discretion, provided she could perform the abortion in less than a week's time. Initially, Paraiti refuses to help, but changes her mind when a young MÄori girl and her unborn baby die at the hands of a white nurse. The scene has been described as a harrowing turning point for Paraiti, as she is forced to retrieve the whenua (placenta) of the stillborn child from a rusted garbage can in order to return it to her land and people. Paraiti decides to help Rebecca as her way of ārestoring some justiceā, although it is unclear exactly what she means.
546:
throughout the film, as she speaks te reo MÄori to Maraea, in spite of her refusal to reply in their native language. This use of language can also be seen as both a symbol of oppression and one of reclamation, as
Paraiti continues to remind Marea that "no matter how properly she speaks English, she is and always will be a MÄori woman." According to Rotberg, the centrality of the te reo MÄori language allowed "every word new and rich connotations... the translators... took the dialogue to a place way beyond the functional purpose of naming, describing and communicating. They provided this film with a poetic cosmogony, music with multiple meanings and the organic, living expression of a profound, ancient, complex and holistic culture.ā
472:āI felt was a clear sign that the story told by Witi Ihimaera was speaking to me from places other than where the original work had come from. Places that belonged to my intimate family history and my most unresolved conflicts as a person in the world. It was a call from the core of my origins to look for answers that mattered to me, being myself a half-caste, a woman, a mother and a descendant of people who have been eternal immigrants or brutally colonised by others. A call coming from every drop of the Mexican, Jewish, Catholic, Polish, indigenous, Italian, Spanish and Russian blood that runs through my veins. The blood of my tipuna. My very own whakapapa.ā
484:. She made several marked changes to the novella's original storyline. In the original novella, Maraea is subject to Rebecca's wishes. In the film, however, Maraea is conceived as the "puppet-master" of the story, pulling strings and controlling the actions of the other female protagonists. Importantly, in the film, Paraiti decides to save the unborn child prior to finding out its true identity. Rotberg believed this to be of great importance, claiming it would illustrate a greater storyline of humanity and redemption.
442:, has described the novella as "a perfect piece of storytelling", which "contained complexity, was generous in its understanding of human drama and had a delightful sense of humour." Describing her inspiration to adapt the novella, Rotberg has stated: "The story would not leave my mind. It kept visiting me while I was driving on the motorway, when falling asleep, while cooking ā¦ Paraiti, the medicine woman, was a stubborn presence who refused to leave and I became haunted by her."
508:
whenua has a double meaning, meaning both placenta and land. It has been suggested that there are numerous examples of words and concepts in MÄori culture that carry double meanings and "illustrate the importance of reproduction, birth and mothering to the survival, strength and vibrancy of MÄori communities." For
Rotberg, motherhood is the āprimal and universal symbol of identity, continuity and life." The symbol of motherhood within the film is, according to her:
304:
452:, a film also based on a story by Ihimaera. Rotberg worked closely with cultural advisors Kararaina Rangihau, Tangiora Tawhara and Whitiaua Ropitini, and claimed that the advisors formed an "integral part" of the scriptwriting and production process, and that āvery word was approved." She also read prodigiously about Tuhoe and spent time in Te Urewera in preparation for the film.
297:
uncover hidden secrets within the house, while revealing her own plan for justice. The pivotal turning point occurs when it is revealed that Maraea is
Rebecca's mother and has been bleaching her skin daily since childhood to ensure her survival in a white world. The birth of the baby would reveal her true identity to her husband and to society.
580:, which is used as a measure of female representation in fiction requiring multiple female protagonists whose lives, conversations and actions do not revolve around men. It has also been suggested that the female-driven storyline is reflective of Rotberg's broader work in the feminist film tradition.
553:"First of all I write for Maori, and for me not to acknowledge that would be entirely wrong. My second target audience is the rest, the non-Maori and international audience...They are not a priority for me. They're a bonus more than anything. Politically and as a Maori, I draw the line at my valley."
507:
It has also been suggested that the traditional practice of burying the whenua carries significance in the broader context of land rights in New
Zealand, as it illustrates the deep connection that is established with the land and reinforces responsibility and stewardship. In MÄori cosmology, the word
296:
Mrs
Vickers is an "imperious snob" who shows obvious disdain towards Paraiti and her āancient ways.ā Maraea proves an even greater adversary, refusing to speak to Paraiti in their native language and speaking down to her. Nevertheless, Paraiti remains stoic. As the week progresses, Paraiti begins to
587:
applauds the film for its well-meaning attempts to address issues of colonialism and cultural identity, but states that the film suffers from heavy-handedness in its delivery. It has also been suggested that the
English-language portions of the dialogue feel stiff and stagnant, and detract from the
503:
It has been suggested that the theme of motherhood can also be seen as a vehicle through which the themes of identity, colonialism and reclamation are explored, as each theme is explored through the eyes of the female protagonists. Early in the film, Paraiti is witness to the death of a young MÄori
568:
has described the film as a "quiet tale of cultural oppression" that is "infused with slow tension." In addition, Webster praises the leading female actresses for their formidable performances, describing them as "well-matched opponents" and highlighting the strength of Ms. Black's debut on-screen
533:
which roughly translates to āHalf-truths are lies that kill.ā Rotberg has stated that she believed the phrase āWhite Liesā conveyed "precisely" the meaning of the saying in the historical context of colonisation. The title takes on a double meaning within the film: the traditional and the literal.
281:
to outlaw natural healing for MÄori. Forbidden from practicing her traditional healing arts and using native medicine under the act, Paraiti endeavours to care for her people in strict secrecy. It is later revealed that
Paraiti trains pregnant young women in birthing procedures and secretly uses a
545:
The juxtaposition of these two languages in the film's dialogue becomes a clear and powerful expression of the clash between two different worlds and two foreign cosmologies. In particular, Rotberg wanted to ensure that language could be used as a tool to celebrate and assert
Paraiti's identity
499:
Motherhood is, according to Rotberg, the central dramatic element "that ignites and fuels the narrative of this film." The film centres upon Rebecca's pregnancy, which serves as a narrative tool to ensure that the three main characters confront their irreconcilable beliefs regarding motherhood,
467:
Rotberg has also spoken of a deep personal connection with Ihimaera's novella, and has stated that the story spoke to her in a way that transcended boundaries of race and culture. While careful to adapt the script with cultural integrity, Rotberg felt compelled to infuse the story with her own
549:
It has also been noted that much of Ihimaera's fictional work also emphasises the importance of the MÄori language, using MÄori terms throughout his work instead of their English equivalents and refusing to publish glossaries. In speaking of the importance of this choice, Ihimaera has stated:
245:
The story is about a medicine woman Paraiti, who is approached by Maraea, the servant of wealthy woman, Rebecca Vickers, to perform an abortion. Unbeknownst to Paraiti, Maraea has hidden plans. The unborn baby becomes the central figure in the story, as the women are forced to reconcile their
463:āā¦I would never have shot anything if I had not have had the approval, the blessing and the participation of the people who were hosting us ā culturally, logistically and in terms of location. I worked with these people for a number of years before the final script was brought to production.ā
516:
The theme of motherhood is also central to the visual geography of the film. In particular, it has been suggested that Paraiti is conceived as an archetypal Mexican goddess, who serves āto fortify the primal connection of mother and child, and of people with their land.ā
512:"not only a symbol of how the fabric of contemporary New Zealand was woven, but also a fable of hope in a world still not aware of the very simple truth that the choice of creation over destruction, tolerance instead of suppression, is the only possible way."
455:
The film has been commended as a "sincere, heartfelt attempt to enter into and convey a Maori story told through Maori eyes" that is "doubly commendable because it is written and directed by a film-maker who was born, and learned her craft, in Mexico."
1742:
830:
588:
otherwise natural feel of the film. In addition, a few critics noted the film's obvious plot reveal, which audiences would have guessed āan hour into the film.ā One critic also suggested that the use of symbolism within the film lacked nuance.
825:
1733:
445:
Throughout the process of adaptation, Rotberg was careful to respect and honour the MÄori story at the centre of the narrative. Born and raised in Mexico, Rotberg moved to New Zealand in 2002 after watching
422:
In the extras of the DVD, Witi Ihimaera tells how his mother took him to Paraiti, a tohunga/healer who cured him of a breathing problem. In writing the story, he wanted to honour the various tohunga in
1074:
569:
performance. Black's performance was met with positive reception amongst film critics, with one review stating that Black's āearthy intensity centres the drama with a commanding stillness.ā
277:), lives a semi-nomadic existence in the rural Te Urewera region of New Zealand, and is working underground as a medicine woman and healer. In 1907, the New Zealand government passed the
1726:
591:
The natural beauty of the film has been noted by critics. The film's setting has been described as āindescribably beautifulā and well-captured by the film's cinematographer,
534:
Rotberg believed that once these two meanings collide, the double meaning behind the title foreshadows the importance of language, reclamation and identity within the story.
1719:
1750:
254:
273:), witnesses the brutal killing of her family by European settlers in a conflict that leaves a permanent scar on her cheek. Many years later, Paraiti (
537:
The film features dialogue both in English and in the language of te reo MÄori of the Tuhoe people of Ruatahuna. In te reo MÄori, Tuakiri Huna means:
576:
has commended the film's female-driven storyline, noting the absence of any significant male characters. It has been noted that the film passes the
250:
1099:
541:āTua: Beyond, on the other side of. Kiri: skin. Tuakiri, which combines both words, becomes: Identity, personality. Huna: To conceal or hide.ā
1858:
1259:
Simmonds, Naomi (2016). "Chapter 6: Transformative Maternities: Indigenous Stories as Resistance and Reclamation in Aotearoa New Zealand".
1853:
459:
Rotberg has stated that she felt āprivilegedā to be āguided by people who know the MÄori culture from deep within." She has stated:
1843:
1838:
1711:
1397:
1369:
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Embarking on the process of adaptation, Rotberg asked Ihimaera for "freedom and independence from him an author" to transform
1344:
1261:
Everyday Knowledge, Education and Sustainable Futures. Education in the Asia-Pacific Region: Issues Concerns and Prospects
556:
In this way, both the film and Ihimaera's original fictional work have strong ties to language, identity and reclamation.
278:
238:
249:
The film premiered in New Zealand cinemas on 27 June 2013. It screened in the Contemporary World Cinema section at the
1654:
1027:
368:
300:
The final scene of the film depicts Rebecca giving birth on clay under the house, surrounded by Paraiti and Maraea.
584:
236:. Regarded as an excellent portrayal of colonial oppression in New Zealand, the film deals with the impacts of the
1848:
1005:
620:
the film has an approval rating of 100% based on reviews from 6 critics, with an average rating of 7.5/10.
603:
film. The depictions of Ruatahuna on New Zealand's north island were particularly well received by critics.
410:
606:
573:
326:
286:
225:
127:
84:
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350:
344:
600:
362:
270:
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851:
392:
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138:
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1833:
1802:
1572:
882:
356:
308:
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404:
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565:
303:
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1706:
1580:
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890:
189:
1049:
933:
921:
1610:
855:
617:
332:
320:
290:
274:
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differing perspectives and confront their own expectations of motherhood, life and death.
221:
217:
88:
80:
424:
1778:
1746:
592:
338:
1196:
1827:
953:
596:
431:
233:
60:
831:
List of New Zealand submissions for the Academy Award for Best Foreign Language Film
1605:
1310:
610:
577:
439:
213:
37:
1810:
448:
1632:
374:
282:
variety of herbs and plants to apply ancient healing methods to her patients.
1584:
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937:
894:
826:
List of submissions to the 86th Academy Awards for Best Foreign Language Film
1676:
613:ā "delicate" use of traditional MÄori instruments to score the film.
289:), the MÄori housekeeper of a wealthy white woman named Rebecca Vickers (
1700:
1006:"White Lies by Witi Ihimaera - Books - Random House Books New Zealand"
525:
Rotberg based the title of the film off of a popular Mexican saying:
922:"Reframing Women: Gender and Film in Aotearoa New Zealand 1999ā2014"
1100:"Oscars: New Zealand picks 'White Lies' for Foreign-Language Race"
302:
813:
1715:
1526:. New Zealand: Penguin Random House Kindle Edition. p. 82.
1480:. New Zealand: Penguin Random House Kindle Edition. p. 81.
1444:. New Zealand: Penguin Random House Kindle Edition. p. 78.
1298:. New Zealand: Penguin Random House Kindle Edition. p. 77.
1028:"White Lies | Tuakiri Huna ā Theatrical Trailer (NZ)"
434:'s 2007 novella 'Medicine Woman', found in the collection
285:
On a rare visit to town, Paraiti is approached by Maraea (
782:
The WIFTs Foundation International Visionary Awards 2013
253:. The film was selected as the New Zealand entry for the
1573:"Review: 'White Lies,' the Stately Weight of the Past"
1197:"Film Review: White Lies | Film Journal International"
883:"Review: 'White Lies,' the Stately Weight of the Past"
1489:
1487:
1420:
1418:
197:
185:
177:
167:
144:
134:
118:
110:
102:
94:
76:
66:
51:
43:
33:
23:
1429:. Penguin Random House Kindle Edition. p. 78.
1498:. New Zealand: Penguin Random House. p. 83.
1462:. New Zealand: Penguin Random House. p. 84.
468:identity "as a filmmaker and as a human being."
539:
510:
470:
461:
242:upon MÄori traditions surrounding childbirth.
1727:
430:The screenplay for the film was adapted from
8:
1655:"White Lies trailer - Story - Entertainment"
438:The screenwriter and director of the film,
1734:
1720:
1712:
1566:
1564:
1345:"Dana Rotberg and White Lies|Tuakiri Huna"
1150:
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1144:
1142:
1140:
20:
1138:
1136:
1134:
1132:
1130:
1128:
1126:
1124:
1122:
1120:
1075:"Toronto Adds 75+ Titles To 2013 Edition"
661:New Zealand Film and TV Awards (II) 2013
1349:Dana Rotberg and White Lies|Tuakiri Huna
1157:"White Lies (Tuakiri Huna): Film Review"
780:
659:
627:
251:2013 Toronto International Film Festival
988:. Penguin Random House. pp. 85ā86.
843:
595:, who has worked on several films with
212:is a 2013 New Zealand film directed by
1537:
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1533:
1517:
1515:
1513:
1511:
1509:
1507:
1505:
1453:
1451:
527:āVerdades a medias: mentiras que matan
1677:"White Lies - Coming soon to cinemas"
1471:
1469:
1392:
1390:
1339:
1337:
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1289:
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1254:
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1191:
1189:
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967:
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7:
999:
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915:
913:
911:
812:These tables have been sourced from
675:
1311:"White Lies | Film | NZ On Screen"
307:Rachel House speaking at the 2017
14:
1543:"David Fickling on Maori cinema"
1155:Rooney, David (3 October 2013).
629:Asia Pacific Screen Awards 2013
651:Best Performance by an Actress
1571:Webster, Andy (3 March 2016).
881:Webster, Andy (3 March 2016).
480:into the final screenplay for
369:Tahuri o te Rangi Trainor Tait
1:
1278:. New Zealand: Penguin Group.
228:. It is based on the novella
1859:2010s English-language films
1606:"White Lies - Movie Reviews"
436:Ask The Posts of the House.
1875:
1751:Best Foreign Language Film
1398:"Movie review: White Lies"
1370:"Movie review: White Lies"
1276:Ask the Posts of the House
1030:. Sounzgood. 15 March 2013
585:Film Journal International
255:Best Foreign Language Film
1757:
920:Shepard, Deborah (2015).
805:
802:
706:
683:
680:
653:
650:
482:White Lies - Tuakiri Huna
418:Screenplay and adaptation
269:As a young girl Paraiti (
209:White Lies - Tuakiri Huna
28:
1854:Films about MÄori people
938:10.1177/0392192116667034
803:The Best Director Award
797:
720:Best Supporting Actress
645:
371:as Paraiti's Grandfather
1844:New Zealand drama films
1743:New Zealand submissions
1522:Ihimaera, Witi (2013).
1494:Ihimaera, Witi (2013).
1476:Ihimaera, Witi (2013).
1458:Ihimaera, Witi (2013).
1440:Ihimaera, Witi (2013).
1425:Ihimaera, Witi (2013).
1294:Ihimaera, Witi (2013).
1274:Ihimaera, Witi (2007).
984:Ihimaera, Witi (2013).
699:Best Production Design
599:, including the second
383:as Horiana's Grandchild
279:Tohunga Suppression Act
239:Tohunga Suppression Act
1263:. Singapore: Springer.
1226:South Pacific Pictures
1161:The Hollywood Reporter
607:The Hollywood Reporter
543:
514:
474:
465:
311:
153:27 June 2013
128:South Pacific Pictures
411:Deizhon manuanui king
395:as Woman with Bad Leg
306:
16:2013 New Zealand film
1839:MÄori-language films
772:Best Costume Design
736:Best Cinematography
139:Madman Entertainment
1803:Yellow Is Forbidden
1008:. Randomhouse.co.nz
783:
681:Best Makeup Design
662:
630:
488:Themes and analysis
387:Te Whenua Te Kurapa
357:Elizabeth Hawthorne
351:Kohuorangi Ta Whara
345:Te Waimarie Kessell
309:San Diego Comic-Con
259:86th Academy Awards
1795:One Thousand Ropes
1787:A Flickering Truth
1577:The New York Times
1315:www.nzonscreen.com
887:The New York Times
781:
660:
628:
574:New Zealand Herald
363:Te Ahurei Rakuraku
359:as Hospital Matron
312:
271:Te Ahurei Rakuraku
1821:
1820:
1634:White Lies - IMDb
810:
809:
779:
778:
658:
657:
601:Lord of the Rings
205:
204:
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1849:2013 drama films
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1004:Ihimaera, Witi.
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878:
867:
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728:Best Screenplay
723:Antonia Prebble
715:Whirimako Black
686:Yolander Bartham
663:
654:Whirimako Black
631:
393:Tangiroa Tawhara
365:as young Paraiti
160:
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1611:Rotten Tomatoes
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856:Box Office Mojo
850:
849:
845:
839:
822:
775:Tracey Collins
767:Chris Sinclair
766:
764:
739:Alun Bollinger
702:Tracey Collins
693:
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689:
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626:
618:Rotten Tomatoes
609:also commended
562:
523:
495:
490:
420:
401:as Limping Girl
381:Rawiri Waiariki
333:Antonia Prebble
321:Whirimako Black
317:
291:Antonia Prebble
275:Whirimako Black
267:
222:Antonia Prebble
218:Whirimako Black
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89:Antonia Prebble
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81:Whirimako Black
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5:
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1222:"White Lies"
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852:"White Lies"
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765:James Hayday
744:Best Editor
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692:Main Reactor
688:Vee Gulliver
684:Abby Collins
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169:Running time
146:Release date
114:John Psathas
85:Rachel House
70:John Barnett
55:
47:Dana Rotberg
38:Dana Rotberg
29:Tuakiri Huna
18:
1640:23 December
1617:17 December
1590:23 November
1407:24 November
1379:20 December
1354:17 December
1320:17 December
1231:17 December
1206:17 December
1166:17 December
1109:8 September
932:(1): 7ā23.
760:Best Sound
752:Best Score
449:Whale Rider
413:as the baby
181:New Zealand
67:Produced by
34:Directed by
1834:2013 films
1828:Categories
1771:White Lies
1763:The Orator
1702:White Lies
1524:White Lies
1496:White Lies
1478:White Lies
1460:White Lies
1442:White Lies
1427:White Lies
1296:White Lies
986:White Lies
900:9 December
837:References
793:Recipient
671:Recipient
494:Motherhood
407:as Chemist
377:as Soldier
375:Kyle Pryor
341:as Horiana
335:as Rebecca
323:as Paraiti
216:and stars
198:Box office
173:93 minutes
157:2013-06-27
120:Production
24:White Lies
1585:0362-4331
1553:5 January
1402:NZ Herald
1374:NZ Herald
1084:24 August
1079:Indiewire
1059:24 August
954:151488794
946:0392-1921
895:0362-4331
640:Recipient
624:Accolades
560:Reception
353:as Wirepa
329:as Maraea
186:Languages
103:Edited by
1745:for the
1657:. 3 News
926:Diogenes
820:See also
521:Language
347:as Aroha
111:Music by
77:Starring
52:Based on
1104:Variety
861:25 June
787:Status
708:Nominee
647:Nominee
257:at the
201:$ 2,760
193:English
178:Country
155: (
122:company
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1798:(2017)
1790:(2016)
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1774:(2013)
1766:(2011)
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799:Winner
790:Award
677:Winner
668:Award
636:Award
427:life.
224:, and
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1661:5 May
1034:5 May
1012:5 May
950:S2CID
425:MÄori
190:MÄori
1811:Muru
1749:for
1707:IMDb
1685:2013
1663:2013
1642:2021
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1592:2021
1581:ISSN
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1168:2021
1111:2013
1086:2013
1061:2013
1054:TIFF
1036:2013
1014:2013
942:ISSN
902:2021
891:ISSN
863:2016
814:IMDb
572:The
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