She is best known for co-writing and directing Whina, the feature film about Dame Whina Cooper.

She filmed Dr Kerr and his wife Hazel in 2007, when he led a Kiwi team to Gaza and the West Bank to operate on children with heart disease.

What started as a two-week visit became a 20 year commitment, involving 40 medical missions to Gaza and the West Bank and hundreds of operations.

Paula Whetu Jones self-funded six trips to document the work and the result is the feature film The Doctor’s Wife, now being screened free in communities around the country.

20 years of inspirational work in Palestine

Pacific Media Watch reports that Paula Whetu Jones writes on her film’s website:

I met Alan and Hazel Kerr in 2006 and became inspired by their selflessness and dedication. I wanted to learn more about them and shine a light on their achievements.

I’ve been trying to highlight social issues through documentary film making for 25 years. I have always struggled to obtain funding and this project was no different. We provided most of the funding but it wouldn’t have been possible to complete it without the generosity of a small number of donors.

Others gave of their time and expertise.

Our initial intention was to follow Dr Alan in his work in the West Bank and Gaza but we also developed a very special relationship with Hazel.

While Dr Alan was operating, Hazel took herself all over the West Bank and Gaza, volunteering to help in refugee camps, schools and community centres. We tagged along and realised that Dr Alan and his work was the heart of the film but Hazel was the soul. Hence, the title became The Doctor’s Wife.

I was due to return to Palestine in 2010 when on the eve of my departure I was struck down by a rare auto immune condition which left me paralysed. It wasn’t until 2012 that I was able to return to Palestine.

Wheelchair made things hard
However, being in a wheelchair made everything near on impossible, not to mention my mental state which was not conducive to being creative. In 2013, tragedy struck again when my 22-year-old son died, and I shut down for a year.

Again, the project seemed so far away, destined for the shelf. Which is where it sat for the next few years while I tried to figure out how to live in a wheelchair and support myself and my daughter.

The project was re-energised when I made two arts documentaries in Palestine, making sure we filmed Alan while we were there and connecting with a NZ trauma nurse who was also filming.

By 2022, we knew we needed to complete the doco. We started sorting through many years of footage in different formats, getting the interviews transcribed and edited. The last big push was in 2023. We raised funds and got a few people to help with the logistics.

I spent six months with three editors and then we used the rough cut to do one last fundraiser that helped us over the line, finally finishing it in March of 2025.

Our documentary shows the humanity of everyday Palestinians, pre-2022, as told through the eyes of a retired NZ heart surgeon, his wife and two committed female film makers who were told in 2006 that no one cares about old people, sick Palestinian children or Palestine.

They were wrong. We cared and maybe you do, too.

What is happening in 2025 means it’s even more important now for people to see the ordinary people of Palestine

Dr Alan and his wife, Hazel are now 90 and 85 years old respectively. They are the most wonderfully humble humans. Their work over 20 years is nothing short of inspiring.

This article is republished under a community partnership agreement with RNZ.

Article by AsiaPacificReport.nz

Disney has returned to Motunui with Moana 2, a sequel to the 2016 hit Moana. But have they been able to recapture the magic?

This time, the story sees Moana (voiced by Auli’i Cravalho) setting out from her home island once again to try reconnect with the lost people of the ocean.

With the help of an unlikely crew and demigod Maui (Dwayne Johnson), she must reckon with an angry god and find a way to free a cursed island.

The first film was co-directed by John Musker and Ron Clements, two legendary writer directors from such fame as The Little Mermaid, Aladdin, Hercules, Treasure Planet and The Princess and the Frog.

They haven’t returned for the sequel, which is co-directed by David Derrick Jr, Jason Hand and Dana Ledoux Miller.

Moana 2 actually began as a Disney+ series before being retooled into a film earlier this year. While it moves the story of the world and the characters forward, the film feels like a slapstick and half-baked reworked TV show.

Moana 2.     RNZ Reviews

Thankfully, Auli’i Cravalho is still great as Moana; the vibrance and expression of her voice is wonderful. And it really is a movie centred mostly around her, which is a strength.

Two-dimensional crew
However, that also means that Moana’s little crew of friends are two-dimensional and not needed other than for a little inspiration here and there. Even Dwayne Johnson’s Maui feels a little less colourful this time around and a bit more of a plot device than actual character.

There is also a half-baked villain plot, with the character not really present and another who feels undercooked. It’s not until a small mid-credits scene where we get something of a hint, as well as what’s to come in a potential sequel film or series.

While Cravalho’s singing is lovely, unfortunately the songs of Moana 2 are not as memorable or catchy. And it certainly doesn’t help that Dwayne Johnson cannot sing or rap to save himself.

It’s wonderful to have a Pacific Island-centric story, and it’s got some great cultural representation, but Moana 2 could have been so much better.

While I’m obviously not the target audience, I really enjoyed the first one and I believe kids deserve good, smart movies. If there’s going to be another one, I hope they make it worth it.

This article is republished under a community partnership agreement with RNZ.

Article by AsiaPacificReport.nz

Director Latifah Anum Siregar of the Democracy Alliance for Papua (ALDP) has emphasised the importance of raising awareness about human rights violations in Papua during a discussion at the launch of five Jubi Documentary films.

The event took place at the St. Nicholaus Ambassador of Peace Study House in Jayapura City last Wednesday.

Jubi Documentary released five new films about Papua at the end of last month —  When the Microphone Turns On; Pepera 1969: Democratic Integration?; Black Pearl of the Field General; My Name is Pengungsi; and Voices from the Grime Valley.

They were launched in three cities at once in Jayapura, Yogyakarta, and Jakarta.

Siregar said these documentaries were not meant for mere entertainment but should serve as a platform for everyone, especially young students, to speak out against human rights violations in Papua.

Former football giant Persipura captain Fernando Fairyo, who was also present at the launch event, said how emotionally impactful the documentary Black Pearl of the Field General was for him.

He shed tears while watching the film, which highlighted the history of Persipura’s journey and invoked mixed emotions of joy and sadness.

Creative funding search
Fairyo said there was a need for Persipura to focus on strengthening the team, and he urged creative management to find funds beyond sponsorship from PT Freeport Indonesia and Bank Papua.

The five documentaries were produced over two years by Jubi Documentary, a branch of Jubi media based in Jayapura City. These films share a common theme of humanity and the repercussions of human rights violations in Papua.

Watchdoc, an audio-visual production house founded by Andhy Panca Kurniawan and Dandhy Dwi Laksono in 2009, supervised the production of the films.

Watchdoc is renowned for its social justice-themed documentaries and received the 2021 Ramon Magsaysay Award in the “Emergent Leadership” category.

Voices from the Grime Valley, directed by Angela Flassy, explores the social consequences of forest clearing for oil palm plantations in Keerom Regency and Jayapura Regency, both located in Papua Province.

Black Pearl of the Field General, directed by Maurids Yansip, narrates the story of the Persipura football team as a symbol of pride and identity for Papuans, its achievements, and its current struggle to regain a spot in League 1.

The launch event included discussions with the filmmakers and experts, providing a platform for in-depth exploration of the documentary topics.

Republished from Jubi with permission.

Article by AsiaPacificReport.nz

Jayapura will once again host the sixth edition of the Papua Film Festival (FFP VI), scheduled to take place next month from August 7-9, 2023.

The festival’s central theme, “Dari Kampung Kitong Cerita” (From Our Village, We Tell Our Stories), was determined by the Papuan Voices committee.

During a press conference at the Papuan Voices secretariat in Waena, Jayapura City, festival chair Iren Fatagur revealed that the event would focus on various smaller themes, including food, social change, history and identity, local wisdom, women and children, and the negative impact of land grabbing.

The festival will encompass two main components: film screenings and workshops. The workshops will explore different approaches used by filmmakers, particularly in the form of documentary films.

Participants will gain insights into the documentary cycle, covering aspects such as expedition design and film duration.

Harun Rumbarar, head of Papuan Voices, explained that the initial plan was to hold the sixth Papua Film Festival in Wamena following the Papuan Voices 2022 Congress in Biak.

However, due to circumstances and prevailing conditions in Wamena, the decision was made to relocate the festival back to Jayapura.

Shedding light on issues
This year’s festival aims to shed light on simpler yet significant issues, focusing on cultural situations and social matters, highlighting stories from various villages.

Unlike previous editions, FFP VI will not feature a competition but will instead showcase a selection of documentary films produced by Papuan Voices. The films will be screened and followed by discussions to gather responses and insights from the audience, assessing each film’s potential and strengths.

“This year it’s more about telling the content and essence of the stories directly. Papuan Voices seeks to engage and empower local filmmakers, fostering storytelling capacities within the community,” Rumambar said.

FFP VI expects to attract many attendees, offering a platform for cultural exchange, celebration, and capacity building among film enthusiasts and creators alike.

Republished with permission.

Article by AsiaPacificReport.nz

One of New Zealand’s most celebrated athletes is opening up her on life journey on the big screen.

Double Olympic shot put champion Dame Valerie Adams’ feature documentary, More Than Gold, is centred around the Tongan/Kiwi’s preparation for the 2020 Tokyo Olympics.

However, the film touches on Adams struggles with balancing her role as a mum as well as memories involving hardship, loss and relationships.

From penning an autobiography, to championing many causes, Adams said that the timing felt right to do a documentary, especially with how her sporting career had been in the media for years.

“It’s a way to tell your whole story,” she said.

“What the media tells or how they write your story is from their perspective or what you’ve told them but it’s not exactly what truly goes on behind closed doors or what’s happening in one’s life.”

“My documentary really brings people into that journey and takes people throughout that journey from the very start.”

Being a role model
Dame Valerie’s impressive sporting resume includes competing at five Olympic Games earning two golds, one silver and one bronze medal in the shot put.

She has won 17 New Zealand shot put titles and was awarded the Halberg Sportswoman of the Year for seven consecutive years from 2006.

The video trailer of the documentary.                               Video: Transmission Films

Of Tongan and English heritage, Dame Valerie was born in Rotorua but spent some of her childhood in her mother’s home country Tonga. Eventually, Adams and her family returned to New Zealand where she remained in South Auckland for the rest of her adolescent years.

When asked if she ever felt pressured to be a role model once she started succeeding as an athlete, she said it’s an automatic responsibility.

“Where I come from, my upbringing — all the stigma behind South Auckland — I think it was just a natural progression into that role, and I do take some type of responsibility to make sure I do set a good example and that I am a role model to the young women and also young men that have the same upbringing as I do.”

“At the end of the day it’s up to them to grasp whatever talent or passion they have and be prepared to work for it because the world is bigger than South Auckland — but you never forget where you come from.”

Be comfortable with the uncomfortable
It was important to Adams to be authentic in her film as she wanted audiences to understand the sacrifices she undertook to pursue her sporting dreams.

She said the film will resonate with all people whether they are athletes as there are many relatable themes, especially towards the youth.

“There’s a lot of challenges that people face in life and there’s a lot of challenges that youth face in life as well,” Adams said.

“Society is hard, society is mean sometimes and quite difficult, but I want them to know that they are loved but also to inspire them to set some goals and look for something bigger and better.”

“I really just want to share my life so that people can see the nitty-gritty parts of it, the raw parts of it, the trauma but also seeing you work through all of that.”

“Someone gave me some really good advice a few years ago and it was ‘you gotta be comfortable with being uncomfortable’ — and in life you’re going to be put in uncomfortable situations so you’ve gotta train your mind to say you’re cool being here even though you’re not, and work through those awkward situations because it’s going to you make you a more confident and stronger person.”

This article is republished under a community partnership agreement with RNZ.

Article by AsiaPacificReport.nz

It was announced yesterday that Australian actress Rose Byrne will star as New Zealand Prime Minister Jacinda Ardern in an upcoming movie about the response to the Christchurch mosque terror attacks of 15 March 2019, titled They Are Us.

The movie will be directed by New Zealand’s Andrew Niccol. The movie’s focus is apparently going to be on the positive impact of a strong leader in the wake of tragedy.

Let’s take a moment to unpack that oversized baggage of white nonsense.

To be clear, this is the peak Karen of film announcements.

We are barely over two years on from one of the deadliest mass shootings in modern history.

The 51 people who were killed and the 40 who were wounded were specifically targeted for their Muslim faith. Those families are still traumatised and recovering from injuries, mourning and missing their loved ones.

They are still painfully experiencing firsts without their loved ones: first day of school, first grandchild being born, first jobs, university graduations and so much more. Their wounds have barely had time to scab over.

Witnesses fighting for ACC support
Uninjured witnesses to the horrific shootings are still fighting for support from the ACC for their mental injuries.

A survivor of the attacks, whose own father was killed that day, reported as recently as Friday that he encountered racist abuse outside his workplace, with no bystander intervention to help.

The Christchurch mosque attacks destroyed the lives of entire families and confirmed the worst fears of the Muslim community in New Zealand: that we aren’t safe anywhere. Not here. And certainly not if we’re Rohingya, not if we’re Uyghur, not if we’re Palestinian, not if we’re in our places of worship or even just crossing the street.

Somebody explain to 9-year-old Fayez Afzaal how to feel any other way as he recovers in a hospital in Ontario, the sole surviving member of his family after his parents, sister and grandmother were murdered by yet another white supremacist terrorist with Islamophobic views.

This attack in Canada happened just this week. You probably didn’t hear about it. Because white women like Rose Byrne and Jacinda Ardern will dominate the headlines while our communities are suffering.

This movie purports to centre a white woman character and her role in the aftermath of a heinous tragedy instead of focusing on the stories of the victims and survivors. It’s being directed by a white man. Hollywood will make money off this. Rose Byrne will be paid a pretty penny.

Remember that there were people in that mosque who literally put their bodies in the firing line and died to protect others, but apparently it’s the white saviour’s story that’s worth telling instead.

Where is the Muslim community?
Where is the Muslim community that was most impacted in this?

And I am not mollified by some “consultation with several members of the mosque”. I’m not naïve enough to believe the scope or depth of that consultation process would have been anywhere near adequate.

How is it okay for others to profit off our pain? How is it okay for Muslims to be de-centred from a story about their suffering? How can we celebrate this tragedy as something that was ultimately a triumph because someone got a pretty photo of Ardern in a hijab and it inspired some graffiti art and a light show in Dubai?

The banning of assault weapons, while important, did nothing to address the core issues of Islamophobia and racism festering in our societies under a thin façade of tolerance.

Similarly, this movie will achieve nothing for the community that was attacked either. It’s exploitative. It’s in bad taste.

USC Annenberg recently published a study on Muslim representation in popular film. It found that in popular films between 2017 – 2019, 181 of 200 films had no Muslim characters at all. Of the nearly 9000 characters in these films, only 1.6 percent of the speaking roles were Muslims.

Not only are we grossly under-represented, but when we’re represented at all it’s either as the victims or perpetrators of violence. And Muslim women are all but invisible on screen. The incredibly diverse ethnic backgrounds of Muslims are also erased in favour of the stereotypical portrayal of a Muslim as being either Middle Eastern or North African.

The film will focus the week following the 15 March Christchurch mosque attacks with Australian actrss Rose Byrne set to play New Zealand Prime Minister Jacinda Ardern, according to US media. Photo: RNZ / AFP

Can we have any confidence?
Given that, how can we have any confidence of this story being told with any sensitivity, nuance or even truthfulness?

If the Christchurch attacks are the subject of a movie, how can we be certain the violence won’t be glorified? That it won’t give hope to would-be attackers that their hateful actions would bring them the notoriety they seek?

That’s not to say we shouldn’t talk about the attacks, but there are at least 91 people I can think of who I would rather see as the subject of any such movie rather than our Prime Minister. Those 91 people and their families are mostly immigrants and refugees, of all ages, racial backgrounds, genders, working across so many industries. I promise you that any one of their stories would be more interesting, and worthy, of immortalising on film.

But Muslims also don’t want to be depicted only as the victims or aggressors of violence. Believe it or not, most of us can get through our entire lives without having thrown, or being on the receiving end, of a punch. We exist outside this context of tragedy too.

However, no one wants to know us on our terms. “They are us” plays nicely in a soft liberal speech, works well as a caption. What does it mean, in practical terms, if we can’t even be seen as the heroes of our own stories.

Saziah Bashir is a freelance journalist commenting on issues of social justice, race and gender. She completed an LLB, BCom and LLM from the University of Auckland. This article is republished under a community partnership agreement with RNZ.

• Prime Minister Jacinda Ardern’s office clarified that neither she nor the government have any involvement in the film.

Article by AsiaPacificReport.nz

A Thousand Cuts, Ramona Diaz’s documentary on democracy and press freedom in the Philippines, has won the top prize at the 2020 Doc Edge Festival in New Zealand.

The winning films and filmmakers are listed on the festival’s website, with A Thousand Cuts named best international feature.

Other international award-winners include Far From Home by Felicia Taylor as best international short, and Paris Stalingrad directors Hind Meddeb and Thim Nacacche as best international directors.

READ MORE: Asia Pacific Report’s Rappler news file
WATCH: The end of democracy in the Philippines? AJ’s The Stream
READ MORE: Rappler challenges president’s ‘media powers’ in democracy fight back – David Robie

Doc Edge, is a documentary festival that is currently being held online due to the coronavirus pandemic.

Because Doc Edge is an Oscar-qualifying festival, winners of the top prizes, including A Thousand Cuts, qualify for consideration for the 93rd Academy Awards.

A Thousand Cuts follows Rappler chief executive and executive editor Maria Ressa and the news organisations’ reporters as they navigate the struggles of a free press in President Rodrigo Duterte’s government.

The film streamed for free in the Philippines on June 12, and was available for 24 hours. It also opened the Doc Edge festival and will be screened again on July 4.

Rappler has faced many legal battles since 2016, including a cyber libel case over an article published even before the cybercrime law took effect.

Ressa and former Rappler researcher Rey Santos were convicted of cyber libel on June 15.

Article by AsiaPacificReport.nz

ANALYSIS: By Ian Lowe of Griffith University

Documentary maker Michael Moore’s latest offering, Planet of the Humans, rightly argues that infinite growth on a finite planet is “suicide”. But the film’s bogus claims threaten to overshadow that message.

Planet of the Humans is directed and narrated by longtime Moore collaborator Jeff Gibbs. It makes particularly contentious claims about solar, wind and biomass (organic material which can be burnt for energy). Some claims are valid. Some are out of date, and some are just wrong.

The film triggered a storm after its free release on YouTube late last month. At the time of writing, it had been watched 6.5 million times.

READ MORE: Australia could fall apart under climate change. But there’s a way to avoid it

Climate sceptics here and abroad reacted with glee. Environmentalists say the film has caused untold damage when climate action has never been more urgent.

For 50 years, I have studied and written about energy supply and use, and its environmental consequences. So let’s take a look at how Planet of the Humans is flawed, and where it gets things right.

Where the film goes wrong
Critics have compiled a long list of questionable claims made in the film. I will examine three relating to renewable energy.

1. Solar panels take more energy to produce than they generate
It’s true that some energy is required to build solar panels. The same can be said of coal-fired power stations, oil refineries and gas pipelines.

But the claim that solar panels produce less energy than they generate in their lifetime has long been disproved. It would not be true even if, as the film says, solar panels converted just 8 percent of the energy they receive into electricity.

But that 8 percent figure is at least 20 years old. The solar panels now installed on more than two million Australian roofs typically operate at at 15-20 percent efficiency.

2. Renewables cannot replace fossil fuels
The film claims green energy is not replacing fossil fuels, and that coal plants cannot be replaced by renewables.

To disprove this claim we need look no further than Australia, where wind turbines and solar panels have significantly reduced our dependence on coal.

In South Australia, for example, the expansion of solar and wind has led to the closure of all coal-fired power stations.

The state now gets most of its power from solar and wind, exporting its surplus to Victoria when its old coal-fired power stations prove unreliable on hot summer days.

What’s more, a report released this week by the Australian Energy Market Operator (AEMO) said with the right regulations, renewables could at times supply 75 percent of electricity in the national electricity market by 2025.

3. Solar and wind need fossil fuel back-up
Some renewables systems use gas turbines to fill the gap when the wind isn’t blowing and the sun isn’t shining. However renewable energy storage is a cleaner option and is fast becoming cheaper and more widely used.

AEMO forecasts battery storage installations will rise from a low base today to reach 5.6 gigawatts by 2036–37. The costs of storage are also projected to fall faster than previously expected.

South Australia’s famous grid-scale Tesla battery is being expanded. And the New South Wales government’s pumped hydro plan shows how by 2040, the state could get 89 percent of its power from solar and wind, backed by pumped hydro storage.

In Australia on Easter Saturday this year, renewables supplied 50 percent of the national electricity market, which serves the vast majority of the population.

Countries such as New Zealand and Iceland essentially get all their power from renewables, backed up by storage (predominantly hydro).

And putting aside the federal government’s problematic Snowy 2.0 project, Australia could get all its energy from renewables with small-scale storage.

What does the film get right?
Planet of the Humans makes several entirely valid points. Here are a few:

1. We need to deal with population growth
The film observes that population growth is the elephant in the room when it comes to climate change. It says politicians are reluctant to talk about limits to population growth “because that would be bad for business”.

As one observer in the film says, the people in charge are not nervous enough. I agree.

An increasing population means increasing demand for energy and other resources, accelerating climate change.

2. Biomass energy does more harm than good
While the film unfairly criticises the environmental benefits of solar energy, it is true that some so-called clean technologies are not green at all.

As the film asserts, destroying forests for biomass energy does more harm than good – due to loss of habitat, damage to water systems, and the time taken for some forests to recover from the removal of wood.

Most advocates of cleaner energy systems recognise the limitations of biomass as an energy source.

3. Infinite growth on a finite planet is suicide
The film calculates the sum total of human demands on natural systems as about 1000 times what it was 200 years ago. It says there are 10 times as many people now, each using 100 times the resources, on average.

Experts have repeatedly warned that human demand for resources is damaging the natural systems that all life depends on.

For large parts of the world, the consequences could be catastrophic.

Get the message
Several other aspects of the film have been savaged by critics – not least its claims about emissions produced by electric cars, which had previously been debunked.

Personal attacks on two prominent US clean energy advocates, Bill McKibben and Al Gore, also detract from the film’s impact.

It is clear renewable energy has an important role to play in reducing greenhouse gas emissions and slowing climate change. But it will not solve the fundamental problem: that humans must live within Earth’s natural limits.

Those cheering the film’s criticism of renewables would do well to consider its overriding message.

Dr Ian Lowe is emeritus professor in the School of Science at Griffith University. This article is republished from The Conversation under a Creative Commons licence. Read the original article.

Article by AsiaPacificReport.nz

By Nicola Igusa

The value of different perspectives in film making is valued now more than ever, says Auckland University of Technology screen production Associate Professor Arezou Zalipour.

“We’ve just seen the historic win of Parasite at the 2020s Oscars – the first non-English language production to win Best Picture,” she says.

“In the same ceremony Taika Waititi used his Jojo Rabbit win for Best Adapted Screenplay to encourage Indigenous kids all over the world to pursue art.

READ MORE: Historic Parasite Oscar may be game changer for global film business

“Hollywood is being changed by ‘outsider’ voices and here at AUT we’re helping prepare our students for that world.”

Dr Zalipour’s Contemporary World Cinemas paper, a selected topic in the AUT School of Communication Studies television and screen production department, is first offering by the university in a transnational storytelling approach.

It bridges theory and practice in a unique way through examples of Academy Award winners and nominees for Best Foreign Language Film (Best International Feature Film) and beyond.

Students in the course say it is refreshing and absolutely essential to be able to critically analyse film styles as well as their own choices when making a film.

Film making techniques
The course prompts deeper thought about film making, changing the way students think about film making and enable them to examine a wide range of film making techniques and narratives.

Dr Zalipour has designed a further paper to be offered in Semester 2 this year for post graduate students, Making Cinemas of Difference. This paper takes a “de-Westernising” approach in film and filmmaking by engaging, among other concepts, with issues of racism and postcolonial theories in film and practice, and teaches how to make a video essay.

“We learn from the masters of film making and storytellers, which allows the students to build their understanding of how film can be made to construct and convey a sense of identity and place,” she says.

“By exploring films from the Middle East, Asia and Europe, our students learn to recognise different modes of storytelling and film language, and the way culture, society and storytelling are intimately combined, and then apply that learning to their own film making.”

Article by AsiaPacificReport.nz

Pacific Media Watch Newsdesk

The movie Rocketman is likely to be banned in the Cook Islands, despite having already been in the cinema for a week, reports the Cook Islands News.

The film, a biography of English pop singer Elton John, was banned in Samoa last week due to its graphic depiction of gay sex.

“We might go the same way,” chief censor Dennie Tangirere told the Cook Island News.

READ MORE: Inside Samoa’s Rocketman ban

The proposal has worried Cook Islands’ LGBTI community, as it did across the Pacific.

Samoa’s principal censor had told local media the film did not “go well with the cultural and christian beliefs of Samoa”.

Tangirere acknowledged that other films had previously been censored in the Cook Islands on“religious grounds”.

“We have banned films here before for containing homosexual content,” he said.

Rocketman is billed as a musical fantasy about Elton John’s breakthrough years. It has received critical acclaim overseas.

It was released at the local empire cinema on June 6 and has screened about seven times since. The movie was not screened on Friday last week, with cinema management citing “technical issues”.

Cook Islands News understands the movie is unlikely to be screened again at the cinema, a family business run by Pa Napa.

When questioned as to why the film was already being screened at the cinema, Tangirere stated that he was usually provided with a list of films cinemas prior to their screening, but this did not happen last week.

So he was oblivious to the fact that Rocketman would be screened here.

“I usually watch the films before they are screened. However, Napa was late with the list last week,” Tangirere said.

The looming ban has drawn criticism from the local LGBTI community, with the secretary of Te Tiare Association Valentino Wichman saying: “Rocketman is just another film which people should have the freedom to watch.

“Banning films based on certain grounds affects people in different ways. Actions like this brings up certain views and emotions which can be damaging.”

“The ban may bring unwanted attention to members of our community and may reignite certain attitudes which are better left somewhere else. The message to the community is that this ban does not mean that we (the LGBTI community) are less normal, or that we should feel angry and sad,” said Wichman.

“We are an integral part of this community and to a large extent are socially accepted members of our society.”

In both Samoa and the Cook Islands, sodomy is an illegal act.

“These archaic laws have never been used, however the fact that they are there and can be used is a worry for our community.”

Wichman promised to follow up with the censor office regarding the ban and encouraged people to still watch the film.

“You can still get a copy from overseas and watch it in your homes.”

Article by AsiaPacificReport.nz

By Justin Fa’afia in Apia

The Samoa Censorship Board has banned the screening of Rocketman – a biographical movie about the life of British rock star Elton John.

“Unfortunately due to censoring issues, we have had to cancel Rocketman,” the Apollo Cinemas Samoa stated during a Facebook update of its movie screenings for the week.

The cinemas confirmed that the movie was not approved for screening.

READ MORE: Elton John protests over the censoring of Rocketman

This is the second time the Samoa Censorship Board has banned a gay biography – with the first being the movie Milk banned in 2009. This was based on the life of US gay rights activist Harvey Milk.

Samoa was only one of two countries which banned Rocketman, the other being Egypt. However, Russia has also stirred controversy by censoring parts of the film.

Directed by Dexter Fletcher and written by Lee Hall, the film follows Elton John’s early days as a prodigy at the Royal Academy of Music to his musical partnership with Bernie Taupin. The film is titled after John’s 1972 song “Rocket Man”.

Members of the Samoan fa’afafine community have expressed their dismay at the ban with some calling it a “disappointment”.

‘Selective morality’
The international community has also reacted with Tuisina Ymania Brown, the co-secretary general of Geneva-based non government organisation International Lesbian, Gay, Bisexual, Trans and Intersex Association (ILGA), calling the ban a “selective immorality” approach.

“This movie is a creative piece of work that should be celebrated as art, now we are saying that art that celebrates fa’afafines are not allowed?”

Tuisina said the decision should have been taken more seriously.

“We should not censor issues that are so open yet accept Filipino movies which seem to promote infidelity among neighbours and family members. This is the board being selective on their perceptions of immorality.”

According to Tuisina the banning of Rocketman which celebrates the life of an artist is ironic given that the Censorship Board allows movies that contain extreme violence against women, gender based violence, infidelity and other issues they perceive as immoral.

“The power of the Church has now reached into censoring the celebration of art. There are more important issues we should focus on, such as gender-based violence, Church paying taxes and other much more vital issues.”

Rocketman was released on May 30 and by June 4 had grossed US$67.2 million in the box office.

Attempts to reach the Samoa Censorship Board were unsuccessful and no public statement has been issued regarding the ban. The board consists of representatives from the Church.

Justin Fa’afia reports for Newsline Samoa.

Article by AsiaPacificReport.nz