Asia Pacific Report

A new documentary film on the devastating “ecocide” happening in West Papua will be screened as a world premiere at a weekend solidarity forum in Auckland Tāmaki Makaurau this weekend.

The 90min feature film, Pesta Babi (“Pig Feast”) — Colonialism In Our Time, produced by award-winning Papuan journalist Victor Mambor and directed by Dandhy Dwi Laksono, tells a story about the impact of the Indonesian government and military on the lives of thousands of Papuans trying to protect their rainforests from destruction.

It also relates the plight of thousands of internal refugees in the Melanesian region.

The peaceful resistance of local communities is revealed in the documentary as they face up to 54,000 Indonesian troops and large corporate entities make big profits at the expense of an ancient culture.

Dorthea Wabiser of the environmental and human rights group Pusaka, will speak on the deforestation and displacement of communities in the south-eastern district of Merauke  where Indonesia is destroying 2.5 million ha of rainforest for palm oil, sugar cane, biodiesel, rice and other crops.

Military force is deployed to silence any dissent from communities.

Pesta Babi (Pig Feast).                              Trailer: Jubi Media

Solidarity group hosts
The solidarity group West Papua Action Aotearoa with West Papua Action Tāmaki are hosting the two-day public forum on March 7 and 8 with the speakers from West Papua including environmental champions and filmmakers who operate in militarised zones at considerable risk to their personal safety.

Also, a media talanoa featuring Jubi Media founder Victor Mambor and others will be hosted by the Asia Pacific Media Network (APMN) at the Whānau Community Centre and Hub on March 9.

“The forum is an important event with a number of speakers and filmmakers from West Papua telling the hidden stories of the Indonesian occupation of their country,” said organiser Catherine Delahunty.

The climate impact of their destruction was incredibly serious as was the use of the military to enforce an end to traditional life, food sources, and forests, she said in a statement.

“These people are our Pacific neighbours with a devastating story to tell that our government and others across the world have chosen to ignore,” she said.

“They have a right to come here and to be heard despite the media bans in Indonesia and the desire of successive New Zealand governments to ignore structural genocide in our region.

NZ citizen kidnapped
“Only when a NZ citizen was kidnapped by Papuan soldiers did the government show any interest in West Papua, and this quickly faded once he was safely released thanks especially to West Papuan efforts.”

Other speakers at the forum include veteran activist and writer Maire Leadbeater, Green MP Teanau Tuiono, Hawai’an academic Dr Emalani Case, journalist and author Dr David Robie, Dr Arama Rata of Te Kuaka, and PNG academic Dr Nathan Rew.

• Forum Day One (public sessons), Saturday, March 7:  Old Choral Hall, University of Auckland, 7 Symonds St,  9am–4pm.
• World Premiere of “Pesta Babi” (The Pig Feast) documentary with Q&A – The Academy Cinema, Lorne St, CBD (below the Auckland Public Library), March 7, 6-8.30pm.
• Forum Day Two (solidarity development), Sunday, March 8: The Taro Patch, 9 Dunnotar Rd, Papatoetoe.
• Media Talanoa, Monday, March 9: “Kōrero with Victor Mambor: West Papua: Journalism as Resistance” – Whānau Community Centre and Hub, 165 Stoddard Rd, Mt Roskill (Next to Harvey Norman), 6-8pm.
• Further information: Catherine Delahunty, West Papua Action Tāmaki and West Papua Action Aotearoa. Tel: 021 2421967

This article was first published on Café Pacific.

A world premiere of a new documentary revealing the devastation of rainforest in the southeastern part of West Papua is one of two films being screened in Auckland next month.

Billed as “Sinéma Merdeka: Stories from West Papua”, the programme is showing the heart of a hidden Pacific conflict and will be presented live by celebrated Papuan journalist and Jubi News founder Victor Mambor.

The two films are “Pesta Babi — Colonialism in Our Time” and “Sa Punya Nama Pengungsi” (My name is Pengungsi).

“Pesta Babi” (The Pig Party), directed by Cypri Dale and Dandhy Laksono, is being premiered at the Academy Cinema, Auckland CBD, at 6pm on Saturday, March 7.

Filmed under siege and a draconian media ban, the filmmakers offer a rare and
urgent glimpse into indigenous life in Merauke, where Indonesian bulldozers have been systematically destroying their pristine rainforest home.

This film is co-produced by Jubi, Ekspedisi Indonesia Baru, Greenpeace, Yayasan Pusaka, and Watchdoc Documentary.

The second film, “Sa Punya Nama Pengungsi”, directed by Yuliana Lantipo is set against the backdrop of escalating government violence and the displacement of an estimated 100,000 Indigenous Melanesian people from their lands.

“My name is Pengungsi” is centred on the story of two Papuan children born in the midst of the conflict. Both are named “Pengungsi”, which in English means “Refugee”.

Films talanoa
The films will be followed by a Q&A/Talanoa with Mambor and fellow Australian-based West Papuan journalist Ronny Kareni and hosted by Dr David Robie, editor of Asia Pacific Report and deputy director of the Asia Pacific Media Network (APMN).

The twin-film festival is part of a weekend West Papua Solidarity Forum programme at the Auckland University Old Choral Hall, 7 Symonds Street, on Saturday, March 7, and on Sunday, March 8.

There will also be a public media seminar at the Whanau Community Centre and Hub featuring journalist and filmmaker Victor Mambor at 6pm, Monday, March 9, at the Taro Patch, Papatoetoe.

Organisers of the film screenings are West Papua Action Tāmaki Makaurau West Papua is the western half of New Guinea island and has been occupied by Indonesia since 1963. The independent state of Papua New Guinea is the eastern half.

Organisers of the film screenings are West Papua Action Tāmaki Makaurau. The group notes that more than 500,000 civilians have been killed in a slow genocide against the indigenous population, according to human rights agencies.

Basic human rights such as freedom of speech are denied and Papuans live in a constant state of fear and intimidation.

Foreign journalists have generally been barred entrance.

Traditional ways of life are under threat as huge tracts of rainforest are cut down to make
way for Indonesian palm oil and food estates, the world’s largest gold mine and ever-increasing transmigration from Indonesia, making Indigenous Papuans a minority in their own land.

Article by AsiaPacificReport.nz

West Papuan journalist Victor Mambor has vowed not to be silenced despite years of threats, harassment and even a bomb attack on his home.

The 51-year-old founder and editor-in-chief of Jubi, West Papua’s leading media outlet, was in Fiji this week, where he spoke exclusively to The Fiji Times about his fight to expose human rights abuses.

“Despite them bombing my home and office with molotov bombs, I am still doing journalism today because my people are hurting — and I won’t stop,” Mambor said.

In January 2023, an improvised explosive device detonated outside his home in Jayapura in what he describes as a “terror” attack.

Police later closed the case citing “lack of evidence”.

He was in Suva on Tuesday night as Jubi Media Papua, in collaboration with University of the South Pacific Journalism and PANG, screened its documentary Pepera 1969: A Democratic Integration?

“I believe good journalism is journalism that makes society better,” he said.

Republished from The Fiji Times with permission.

Victor Mambor: ‘I need to do better for my people and my land.’   Video: The Fiji Times

Article by AsiaPacificReport.nz

NERMEEN SHAIKH: We begin today’s show looking at Israel’s ongoing targeting of Palestinian journalists. A recent report by the Costs of War Project at Brown University described the war in Gaza as the “worst ever conflict for reporters” in history.

By one count, Israel has killed 214 Palestinian journalists in Gaza over the past 18 months, including two journalists killed on Wednesday — Yahya Subaih and Nour El-Din Abdo. Yahya Subaih died just hours after his wife gave birth to their first child.

Meanwhile, new details have emerged about the killing of Shireen Abu Akleh, the renowned Palestinian American Al Jazeera journalist who was fatally shot by an Israeli soldier three years ago on 11 May 2022.

She was killed while covering an Israeli army assault on the Jenin refugee camp in the West Bank. Shireen and another reporter were against a stone wall, wearing blue helmets and blue flak jackets clearly emblazoned with the word “Press”.

Shireen was shot in the head. She was known throughout the Arab world for her decades of tireless reporting on Palestine.

AMY GOODMAN: Israel initially claimed she had been shot by Palestinian militants, but later acknowledged she was most likely shot by an Israeli soldier. But Israel has never identified the soldier who fired the fatal shot, or allowed the soldier to be questioned by US investigators.

This article was first published on Café Pacific.

For Basel and his community, this land isn’t merely territory — it’s identity, livelihood, their past and future.

No Other Land vividly captures the intensity of life in rural Palestinian villages and the everyday destruction perpetrated by both Israeli authorities and the nearby settler population: the repeated demolition of Palestinian homes and schools; destruction of water sources such as wells; uprooting of olive trees; and the constant threat of extreme violence.

While this 95-minute slice of Palestinian life opened the world’s eyes, most are unaware that No Other Land takes place in an area of the West Bank that is ground zero for any viable future Palestinian state.

Designated as “Area C” under the Oslo Peace Accords, it constitutes 60% of the occupied West Bank and is where the bulk of Israeli settlements and outposts are located. It is a beautiful and resource-rich area upon which a Palestinian state would need to rely for self-sufficiency.

For decades now, Israel has been using military rule as well as its planning regime to take over huge swathes of Area C, land that is Palestinian — lived and worked on for generations.

This has been achieved through Israel’s High Planning Council, an institution constituted solely of Israelis who oversee the use of the land through permits — a system that invariably benefits Israelis and subjugates Palestinians, so much so that Israel denies access to Palestinians of 99 percent of the land in Area C including their own agricultural lands and private property.

‘This is apartheid’
Michael Lynk, when he was serving as UN Special Rapporteur on the Situation of Human Rights in the Occupied Palestinian Territories, referred to Israel’s planning system as “de-development” and stated explicitly: “This is apartheid”.

The International Court of Justice recently affirmed what Palestinians have long known: Israel’s planning policies in the West Bank are not only discriminatory but form part of a broader annexation agenda — a violation of international humanitarian law.

To these ends, Israel deploys a variety of strategies: Israeli officials will deem certain areas as “state lands”, necessary for military use, or designate them as archaeologically significant, or will grant permission for the expansion of an existing settlement or the establishment of a new one.

Meanwhile, less than 1 percent of Palestinian permit applications were granted at the best of times, a percentage which has dropped to zero since October 2023.

As part of the annexation strategy, one of Israel’s goals with respect to Area C is demographic: to move Israelis in and drive Palestinians out — all in violation of international law which prohibits the forced relocation of occupied peoples and the transfer of the occupant’s population to occupied land.

Regardless, Israel is achieving its goal with impunity: between 2023 and 2025 more than 7,000 Palestinians have been forcibly displaced from their homes in Area C due to Israeli settler violence and access restrictions.

At least 16 Palestinian communities have been completely emptied, their residents scattered, and their ties to ancestral lands severed.

Israel’s settler colonialism on steroids
Under the cover of the international community’s focus on Gaza since October 2023, Israel has accelerated its land grab at an unprecedented pace.

The government has increased funding for settlements by nearly 150 percent; more than 25,000 new Israeli housing units in settlements have been advanced or approved; and Israel has been carving out new roads through Palestinian lands in the West Bank, severing Palestinians from each other, their lands and other vital resources.

Israeli authorities have also encouraged the establishment of new Israeli outposts in Area C, housing some of the most radical settlers who have been intensifying serious violence against Palestinians in the area, often with the support of Israeli soldiers.

None of this is accidental. In December 2022, Israel appointed Bezalel Smotrich, founder of a settler organisation and a settler himself, to oversee civilian affairs in the West Bank.

Since then, administrative changes have accelerated settlement expansion while tightening restrictions on Palestinians. New checkpoints and barriers throughout Area C have further isolated Palestinian communities, making daily life increasingly impossible.

Humanitarian organisations and the international community provide much-needed emergency assistance to help Palestinians maintain a foothold, but Palestinians are quickly losing ground.

As No Other Land hit screens in movie houses across the world, settlers were storming homes in Area C and since the Oscar win there has been a notable uptick in violence. Just this week reports emerged that co-director Hamdan Ballal was himself badly beaten by Israeli settlers and incarcerated overnight by the Israeli army.

Israel’s annexation of Area C is imminent. To retain it as Palestinian will require both the Palestinian Authority and the international community to shift the paradigm, assert that Area C is Palestinian and take more robust actions to breathe life into this legal fact.

The road map for doing so was laid by the International Court of Justice who found unequivocally that Israel’s occupation of the West Bank and Gaza is unlawful and must come to an end.

They specified that the international community has obligations in this regard: they must not directly or indirectly aid Israel in maintaining the occupation and they must cooperate to end it.

With respect to Area C, this includes tackling Israel’s settlement policy to cease, prevent and reverse settlement construction and expansion; preventing any further settler violence; and ending any engagement with Israel’s discriminatory High Planning Council, which must be dismantled.

With no time to waste, and despite all the other urgencies in Gaza and the West Bank, if there is to be a Palestinian state, Palestinians in Area C must be provided with full support – political, financial, and legal — by local authorities and the international community, to rebuild their lives and livelihoods.

After all, Area C is Palestine.

Leilani Farha is a former UN Special Rapporteur on the right to adequate housing and author of the report Area C is Everything. Republished under Creative Commons.

Article by AsiaPacificReport.nz

SAMUEL L. JACKSON: And the Oscar goes to ‘No Other Land’.

AMY GOODMAN: The Palestinian-Israeli film No Other Land won for best documentary. The film follows the struggles of Palestinians in the occupied West Bank community of Masafer Yatta to stay on their land amidst violent attacks by Israeli settlers aimed at expelling them. The film was made by a team of Palestinian-Israeli filmmakers, including the Palestinian journalist Basel Adra, who lives in Masafer Yatta, and the Israeli journalist Yuval Abraham. 

Both filmmakers — Palestinian activist and journalist Basel Adra, who lives in Masafer Yatta, and Israeli journalist Yuval Abraham — spoke at the ceremony. Adra became the first Palestinian filmmaker to win an Oscar.

BASEL ADRA: Thank you to the Academy for the award. It’s such a big honor for the four of us and everybody who supported us for this documentary.

About two months ago, I became a father. And my hope to my daughter, that she will not have to live the same life I am living now, always fearing — always — always fearing settlers’ violence, home demolitions and forceful displacements that my community, Masafer Yatta, is living and facing every day under the Israeli occupation.

‘No Other Land’ reflects the harsh reality that we have been enduring for decades and still resist as we call on the world to take serious actions to stop the injustice and to stop the ethnic cleansing of Palestinian people.

YUVAL ABRAHAM: We made this — we made this film, Palestinians and Israelis, because together our voices are stronger.

We see each other — the atrocious destruction of Gaza and its people, which must end; the Israeli hostages brutally taken in the crime of October 7th, which must be freed.

When I look at Basel, I see my brother. But we are unequal. We live in a regime where I am free under civilian law and Basel is under military laws that destroy his life and he cannot control.

There is a different path: a political solution without ethnic supremacy, with national rights for both of our people. And I have to say, as I am here: The foreign policy in this country is helping to block this path.

And, you know, why? Can’t you see that we are intertwined, that my people can be truly safe if Basel’s people are truly free and safe? There is another way.

It’s not too late for life, for the living. There is no other way. Thank you.

Israeli and Palestinian documentary ‘No Other Land’ wins Oscar. Video: Democracy Now!

Article by AsiaPacificReport.nz

A West Papuan advocacy group is calling for an urgent international inquiry into allegations that Indonesian security forces have used the chemical weapon white phosphorus against West Papuans for a second time.

The allegations were made in the new documentary, Frontier War, by Paradise Broadcasting.

In the film, West Papuan civilians give testimony about a number of children dying from sickness in the months folllowing the 2021 Kiwirok attack.

They say that “poisoning . . . occurred due to the bombings”, that “they throw the bomb and . . .  chemicals come through the mouth”, said United Liberation Movement for West Papua (ULMWP) interim president Benny Wenda.

They add that this was “the first time they’re throwing people up are not dying, but between one month later or two months later”, he said in a statement.

Bombings produced big “clouds of dust” and infants suffering the effects could not stop coughing up blood.

“White phosphorus is an evil weapon, even when used against combatants. It burns through skin and flesh and causes heart and liver failure,” said Wenda.

‘Crimes against defenceless civilians’
“But Indonesia is committing these crimes against humanity against defenceless civilians, elders, women and children.

“Thousands of Papuans in the border region were forced from their villages by these attacks, adding to the over 85,000 who are still internally displaced by militarisation.”

Indonesia previously used white phosphorus in Nduga in December 2018.

Journalists uncovered that victims were suffering deep burns down to the bone, typical with that weapon, as well as photographing yellow tipped bombs which military sources confirmed “appear to be incendiary or white phosphorus”.

The same yellow-tipped explosives were discovered in Kiwirok, and the fins from the recovered munitions are consistent with white phosphorus.

“As usual, Indonesia lied about using white phosphorus in Nduga,” said Wenda.

“They have also lied about even the existence of the Kiwirok attack — an operation that led to the deaths of over 300 men, women, and children.

“They lie, lie, lie.”

Frontier War/ Inside the West Papua Liberation Army    Video: Paradise Broadcasting

Proof needed after ‘opening up’
Wenda said the movement would not be able to obtain proof of these attacks — “of the atrocities being perpetrated daily against my people” — until Indonesia opened West Papua to the “eyes of the world”.

“West Papua is a prison island: no journalists, NGOs, or aid organisations are allowed to operate there. Even the UN is totally banned,” Wenda said.

Indonesia’s entire strategy in West Papua is secrecy. Their crimes have been hidden from the world for decades, through a combination of internet blackouts, repression of domestic journalists, and refusal of access to international media.”

Wenda said Indonesia must urgently facilitate the long-delayed UN Human Rights visit to West Papua, and allow journalists and NGOs to operate there without fear of imprisonment or repression.

“The MSG [Melanesian Spearhead Group], PIF [Pacific Islands Forum] and the OACPS [Organisation of African, Caribbean and Pacific States] must again increase the pressure on Indonesia to allow a UN visit,” he said.
“The fake amnesty proposed by [President] Prabowo Subianto is contradictory as it does not also include a UN visit. Even if 10, 20 activists are released, our right to political expression is totally banned.”

Wenda said that Indonesia must ultimately “open their eyes” to the only long-term solution in West Papua — self-determination through an independence referendum.

Article by AsiaPacificReport.nz

Asia Pacific Report

A new documentary and human rights report have documented savage attacks in 2021 by Indonesian security forces on a remote West Papuan village close to the Papua New Guinea border as part of an ongoing crackdown against growing calls for independence.

The documentary, Paradise Bombed, and the research report made public yesterday allege that six Papuan villagers were killed in the initial attacks, a further seven were killed later when fleeing to safety, and 284 people were recorded by witnesses to have died from starvation in the months since then.

The researchers also allege that the security forces used bombs and rockets fired by helicopters and drones in the Indonesian attacks.

An estimated 2000 people were forced to flee into the forest and have remained in bush camps ever since, fearful of returning to their homes.

“From 10 October 2021, there have been ongoing attacks on the Ngalum Kupel
community by the Indonesian National Armed Forces,” said the researchers, documentary filmmaker Kristo Langker, and Matthew Jamieson of the PNG Trust.

“The continued aggravated attacks by Indonesian military forces and apparent complicity of Indonesian authorities have profoundly impacted on the community [until] July 2023.

“The Ngalum Kupel people have evidence that the Indonesian National Armed
Forces are targeting the whole of the Ngalum Kupel community with modified Krusik
mortars and Thales FZ 68 rockets.”

Targeted villages
The military aerial attacks were reported to have targeted a series of villages which
are adjacent north and northwest of Kiwirok, the regional and administrative centre.
This includes the Kiwi Mission station.

Four community members of the Nek-speaking Ngalum Kupel ethnic tribe were eyewitnesses to the airborne rocket and bombing attacks on their villages around Kiwirok.

“They described a drone dropping bombs together with four or five helicopters firing rockets at houses, food gardens, pigs and chickens,” the report said.

The witnesses named the dead victims and the displaced survivors.

“The witnesses collected shrapnel and bombs from the initial series of attacks,
bringing this evidence to Tumolbil in PNG,” the report said.

“The shrapnel and bombs collected indicate that Thales FZ 68 rockets and modified Krusik mortars were used as the munitions in the military aerial attacks. The witness accounts detail the Indonesian military forces using a drone/UAV armed with modified Krusik mortars, Thales rocket FZ 68 weapon systems and military attack helicopters against an Indigenous community.”

The report authors concluded that the Indonesia National Armed Forces — which were
understood to be equipped with Airbus Fennec attack helicopters and Thales
rockets systems — were “likely responsible for the helicopter components of the attacks.”

Wenda praises researchers
United Liberation Movement for West Papua (ULMWP) president Benny Wenda has praised the researcher and documentary maker in a statement yesterday:

“These courageous filmmakers, Kristo Langker and friendlyjordies, have shown how bombs made in Serbia, France, and China were used to massacre my people. What happened in Kiwirok is happening across West Papua.

“We are murdered, tortured, and raped, and then our land is stolen for resource extraction and corporate profit when we flee.

“My heart was crying as I watched this documentary, as I was reminded of the Indonesian attack on my village in 1977. My early life was like the Kiwirok children shown in the film: my village was bombed, my family killed and brutalised, and we were forced to live in the bush for five years.

“The difference is that in 1977 no one was there with a camera to interview me — no one knows what happened to my mum, my aunt, my grandfather. But now we have video proof, and no one can deny the evidence of their own eyes.

“Aside from the number of Kiwirok people killed by Indonesian troops — ranging between 21 and 72 — witnesses from the village say that hundreds have died of starvation while living in the bush, where they lack food, water, and adequate medical supplies.

“Villagers attempting to return to Kiwirok have been attacked by Indonesian soldiers – shot at close range, with sniper rifles, and tortured. The names of Kiwirok residents are now added to the 60,000 — 100,000 who have been forcibly displaced by Indonesian militarisation since 2018.

“The international community knows this is a grave humanitarian crisis, and yet still refuses to act. Why?

“I want to alert all our diplomatic groups, the International Parliamentarians for West Papua (IPWP), the International Lawyers for West Papua (ILWP), and all West Papuan solidarity activists around the world. You must ask your governments to address this, to stop selling arms to Indonesia.

“I also want to thank Kristo Langker and friendlyjordies for making this important documentary, and to Matthew Jamieson for producing the report on the attack. You have borne witness to the hidden genocide of my people.

When we are finally independent, your names will be written in our history.”

There has been no immediate response by Indonesian authorities.

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

Every journalist that “outs” a conspiracy theorist or extremist paints a target on their own back.

The anti-truth brigade thrives in dark places and shining a light on it and its associates is doing a public service. Yet it comes at a cost.

The tone of abuse that it generates is even darker than the places from which it emanates. New Zealand journalists — particularly female journalists — are being subjected to taunts and threats on an unprecedented scale and in forms that are deeply disturbing.

Paula Penfold of the Stuff Circuit team that produced the documentary Fire and Fury, which unmasked many of those behind the February-March protest in Parliament grounds, revealed in the Sunday Star Times last weekend that since its appearance she has been targeted with death threats, abuse “and, unsurprisingly, conspiracy theories”.

She told the newspaper: “I’ve had lots before but never as many or as ugly or as threatening than after this documentary.”

Penfold’s situation was outlined in an article about the abuse three female Stuff journalists had endured for doing their jobs. Alongside Penfold were Kirsty Johnston, who revealed MP Sam Uffindell’s record at King’s College, and Andrea Vance, currently revealing the anti- brigade’s associations with local body candidates.

“You can’t fight crazy,” Vance told the SST. “It’s exhausting. Half their tactics are to tie you up in pointless circular arguments but if people honestly think we’re being paid by the government they’re not well.”

Attitude about media
Her latter point was a reference to an all-too-popular suggestion that the media en masse had been suborned by the Public Interest Journalism Fund. Anyone who thinks New Zealand’s media can be instantly brought to heel by $55 million spread among all of them over a period of four years is, indeed, not well.

Then again, the attitude toward journalists is “not well” either.

I felt immensely saddened to see this quote from Kirsty Johnston about the spread of trolling and abuse: “All reporters know it. They go to parties and don’t say what they do.”

When I was young, the only people who had that attitude were undertakers and the people who worked in the local VD clinic. We were proud to say we were journalists, reporters, photographers, sub-editors and so on.

Our broadcasting colleagues were equally open about their profession.

What went wrong, and when?

Fire and Fury – the documentary                      Video: Stuff Circuit

It has been a long time since the public put journalists on a pedestal. Correct me if I’m wrong, but I believe the last statue to a journalist in Auckland was erected in 1901 (remembering George M Reed and still standing in Albert Park).

Slow decline
There was a slow decline over the years but in the 40 years I spent in daily journalism I never felt despised. Yes, I received two death threats in that time but the first was written in crayon and the second wasn’t aimed only at me, or even only at journalists (which was why it was reported to the police). What journalists are now experiencing is either something new or something old harnessed to something new.

I think it may well be the latter. The old component is anarchy and the new is digital communication. Together they are dynamite (excuse the pun).

Anarchy is basically the repudiation of existing systems of government and ordered society, represented by institutions such as Parliament and the media (the latter is seen as the mouthpiece of politicians). In the past it had a capital A and was an intellectual breeding grounds for socialism, communism, and other then-radical politics.

However, even then, it had its hangers-on who were drawn to its sometimes-violent rhetoric with little understanding or interest in its philosophy. The crazy bombers and assassins were seldom actually card-carrying members of an anarchist body.

Today, anarchy has a small a. We use the term to denote disorder and disarray. And it underlies much of the anti-this and anti-that ranting that permeates social media.

Put simply, there are people out there who want to see the institutions of civil society brought down. They have no clear idea what should replace it and they don’t care. In a way, they are calling for destruction for its own sake. That is at the core of conspiracy theories.

Social media has become the new explosive. Much easier to come by than volatile nitro-glycerine or the “safer” dynamite, it can carry a destructive force over a far greater distance.

Digital bomb-throwers
The digital bomb-throwers use it in two ways. The first is by undermining truth, which casts doubt over the legitimacy of institutions. The second is by discrediting those who represent those institutions. They reserve special attention, however, for those who would presume to unmask, undermine and discredit them.

So, it came as no surprise that the verbal attacks on journalists rose to a new pitch after the appearance of Fire and Fury on the Stuff website and the series of revelations about local body candidates’ undisclosed affiliations with groups that spread conspiracy theories.

The crescendo of hate requires fortitude on the part of the journalists exposing conspiracy theorists and other bad agents. They can take some comfort from the fact that media organisations take seriously their duty of care toward staff — and freelancers — facing threats.

RNZ chief executive Paul Thompson told me the abuse was taking its toll.

“We have responded with improved security and health and safety planning, at our offices and in the field. We also have set up improved process for dealing with inappropriate and abusive feedback and social media. There are things we can do to mitigate the effects of the abuse but we cannot reduce the impact or risk to zero.”

Television New Zealand’s head of news, Phil O’Sullivan, is similarly conscious of the risks and effects.

“TVNZ has not made any changes to security arrangements due to recent incidents. But we have many existing safety precautions for reporters in place. Depending on the story, this can include traveling with extra security when covering certain events, reporting from safe locations and from a distance if a situation feels volatile and using technology solutions – for example drone footage, or footage recorded on mobile phones rather than a camera set up where needed.

“We have a responsibility to report on all the stories impacting New Zealanders — but ultimately, we need to do that in a safe way. At the forefront of this is the wellbeing and safety of our people and we have a number of measures in place to support this.”

Probing anti-fact organisations
He makes an important point: Media organisations must not let these diatribes and threats stay their hands. Investigation into anti-fact and extremist organisations and individuals must continue and are no more important than during election periods, be they local or national.

There is, however, a caveat. Journalists who call out conspiracy theorists and latter-day anarchists also have a duty of care. They have a duty to ensure they have the facts and that what they say is fair.

Last Saturday, the Wairarapa Times-Age investigated “local government candidates with controversial links” under the heading “Who is pulling the strings?” It “outed” a mayoral candidate, Tina Nixon, saying she “had been promoted by conspiracy website Resistance.Kiwi” and on Facebook had followed people associated with far-right groups.

Its source was FACT Aotearoa, a group that exposes conspiracy theorists.

However, the newspaper did not make direct contact with Nixon (it left an email saying she had two hours to respond but she did not see it within the required timeframe). Her only link with Resistance.Kiwi had been in giving them permission — along with several other websites — to reprint her submission on the 3 Waters proposals.

Like many of us, she follows hundreds of websites and social media users but does not support what many of them say. FACT Aotearoa offered Nixon an apology, saying there appeared to be a “miscommunication” with the Wairarapa Times-Age. In my view, the newspaper failed her and electors by not substantiating information.

There is potential here for witch-hunting or, as my former colleague Fran O’Sullivan put it on social media when calling out the mistake, McCarthyism.

In addition to fact-checking, media should give their targets an opportunity to explain their position before a decision is made to publish or broadcast. Tina Nixon is an object lesson.

There is a further reason why media must take great care in “outing” conspiracy theorists and extremists. Get one wrong and it might be seen as an unfortunate error. Get more wrong and the conspiracy theorists and extremists will say gleefully (and, irritatingly, with a very small amount of justification) that the media can’t be believed.

Dr Gavin Ellis holds a PhD in political studies. He is a media consultant and researcher. A former editor-in-chief of The New Zealand Herald, he has a background in journalism and communications — covering both editorial and management roles — that spans more than half a century. Dr Ellis publishes a website called Knightly Views where this commentary was first published and it is republished by Asia Pacific Report with permission.

Article by AsiaPacificReport.nz

The ABC has soundly condemned the Solomon Islands Office of the Prime Minister for a series of “factual errors” in a statement released which criticised the Four Corners investigative report Pacific Capture: How Chinese money is buying the Solomons.

In a rare statement defending its independent journalism, it said today the ABC “stood by the accuracy and integrity” of the reporting in this programme.

It said about the programme broadcast on August 4:

The ABC wishes to correct the following factual errors in the press release issued by the Solomon Islands Office of the Prime Minister and Cabinet regarding the Four Corners report Pacific Capture, which examined the impact of China’s growing presence across Solomon Islands.

At no point did the program rely on “misinformation and distribution of pre-conceived prejudicial information”.

It was not our intention to “cause division between the governments of Australia and Solomon Islands”, rather to highlight issues of concern to all Solomon Islanders.

We completely reject the offensive notion of “racial profiling that is bordering racism and race stereotyping”. In fact, we were determined to tell the story from the perspective of Solomon Islanders and the program reflected their concerns. Its main interviews were with two eminent Solomon Islanders, rather than relying on “foreign experts” as is often the case. The ABC rejects the idea that we were “putting words into the mouths of the interviewees” and sees this as insulting to the Solomon Islanders who appeared in the program.

On the issue of Kolombangara, the ABC did not say that the “shareholders have made a decision to sell off the company to a Chinese firm”. Rather, the program accurately reported that the issue had been discussed at board level and that the Australian directors were so concerned about a potential sale to a Chinese state-owned company that they twice wrote to the Federal Government expressing concerns that the purchase could be used by Beijing to establish a base under the cover of a commercial enterprise. Foreign Minister Penny Wong’s office confirmed it was aware of the issue. Her office has also not ruled out intervening. The ABC also notes that the plantation on Kolombangara is owned 85 per cent by the Nien Family of Taiwan and 15 percent by the government of the Solomon Islands, not the 60/40 split claimed in the press release.

It is incorrect to claim that the program did not acknowledge that Prime Minister Manasseh Sogavare “repeatedly reaffirmed to Solomon Islanders and the Pacific region that there will be no military or naval base in Solomon Islands”.

The program said: “At a meeting in Fiji, Sogavare assured the new Australian Prime Minister Anthony Albanese that Beijing won’t be allowed to establish a military base in the Solomons.” It went on to say that one of the main concerns was that a commercial enterprise controlled by Beijing could one day be used to house military assets.

The ABC stands by the accuracy and integrity of the reporting in this program.

Article by AsiaPacificReport.nz

Why did criticism of a modest sum spent on a single mini-documentary made two years ago suddenly spring up in the news in two national networks this week — and then disappear?

“I’m just so sick of everything getting taxpayer money for these projects. Why can’t people just pay out of their own pocket?” Newstalk ZB deputy political editor Jason Walls asked on air last Tuesday.

“I just keep seeing these things crop up time and time again, when we have hospitals overwhelmed. Twenty thousand dollars is not tons of money in the grand scheme of things, [but] that sort of stuff keeps adding up,” he added, noting Three’s latest Masterchef series aired and screened without draining the public purse.

More public money than ever is being spent on media content these days — and the spending does deserve scrutiny.

But the single project that triggered his concern this week was not a costly one — or especially newsworthy.

Siouxsie and the Virus is a short online video shot in March 2020 and it has been online for almost two years now, with its sources of public funding noted at the end. It snapshots Dr Siouxsie Wiles’ life in “fly-on-the wall”-style as New Zealand went into Level 4 lockdown.

It was made for the online platform Loading Docs which describes itself as “a launchpad for New Zealand documentary shorts.”

Enables short documentaries
It enables local makers to produce short documentaries which are then available to other media outlets. It is backed by the NZ Film Commission, the government broadcasting funding agency NZ On Air and Māori broadcasting funding agent Te Māngai Pāho.

Walls’ objections were rushed out as a news story online by Newstalk ZB and its sister paper The New Zealand Herald. The stories were shared on social media with the claim “the amount spent has left some gobsmacked.”

“Would you pay $20,000 for a documentary about ‘science superhero’ Dr Siouxsie Wiles? Because you already did,”  the Herald’s story began.

On the air Walls had referred to $20,000 of Film Commission funding but said he wasn’t sure how Siouxsie and the Virus had been funded.

It turned out that sum relates to a different project yet to be made.

Loading Docs producer Julia Parnell told Mediawatch that Loading Docs provided $6000 in production finance and $2000 towards the post-production for Siouxsie and the Virus.

The funding model requires filmmakers to raise other funds themselves via crowdfunding.

Parnell told Mediawatch that Siouxsie and the Virus raised $7685 through the crowdfunding platform “Boosted”.

Boosted by The Herald
Ironically the mini-doco was also boosted by The New Zealand Herald back in 2020.

“It was launched in partnership with The New Zealand Herald on their platform, along with a high-profile story in [Weekend Herald supplement] Canvas. It then went on our platform, TVNZ On Demand, RNZ, PlayStuff and The Spinoff. It has had over 200,000 views and it has been so appreciated by audiences,” Parnell told Mediawatch.

Initially the director, Gwen Isaac, was funded to make a completely different film about a Kiwi MMA fighter in Japan.

“When the covid lockdown happened, we had to pivot and find something else. The director was able to get that access (to Dr Wiles) in that week prior to covid. It was a society-changing moment and we were able to capture it. I’m very proud of that,” Parnell told Mediawatch.

“Loading Docs has a platform-agnostic approach which means that more New Zealanders can connect with our work and the work of our documentary makers,” she said.

On social media, Dr Wiles pointed out on Thursday she made nothing from the mini-doco, and $20,000 would have cost each New Zealanders about half a cent.

She also pointed out NZME — the owner of Newstalk ZB and The Herald  – received $9 million in covid wage subsidy in 2020 that would have taken $2.25 out of the pocket of every Kiwi.

LOL I just found out how much taxpayer money NZME who owns the NZ Herald and Newstalk ZB got in the first half of 2020. $8.6 MILLION! If you are a taxpayer, that’s $2.23 you paid. Oh, and their net PROFITS after tax rose by $1 million to $7.8 MILLION. https://t.co/pq6WhvnXyO pic.twitter.com/kOxQk0v5yM

— Dr Siouxsie Wiles (@SiouxsieW) July 21, 2022

Wage subsidies repaid
Some media companies  — including Stuff and The Spinoff – repaid wages subsidies received in that year when business subsequently stabilised.

NZME has not, even after profits and revenue increased in 2021.

NZME CEO Michael Boggs told Mediawatch in April they used the wage subsidy for the intended purpose of retaining jobs and NZME declined the second tranche of wage subsidy when it was on offer.

Dr Wiles’ observations would have been relevant additions to The Herald and ZB online news stories highlighting the “gobsmacking” Film Commission funding decision, but by this time anyone who went looking for that would only find that those stories were not online anymore.

The Herald‘s link yields an error message that says, “Oops, looks like a dead end”.

The stories have been scrubbed from The Herald and ZB social media feeds without explanation.

Thanks @MediawatchNZ for looking into the dangerous hitjob Newstalk ZB and NZ Herald did on me last week. This was never about asking questions about the use of taxpayer funds. I honestly believe it was about stoking outrage, attacking the arts, & undermining & harming me. https://t.co/SdwWwF90z1

— Dr Siouxsie Wiles (@SiouxsieW) July 23, 2022

First funding questioning
Loading Docs’ Parnell said this was the first time the funding of any production had been questioned in the media.

But it’s not the first time ZB’s Walls has criticised public spending on media content.

Last year he labelled a range of arts projects bankrolled with covid recovery funds “a smorgasbord of abject waste” under the headline: Not a single cent more for podcasts, poetry and picture books in the name of ‘covid recovery.’ He wrote:

“It’s easy to take aim at the Creative NZ funding and to poke holes in what the government’s decided to fund through its $55m Public Interest Journalism Fund.”

Last year NZME secured up to $2995,702 from the PIJF to employ 15 reporters “to fill gaps in court reporting” in 11 of its publications — as well as two national reporting roles.

In 2020 — the year Siouxsie and the Virus was made — the PIJF allocated up to $200,280 to NZME for “a kaupapa editor and an audio innovation editor to improve access to news for blind and low vision New Zealanders.”

NZME also received up to $940,188 over two years “to retain reporting roles in its free community newspapers across Rotorua, Napier, Hastings, Whanganui, Manawatū, Taupō, Horowhenua, and Kapiti.”

More funding
An interactive NZME project exploring “how and when land became part of the Pākehā property system in Aotearoa New Zealand” got a further $80,500.

And just this month, the PIJF fund announced $255,000 of taxpayers money for a Herald series called Unraveling Anxiety.

This is based on a series of videos for The Herald’s website showing how people from different cultural backgrounds coped with anxiety disorders during covid-19 lockdowns and after.

It’s the kind of idea you might expect to find on a platform like Loading Docs, but so far The Herald and ZB have not aired any views on whether that is unjustifiably draining money from the public purse at a time of stress in our hospitals.

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

Watch Siouxsie and the Virus on YouTube

Article by AsiaPacificReport.nz

Former Timor-Leste President Xanana Gusmão today lamented the death of journalist and filmmaker Max Stahl, recalling that his work had “changed the fate of the nation”.

In a letter sent to his widow Dr Ingrid Brucens, Gusmão, chief negotiator over East Timor’s maritime borders, said Stahl’s footage of the 1991 Santa Cruz massacre “exposed the repression and brutality of the Indonesian occupation” for 24 years.

His work was an archival history the country — a legacy for the Timorese nation.

“Few people have managed to make such a significant contribution to the nation,” Gusmão said.

He said Stahl was “loved by the Timorese” and that the country was “in mourning”.

Max Stahl died in Brisbane hospital early yesterday after a long illness.

The journalist was decorated by the state with the Order of Timor-Leste and the National Parliament awarded him Timorese nationality in 2019.

Born Christopher Wenner, but better known as Max Stahl, he began his commitment to East Timor on 30 August 1991 when he entered the country disguised as a tourist to film a documentary for ITV in Britain, In Cold Blood: The Massacre of East Timor.

He interviewed several resistance leaders and left because of his visa. However, he returned and secretly filmed the Santa Cruz graveyard massacre on November 12 that year.

The Portuguese government also highlighted Stahl’s “key role” in the “East Timor fight for self-determination”.

“Max Stahl played a key role in East Timor’s struggle for self-determination. Our condolences to the family, friends, and also to the Timorese people, who today lose a person who made an invaluable contribution to their history,” said the Foreign Affairs Ministry.

Article by AsiaPacificReport.nz

By Antonio Sampaio in Dili

Filmmaker and journalist Max Stahl, 66, has died after almost 30 years capturing images of the Indonesian massacre at Santa Cruz cemetery in the Timor-Leste capital Dili, which helped accelerate the country’s struggle for independence.

By coincidence, he died on the same day in 1991 as Sebastião Gomes, the young man who was buried in Santa Cruz and whose death led to the protest that ended in the Santa Cruz Massacre.

More than 2000 people went to Santa Cruz to pay tribute to Gomes, who was killed by Indonesian-backed militia in the Motael neighborhood.

The atrocity by the Indonesian military was secretly filmed by Max Stahl and footage smuggled out of the country. International attention on East Timor dramatically changed as a result.

At the graveyard, the Indonesian military opened fire on the crowd, killing 74 people at the scene. Over the next few days, more than 120 young people died in hospital from their wounds or as a result of the crackdown by occupying forces.

Most bodies were never recovered.

Born on 6 December 1954 in the United Kingdom, journalist and documentary maker Christopher Wenner, better known as Max Stahl, began his ties to the country in 1991 when he managed to enter East Timor for the first time.

He became a Timorese citizen in 2019.

Hiding among the graves
On November 12, hiding among the graves of Santa Cruz cemetery, he filmed the massacre — one of many during the Indonesian occupation of the country. Images were circulated  around the world’s media and this changed history.

Decorated with the Order of Timor-Leste, the highest award given to foreign citizens in the country, the Rory Peck Prize for filmmakers, and several other rewards, Max Stahl leaves as a legacy the main archives of images from the last years of the Indonesian occupation of the country.

The Max Stahl Audiovisual Center in Timor-Lete (CAMSTL) contains thousands of hours of video documentary, including extended interviews with key actors in the Timorese struggle for independence.

The archive was adopted by UNESCO for the World Memory Register and has been used for teaching and research on Timor’s history under the framework of cooperation between the University of Coimbra, the National University of East Timor and CAMSTL.

The original 1991 Dili massacre footage by Max Stahl. Video: Journeyman Pictures

Stahl studied literature at the University of Oxford and he was a fluent speaker of several languages, including the two official languages of East Timor — Portuguese and Tetum.

He began his career writing for theatre and children’s television shows. However, he found his calling as a war correspondent when he lived with his family. At the time his father was ambassador to El Salvador where Stahl reported on the civil war between 1979 and 1992.

Stahl covered other conflicts such as those of Georgia, former Yugoslavia and East Timor (from 30 August 1991), where he arrived as a “tourist” at the invitation of resistance groups.

“The king is dead. With great sadness, I write to inform you that Max passed away this morning.”

— Max Stahl’s wife Dr Ingrid Brucens

Historic resistance leaders
Throughout his long ties to East Timor, where he lived until he had to travel recently to Australia for medical treatment, he interviewed historic resistance leaders such as Nino Konis Santa, David Alex and others.

Santa Cruz and the 12 November 1991 massacre made the name Max Stahl known internationally with his images exposing the barbarism of the Indonesian occupation.

In Portugal, the images made a special impact — both through the brutality of the violence portrayed and because the survivors gathered in the small chapel of Santa Cruz, praying in Portuguese while listening to the bullets being fired by the Indonesian military and police.

The 1999 referendum prompted Max Stahl to return to East Timor when he covered the violence before the referendum and after the announcement of independence victory. He also accompanied families on the flight to the mountains.

News of Max Stahl’s death on Wednesday at a Brisbane hospital quickly became the most commented subject on social media in East Timor, prompting condolences from several personalities during the struggle for independence.

In statements to Lusa news agency, former President José Ramos-Horta described Max Stahl’s death as a “great loss” to Timor-Leste and the world. He said it would cause “deep consternation and pain” to the Timorese people.

“Someone like Max, with a big heart, with a great dedication and love for East Timor … [has been] taken to another world,” he told Lusa.

Dr Ingrid Brucens, Max Stahl’s wife, and who was with him and the children in Brisbane, announced his death to friends.

“The king is dead. With great sadness, I write to inform you that Max passed away this morning,” she wrote in messages to friends.

Antonio Sampaio is the Lusa correspondent in Dili.

CAMSTL video tribute
This video below is the  CAMSTL team’s tribute to the memory of Stahl, who had dedicated 30 years of his life to the people of Timor-Leste. CAMSTL colleagues said on their Facebook page:

“The images and testimonies recorded by the journalist in the 1990s alerted the world to the serious human rights violations taking place in Timorese territory.

“From then on, the country’s independence restoration process gained momentum.

“Today, the journalist’s heroic trajectory ends on the earthly plane, but his legacy will continue to live on in the large archive created and directed by him, the Centro Audiovisual Max Stahl Timor-Leste.

“Dear Max. We will always be together with you in preserving the memory of the resistance struggle and the construction of the Timorese nation.

“We would like to thank Max’s friend José Ramos-Horta — Nobel Peace Prize and Former President of the Republic– for participating in this video.”

Article by AsiaPacificReport.nz

Asia Pacific Report newsdesk

The documentary Loimata, The Sweetest Tears has won the Grand Prix du Jury at Tahiti’s FIFO (Festival International du Film Documentaire Océanien).

Produced and written by senior lecturer in communication studies Jim Marbrook at Auckland University of Technology and his sister Anna Marbrook (who directed the film), it debuted at Whānau Mārama: New Zealand International Film Festival 2020, where it received outstanding reviews and box office sell-outs.

The documentary also made the stuff.co.nz top 10 films of 2020 list. AUT students formed part of the crew for some of the Auckland portions of the shoot.

At the prizegiving ceremony, jury member Julia Overton, a leading figure in Australian film and television, described Loimata as “a film that was really well directed . . . on an
important subject: childhood trauma”.

She added: “Our congratulations to the whole team who presented this family’s story with so much compassion.”

Jury member Doc Edge director Alex Lee said: “The film’s narrative is superbly told, giving us a personal connection with the subject, Ema. We are taken into her world where she confronts issues of culture, family, the tradition of wayfaring, sexual abuse, identity, life and death.

“While her mortality is urgent and pressing, the film enables us to pause and reflect as Ema navigates these issue. This is an excellent example of skilled filmmaking and a feature-length theatrical Pasifika documentary which the world needs to view, indicative of the treasure trove of content of our region rarely seen and funded internationally.”

Healing pathway
Director/producer Anna Marbrook said: “We are so thrilled and honoured to be among such an amazing selection of films in competition. This award is a tribute to the protagonist of the film Lilo Ema Siope and her dedication in forging a healing pathway for her extraordinary family – a pathway deeply rooted in her culture, history and philosophy.

“Tahiti is hugely significant in voyaging kaupapa so to win an award there dignifies both our film and Ema’s legacy as a voyaging captain and waka builder.”

Producer Jim Marbrook said: “This is another vital stepping stone that helps us take our film out into the world and also deeper into the Pacific region. We set out to make a documentary that was both cinematic and intimate and the reactions to the screenings and this prize have vindicated our creative choices.

“It was a complex movie to produce because the material was so sensitive.”

Loimata had its television debut on Waitangi Day on Māori Television and is available to watch on their on demand website for the next two months.

Loimata, The Sweetest Tears takes the viewer on an emotional healing journey with extraordinary ocean-going waka captain, Lilo Ema Siope.

The film is an intimate exploration of a family shattered by shame working courageously to liberate themselves from the shackles of the past. A journey of courage, tears, laughter and above all, unconditional love.

Article by AsiaPacificReport.nz