Notes
1. Cinematographer Norm Li described the planning and execution of the film’s “real time" effect in an interview published in the October 2019 issue of Canadian Cinematographer (available online at http://www1.csc.ca/publications/
2019/201910/IssueWeb201910.pdf).[return to page 1]
1a. For instance, Waru directors Ainsley Gardiner (whose long take, “Mihi,” I discuss in-depth below) and Chelsea Winstanley are producers of theeagerly anticipated dystopian feature, Night Raiders, a Canada-Aotearoa New Zealand Indigenous co-production written and directed by Cree/Métis filmmaker Danis Goulet in which Tailfeathers stars and Nelson plays a supporting role.
2. In the wake of Waru’s commercial and critical successes, Warkia and McNaughton developed a second feature film project, Vai (2019), based on the Waru model, but in Vai, each of the eight long takes are set in a different Pacific nation and the directors are eight Pasifika women (see https://www.nzfilm.co.nz/films/vai). The recently announced RED follows the Waru pattern as well but with a focus on Western Australian Indigenous directors who will tell stories related to missing Indigenous women (see https://www.if.com.au/eight-female-indigenous-writer-directors-selected-for-anthology-feature-red/).
5. Bayley Moor, “Far North Film-makers Contribute to Acclaimed Waru," Stuff 4 October 2017. https://www.stuff.co.nz/auckland/local-news/northland/
97529287/far-north-filmmakers-contribute-to-acclaimed-waru.
6. Mark Kermode, “Waru review – death, guilt and Māori life lessons in eight acts,” The Guardian 11 November 2018, https://www.theguardian.com/film/2018/nov/11/waru-review-maori-drama-mark-kermode.
7. The film was produced for a modest budget of NZ$215,000 (approximately US$150,000).
8. Miriam Ross and I (with the help of our film students) organized a screening of Waru and Vai at Victoria University of Wellington, which took place in October 2019 (https://www.wgtn.ac.nz/seftms/about/events/waru-and-vaidouble-screening). A roundtable discussion followed the screenings, and Warkia and McNaughton described the pre-production retreat during that discussion; a video recording of the roundtable is available through Vimeo: https://vimeo.com/463205124.
9. Kath Akuhata-Brown, “The women of Waru: 'We get shit done,'” The Spinoff 11 October 2017. https://thespinoff.co.nz/atea/11-10-2017/
the-women-of-waru-we-get-shit-done/.
10. Sturge and Lee perform these same production roles for Warkia and McNaughton’s anthology Vai.
11. For example, Deborah Young’s complimentary review is subtitled “A highly original structure contributes to a suspenseful film," (Deborah Young, “Waru: Film Review TIFF,” The Hollywood Reporter 12 September 2017.https://www.hollywoodreporter.com/review/waru-review-1038248).
12. NZ has the “7th highest rate of child homicide in the OECD," and roughly 50% of child homicide victims with known perpetrators are killed by their mothers or fathers.
(https://www.childmatters.org.nz/insights/nz-statistics/).
14. For example, prior to Waru Briar Grace-Smith (director of Shot 1: “Charm’) primarily had writing credits in theater, film and television, while Casey Kaa (director of Shot 2: “Anahera") had worked as a production coordinator for a television series eight years before Waru’s debut.
16. Lyra H., “TIFF 2017 Women Directors: Meet Ainsley Gardiner – Waru,” 11 September 2017, https://womenandhollywood.com/tiff-2017-women-directors-meet-ainsley-gardiner-waru-d8c5edda8767/?source=rss----eb0b08436136---4.
17. James Croot, “Waru: The nine female Māori filmmakers united in their passion to start a conversation,” 22 October 2017, https://www.stuff.co.nz/entertainment/film/98027844/waru-the-nine-female-maori-filmmakers-united-in-their-passion-to-start-a-conversation.
18. Ros Kinsman, “She’s Come Undone: Chantal Akerman’s Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles (1975) and Countercinema.” Quarterly review of film and video 24, no. 3 (April 17, 2007): 217–224.
20. A New Zealander of non-Māori descent.
21. Cheryl Suzack, “Indigenous feminisms in Canada.” NORA-Nordic Journal of Feminist and Gender Research 23, no. 4 (2015): 261-274. [return to page 2]
22. Lyra H., “TIFF 2017 Women Directors: Meet Ainsley Gardiner – Waru,” 11 September 2017, https://womenandhollywood.com/tiff-2017-women-directors-meet-ainsley-gardiner-waru-d8c5edda8767/?source=rss----eb0b08436136---4.
23. Deborah Young, “Waru: Film Review TIFF,” The Hollywood Reporter 12 September 2017.https://www.hollywoodreporter.com/review/waru-review-1038248.
24. “Katie Wolfe,” NZ On Screen, https://www.nzonscreen.com/profile/katie-wolfe/awards.
25. James Croot, “Waru: The nine female Māori filmmakers united in their passion to start a conversation,” 22 October 2017, https://www.stuff.co.nz/entertainment/film/98027844/waru-the-nine-female-maori-filmmakers-united-in-their-passion-to-start-a-conversation.
26. James Croot, “Waru: The nine female Māori filmmakers united in their passion to start a conversation,” 22 October 2017, https://www.stuff.co.nz/entertainment/film/98027844/waru-the-nine-female-maori-filmmakers-united-in-their-passion-to-start-a-conversation.
27. Janet Bergstrom, “Keeping a Distance: Chantal Akerman’s Jeanne Dielman,” November 1999 issue, updated 15 October 2015.
https://www2.bfi.org.uk/news-opinion/sight-sound-magazine/
features/keeping-distance-chantal-akerman-s-jeanne-dielman
28. For example, Padoa, Tricia, David Berle, and Lynette Roberts, “Comparative social media use and the mental health of mothers with high levels of perfectionism,” Journal of Social and Clinical Psychology 37, no. 7 (2018): 514-535.
29. James Croot, “Waru: The nine female Māori filmmakers united in their passion to start a conversation,” 22 October 2017, https://www.stuff.co.nz/entertainment/film/98027844/waru-the-nine-female-maori-filmmakers-united-in-their-passion-to-start-a-conversation.
30. Robin Bourgeois, “Indigenous Women and Feminism: Politics, Activism, and Culture,” University of Toronto Press, January 1, 2014: 154. [return to page 3]
31. Robert Sullivan, “In The Body Remembers When the World Broke Open, Two Woman Grapple With Trauma and the Past,” Vogue 5 December 2019. https://www.vogue.com/article/the-body-remembers-when-the-world-broke-open-interview.
32. Brian Henderson, “The Long Take.” Film Comment 7.2 (1971): 6-11.
34. Mette Hjort, Lone Scherfig’s Italian for Beginners. University of Washington Press, 2011: 48.
35. Canadian Cinematographer October 2019. https://www.csc.ca/magazine/.
36. Karen Han, “Ava DuVernay brings a moving “single-shot" film to Netflix,” Polygon 29 November 2019, https://www.polygon.com/2019/
11/29/20986142/the-body-remembers-when-the-world-broke-open-review-netflix-ava-duvernay.
38. Billy-Ray Belcourt, “The body remembers when the world broke open,” 8 February 2017, ArtsEverywhere. https://artseverywhere.ca/2017/02/08/body-remembers-world-broke-open/.
-the-world-broke-open-interview.
40. “Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles,”
Camera Obscura 1 September 1977; 1 (2 (2): 115–121. doi: https://doi-org.helicon.vuw.ac.nz/10.1215/02705346-1-2_2-115
41. Shari Huhndorf and Cheryl Suzack, “Indigenous Feminism: Theorizing the Issues,” Indigenous Women and Feminism: Politics, Activism, and Culture. Edited by Suzack et al. University of British Columbia Press, 2010: 3.
42. James Croot, “Waru: The nine female Māori filmmakers united in their passion to start a conversation,” 22 October 2017, https://www.stuff.co.nz/
entertainment/film/98027844/waru-the-nine-female-maori-filmmakers-united-in-their-passion-to-start-a-conversation.
43. Potential exceptions to the twenty-first century trends evident in the film culture discussion about long takes: celebrated long takes in Hunger and 12 Years a Slave (both directed by Steve McQueen), which are stationary long takes that do not draw attention to cinematographic acrobatics; Creed’s first fight scene, which was orchestrated by a woman Director of Photography, Maryse Alberti; and the long takes in Roma, which are debatably Indigenous feminist (Mexican auteur Alfonso Cuarón was both Roma’s director and DP).
43a. Daniel Morgan, “Rethinking Bazin: Ontology and Realist Aesthetics.” Critical inquiry 32, no. 3 (March 2006): 443–481.
44. Joyce Green, “Indigenous Feminism: From Symposium to Book,” Making Space for Indigenous Feminism. Edited by Joyce Green.Fernwood Publishing, 2007: 14.
(https://imaginenative.org/native-fellows-program), and Māoriland hosts international Indigenous artists through its residency programme (https://maorilandfilm.co.nz/maoriland-filmmakers-residency/). Both festivals explicitly offer international development opportunities to Indigenous film professionals.
46.Lyra H., “TIFF 2017 Women Directors: Meet Ainsley Gardiner – Waru,” 11 September 2017, https://womenandhollywood.com/tiff-2017-women-directors-meet-ainsley-gardiner-waru-d8c5edda8767/?source=rss----eb0b08436136---4.
47. Tracey Deer’s dramatic feature Beans was the second runner up for 2020’s Toronto International Film Festival’s top prize, the People’s Choice Award.
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