Sumi: Hans Lynge Sal

‘Merata: How Mum Decolonised the Screen’(2018), 89 min.
Feature Documentary New Zealand
Ilitsersuisoq / Director: Hepi Meta

Takutitassap allaaserinera:
Anaanap fjernsynimi assi koloniiujunnaartitsinera: Toqqorsivilerisup Merata Mitap suliai, nukarlequtaa Hepi Mitap anaanami inuunerata aqqusaagai takusassianngortippaa. Arnaata filmiliortartuunera inuuneralu nipilersoqatigiisillugit, Hepip misissuinerata takutippaa qanoq Meratap inuunera, politikkikkut isummersuutai, nutaaliorsinnaaneralu takutippaa (1942-2010). Maorit arnartaasa filmiliortartut siullersaasa suliai 1970ikkunni aallartittut piviusulersaarutai Bastion Point: Day 507 aammalu Patu! Filmiliaqqaasalu Mauri (1988) Maorip arnartaasa suliaat siullersaaginnanngilaq, nunarsuarmili nunat inoqqaavisa arnartaasa suliaanni siullersaajulluni. Filmi qangarnitsanik immiussanik apersuinernit, aammalu meeraasa eqqaamasalikkersaarutaat, Meratap oqaluttuaa – Maoriunermik, arnaanermik, anaanaq filmiliortartumut Aotearoamut – nunap inoqqaavisa filmiliortartuannut nunarsuarmi tamanut oqaluttuarpoq, unammillernarsinnaasullu ullutsinni suli atuuttunik oqaluttuarpoq. Una pisimasuinnik tunngavilik, arnaq uteriittoq, filmiliortarneq nunap inoqqaavinik immersorniarlugulusooq sulinikup, takutippaa aamma ilaquttaminut politikkikkut suliai, sunniutai takutinneqarput.


As the archivist of Merata Mita’s work, her youngest son Hepi Mita embarks on a journey through his mother’s life. Creating a dialogue between her work as a filmmaker and her personal life,
his unique excavation reveals how deeply connected the personal, the political, and the creative were for the late Merata Mita (1942–2010). The first female Maori director’s career began in the 1970s with the observational documentaries Bastion Point: Day 507 and Patu!. Her debut fiction film Mauri (1988) was not only the first film to be made by a Maori woman, it was also the first feature film ever to be made by an Indigenous woman anywhere in the world. Interweaving a wealth of archive footage with extracts from her interviews, as well as her children’s memories, Merata’s personal story - of being Maori, a woman, a mother and a filmmaker in Aotearoa - speaks to the wider experiences and universal struggles that are still being faced by Indigenous filmmakers everywhere in the
world today. This documentary does not only shed light on a resilient woman who fought for her goal to ‘indigenise the screen’ - it also reveals the strain this kind of political work was to have on her family.