If you are in the mood for a film that is going to guarantee a plentiful amount of tears and smiles, then Miki Magasiva’s tremendous Tinā is the perfect film for you.

Mareta (Anapela Polata’ivao) is grieving her daughter’s death in the Christchurch quakes. Reluctantly, she is persuaded to become a substitute teacher at an elite school. Unexpectedly, she discovers students lacking guidance and care, prompting her to provide inspiration and support.

A film about a non-conformist teacher starting at a typically private school with stereotypical non-arts-related goals for its students isn’t automatically going to raise any eyebrows. However, Miki Magasiva’s Tinā dares not to be stereotypical in the slightest, instead bringing more emotion and heart than you can shake a stick at. There are layers to Tinā that you just won’t find in other films like this. It stands out as a film full of cultural importance to Pacific Islanders that cannot be ignored.

Anapela Polata’ivao is an absolute force of nature as Mareta. Full of grief and regret with how she left things with her daughter before her depth, we fund her wallowing. She needs a purpose, but what’s the point if your main purpose in life is no longer alive? By having her at her worst, we get to rise with her as her hopes for the choir gain traction and hurt for her as she goes through the inevitable rollercoaster of struggles that Magasiva has her go through.

She commands the screen, and when she is in pain, you are wrecked, but equally, when she is in full boisterous flow and positively affecting her students, you are cheering her. There is a warmth within her that not even the tragedies she encounters can beat. Sure, she is blunt and forthright, but that’s her charm, and you immediately gravitate towards her. Especially when she is battling with those who try to stifle her culture because of how they want the school to be represented, you will fight with her as she straightens some figurative noses.

There is so much to love about Tinā, from just how truly heartfelt its story is to the gorgeous cinematography throughout. It feels cuttingly authentic in how it tackles the grief of losing a child while also the challenges of healing and countering racial prejudices with a bucket full of humanity.

One thing that Tinā does especially well is in how it teaches its characters and its audience the importance of music in our lives and, most certainly, when we require some form of healing. Music is always there for us, and no matter what you are going through, in some manner, you will lean on it to get you through a difficult time. Mareta tells young student Sophia the importance of singing despite it all, and you honestly believe her.

For as great as everything is about Tinā, it does verge on being almost overwhelmingly sad, as if Magasiva just wants to see how many gut punches the audience can take before it becomes too much to endure. Additionally, while this is Mareta’s story, it possibly would have served the film to spend a touch more time with the students within the choir to develop their own stories more. Minor grievances, of course, are ones that linger just enough in your mind to be notable.

Taking a well-worn idea and making it entirely its own thing, Mike Magasiva’s film shines brightly, flooded almost to the brim with emotional beats. This is one journey full of healing and acceptance that you need to go on; just bring a few tissues; you may very well need them before the credits roll.

★★★★

Tinā played at the 4th World Media Lab and the cINeDIGENOUS section at the 51st Seattle International Film Festival.

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