goldsharktooth What makes for a successful life? What are people prepared to do to be accepted within what they perceive to be a successful life? To claim a life they think is of a better quality than what they are born to. Being of mixed blood, what makes one more or less of which lineage?We are taken into the lives of 3 feminine roles in Colonial NZ. One (Whirimako Black) is a childless old Crone, full blood Maori, who is unlawfully practising medicinal rites like those of a Tohunga, but in Midwifery - flouting The Tohunga Suppression Act 1907 which was intended to stop people using traditional Māori healing practices which had a spiritual element. Another, (Rachel House), middle-aged Mother ("half-caste") is living the life of a slave/servant to the third, (Antonia Prebble) the Maiden wife ("1/4 cast") an upper-class English-European wife. In their roles, which one is suffering most? Which one has given up the wild feminine? Which one is the slave? Which one is free? Who is living a successful and happy life? These are the questions that are tackled within the film. Little love is expressed between the 3, but cloaked in silence, the love runs deep regardless and the sacrifices made are proof of the love, albeit misguided and ultimately destructive.The cycle has come full circle since colonial days. Not belonging to either culture is often not acknowledged because we live in a world whereby we judge instantly, unconsciously, like judging a book by the cover. Once upon a time ... opposites attract. The racial divide is still running deep on our shores from all shades of brown & white, even though there are no full blooded EnglishKiwi or MaoriKiwi left among us.An interesting topic and subject to reflect upon Colonial NZ society. Many mixed marriages were openly accepted and the life of a settler was hard no matter what colour the skin. In the case of the film though, this is not ordinary settlers we are dealing with. This is rich elite English-European society and old time Maori.The most encompassing sentence was that of Rachel House when she spoke of not belonging to either culture.I liked the whimsical nature of the film, the romantic white horse, the dog, the art deco elements within the homestead, the silk and fires. I am going to find the novella by Witi Ihimaera - Medicine Woman, from Ask The Posts Of The House. John Psathas music was lovely as usual.

konketsuji72 Despite the myopic comment referring to the title being inappropriate, it couldn't be more valid to the story line. A "White Lie" is a lie that is perceived as being harmless or trivial and told to avoid hurting another persons feelings. This is exactly the theme. It is a story set in the post-colonial period of New Zealand where cultural beliefs clashed heavily against one another. It was a time where necessity often meant that people would have to give up their identities in order survive in an environment that had very little opportunity (or compassion) for the native race that had suffered the typical injustices of colonialism. Against this backdrop is the story of a mother and her daughter who are trapped in a lie - a lie that separates them from their culture, as well as from each other. It is to a very sad extent that the mother drives her daughter to an impossible way of life all for the sake of blending in and the perception of wealth and well-being.An incident drives her mother back to her native roots to find a solution for her daughter - who is facing severe consequences, possibly fatal. From this point the mothers fears and lies are confronted.It is a slow, quiet but very emotional tale. The three main characters portray this emotion wonderfully.Admittedly, this may not be a tale for everyone, but it does try to convey the struggles that were undoubtedly common for this time period. And as such, the way the movie depicted a mothers love for her daughter and the extent she will go to give her what she thinks her daughter needs, suited the era it was set in.I thoroughly enjoyed this movie. It was a pleasant surprise.

bettydoes I loved it. The dialog was clunky but the performances were mighty and made up for it. I thought the 3 leads were fantastic. I wanted to know more about them all. I've been quite taken aback at the drastically opposing opinions. It's split my friends and family although I have to say the majority have absolutely loved but a few have disliked intensely. We've had a few arguments mostly because they felt picked on as white New Zealanders. I didn't, it was just too interesting. Such polarising views says a lot about the director. I felt she presented a very strong and unforgiving view of her interpretation of our history. Design and cinematography were outstanding. Bravo.

markdroulston I was fortunate enough over the weekend to attend a screening of NZ feature White Lies followed by a revealing Q+A session with writer/director Dana Rotberg, star Antonia Prebble, composer John Psathas and novelist Witi Ihimaera. It might seem odd for a film about NZ colonial identity to be made by a Mexican filmmaker, but surprisingly the story benefits greatly by coming from an outside perspective.Adapted from Witi Ihimaera's novella Medicine Woman, White Lies doesn't have a particularly well told story at its core, but is nonetheless an important film for NZ to have produced. Set during the early days of settlement, the film depicts a sinuous power struggle between colonial housewife Rebecca (Prebble), her housemaid Maraea (Rachel House), and Paraiti (Whirimako Black), the Maori medicine woman whose particular skills and discretion are sought.The shifting dominance of each of these women, representing different aspects of female identity at the time, weaves a compelling and bleak narrative, but some of the story beats that should have had greater impact unfortunately fall a little flat. Elements that needed more room to breathe play out much too quickly, not allowing audiences time to digest, although the film's closing scenes are powerful. White Lies deals with uncomfortable subject matter, and Rotberg doesn't shy away from the story's most tragic aspects.Thankfully, White Lies looks better than any NZ film for some time. The cinematography by NZ legend Alun Bollinger gives the rugged setting of the film a beautifully oppressive quality reminiscent of his work on Vincent Ward's Vigil, and has moments of rare, haunting beauty. It's a shame that most viewers will be unable to hear Rotberg speak about her approach to the film. The director's keen understanding of the tragedy of colonialism in her homeland brings significance to White Lies that a Kiwi director may have been guarded about addressing, and hearing her thoughts on NZ colonialism and our nervous attitude about exposing our own violent past was incredibly refreshing. Her desire to treat the subject with integrity while never sugarcoating it comes across with wonderful passion, and while she remained respectful of the source material, she makes no excuses for altering Ihimaera's work to suit her own vision. Despite the film's faults, White Lies takes more risks and offers deeper perspective than most NZ films of late.