Ata Pūao shines over Oʻahu at Hawai‘i International Film Festival
Travelling to Oʻahu for the Hawai‘i International Film Festival (HIFF) was a deeply meaningful milestone in the life of Ata Pūao. It marked the film’s international premiere and offered a powerful opportunity to represent tāhinetanga within a wider Pacific network of storytellers, artists, and cultural leaders.
The festival opened with a warm and vibrant gala, a gathering that set the tone for the week ahead. The premiere screening of Ata Pūao was profoundly moving. Our film was shown alongside MĀHŪ: A Trans-Pacific Love Letter and Kapō Ma‘i Lele, two extraordinary Hawai‘i productions that explore māhūtanga and traditional indigenous sexuality. Sitting within that lineup felt like being part of a living conversation across the ocean, grounded in shared whakapapa and the reclamation of identity and expression within our ancestral stories. The post-screening Q&A deepened this exchange, sparking ideas for future kaupapa and reaffirming how interconnected our Pacific communities truly are. Sharing kōrero about Ata Pūao and its kaupapa of takatāpui identity and belonging created immediate points of connection, particularly with other indigenous filmmakers exploring gender and spirituality through their own cultural lenses. It was a blessing to feel part of the storytelling tapestry that is MVPFAFF+.
Beyond the theatres, our experience extended into cultural spaces that left a lasting impression. Visiting Nā Pōhaku Ola o Kapaemāhū a Kapuni, the sacred mauri stones honouring four māhū healers, was a moment of deep cultural exchange. Standing before them, learning their stories,
and sharing Ngā Manukura (a lament composed by Pounamu Rurawhe, sung each day on the set of Ata Pūao) reminded me that our mahi is part of a much older continuum. These connections grounded the sharing of Ata Pūao in Hawai‘i, reaffirming its place within a wider ocean of indigenous storytelling.
A highlight of my time in Oʻahu was meeting Hinaleimoana Wong-Kalu, a revered māhū elder, educator, and filmmaker, whose wisdom on the role of storytelling as oral history continues to guide my creative path. I also met members of the Hawai‘i Ballroom community, including Rawstina and the children of the House of Zamora, whose insights into artistry, resilience, and queer Pacific chosen family were both affirming and inspiring.
The Pacific Shorts Showcase offered a window into how filmmakers across Te Moana-nui-a-Kiwa are redefining indigenous cinema. Works like Stranger, Brother and In Conversation with Dan Taulapapa McMullin stood out for their emotional subtlety and grounded authenticity, storytelling that prioritised intimacy and cultural truth over spectacle.
Watching these films reignited my own commitment to that same approach and inspired an array of possible future narratives.
My time in Hawai‘i was transformative. The generosity of the Kānaka Maoli, their openness in sharing knowledge, and their pride in māhū identity left an indelible mark. I returned home with new collaborators, creative clarity, and a strengthened belief in the power of takatāpui-led
storytelling, work that honours our ancestors while speaking directly to the future.
Ngā mihi maioha ki Te Tumu Whakaata Taonga, who made this haerenga possible. Representing Ata Pūao on the international stage was not just a professional achievement, but a journey of cultural connection, creative renewal, and deep gratitude.
About Allie Howell (Writer & Director of Ata Pūao):
Allie Howell (Waitaha-a-Hei, Ngāti Rangiwewehi, Pākehā) is an emerging tāhine filmmaker whose work is grounded in tāhuhu kōrero (history), whakapapa, and the weaving of past and present to inform contemporary cinema that is lyrical, resistant, and deeply connected to community.
Raised in Paraparaumu and a graduate of the New Zealand Broadcasting School, she began her career as an editor, developing a skillset in shaping narrative and crafting emotionally resonant stories that speak to te iwi Māori, takatāpuitanaga, and our connections across Te Moana-nui-a-Kiwa.