Mārama doesn’t shirk from the horror of colonialism, but doesn’t shock and titillate for audiences. Rather, its unvarnished, even bleak visuals combine with its dual languages of Maori and English to tell an oft-unseen, even unknown story.
Mārama immerses audiences in a gothic revenge-horror film that’s more thriller than horror, but is no less engrossing given its compelling direction and performances. It is difficult to watch at times. However, it is no less powerful given its connection to historical atrocities. In that vein, it brings to mind other films that masterfully combine historical injustices with the supernatural. Mārama doesn’t shirk from the horror of colonialism, but doesn’t shock and titillate for audiences. Rather, its unvarnished, even bleak visuals combine with its dual languages of Maori and English to tell an oft-unseen, even unknown story.
Taratoa Stappard (Taumanu (Reclaim), Beyond the Veil) writes and directs this atmospheric, tense movie that stars Ariana Osborne (Madam, Tangata Pai) as Mary, a woman traveling to meet with an unknown man to learn about her family. Instead, while waiting in an empty home for him, Peggy, played by Umi Myers (Dope Girls, Get Millie Black), a maid arrives and brings her to meet and stay with Nathaniel Cole, played by Toby Stephens (Giant, The Morrigan).
Between the secretive yet overly kind nature of Nathaniel Cole and Mary’s dreams, the past slowly reveals itself. Mārama builds up the awkward discomfort as Mary handles finding out about her family, while dealing with the emotional turmoil that comes with navigating white colonial spaces. That discomfort and buildable anger resonate with viewers because those situations still persist to this day.
Mārama Does Not Dodge the Colonial Horror
It’s uncomfortable at times to watch. Even though it’s not as graphic as other films, Mārama presents a brutal honesty. But it cares about its viewers, cautioning them about what it presents before the film starts. It’s impossible to prevent the past from repeating when we refuse to reconcile with it in the present. Colonial atrocities go unaddressed with no reparations or justice. The movie doesn’t shy away. So, for those of us who know so little of what the Maori experienced, it’s an enlightening film told through a supernatural, revenge lens.
Performances Grip The Audience
Ariana Osborne nails the lead role as she creates a character that is both soft and resilient. Her portrayal nails the shocked rage and regality of a culture that is not a costume. Toby Stephens is downright cringe in how saccharine he makes Nathaniel Cole appear, but there’s always something sinister underneath. Erroll Shand (Blind Panic, Wolfram) as Jack Fenton also gives a performance that’s opposite the sweet deception; he’s leery, making you want to shove him when he’s too close. Between this trio lies the heart of what makes Mārama so compelling. It’s a ghost story without the ghost, but it is no less haunting in its spirituality.
Hard to Watch But Amazing
The horror films that make a lasting impact often use the medium of horror to shine a light on a harmful history. Other films such as La Llorona deftly craft that combination. Mārama creates an atmospheric, Gothic horror that creeps into viewers’ spines, inciting shivers of dread and feelings of confinement. Even outdoor scenes feel claustrophobic and blanched, heightening the tension for Mary and the audience. Mārama is a must-have for fans of Gothic horror that weaves horror into every subdued scene as tensions build to a satisfying final act.
