Marking director Lee Tamahori’s return to the New Zealand film industry, Mahana is a wonderfully filmed and performed story of family and legacy brought to life through beautiful classic movie strokes.

In 1994, Tamahori broke through in a big way with Once Were Warriors, a controversial and unflinching look at domestic violence and alcoholism in urban Maori communities. The film’s success took Tamahori to Hollywood, where he directed the likes of Die Another Day (the last Bond film to star Pierce Brosnan) and Vin Diesel actioner XXX.

Set in 1960s rural New Zealand, Mahana tells the story of two rival sheep herding dynasties: the Mahana’s, led by intimidating patriarch Tamihana Mahana (Temuera Morrison); and the Poata’s, led by Rupeni Poata (Jim Moriarty). Stuck in between is young teen Simeon Mahana (Akuhata Keefe) whose inquisitive intelligence leads him to question the origins of this bitter feud.

In scale and theatrics, Mahana reminds in many ways of classic Hollywood westerns, with William Wyler’s The Big Country of comparison with its sprawling landscapes and tale of rival families. Yet through Ihimaera’s source material and Tamahori’s direction, Mahana is very much a New Zealand story steep in reverence for the Maori culture which Tamahori expertly combines with those classic western conventions to make for a potent partnership in narrative, theme and tone.

Great performances from its cast bring a real sense of emotional power to its story, especially from Morrison whose on-screen intensity is effectively applied to the role of a feared and revered old-guard whose dominant grip over his family is challenged by a defiant young blood, Keefe portraying such symbolic power with conviction and just the right amount of brattishness.

There is much to like in Mahana, with Tamahori on point with all of its elements. A sensitive yet powerful film, whatever lessons learned by Tamahori in his various high-profile gigs have done wonders for this epic yet intimate story.