Review of “The Land Has Eyes”
Rotuma is a very, very small island in the South Pacific. It is a long way from anywhere. Why am I telling you this? Well, it’s important context when considering how to review The Land has Eyes, the first feature film to come out of Fiji, and one that attempts to draw comparison with Whale Rider, that stunning film made in 2002 about a girl in a small coastal Maori community. But sometimes being first isn’t enough. It would be possible to make a long list of the problems of this film, both technical and with the story itself, but somehow that doesn’t seem fair. We have such a long tradition of filmmaking that perhaps the usual standards don’t apply to an island the size of an airport, which has no cinema and a population of two high schools.
The film opens strongly with a re-enactment of the myth of the founding of Rotuma by the legendary ‘Warrior Woman’. There are confident long shots of a beautiful island with clear waters. There are sensuously moody shots taken underwater. There is the drama of a sister raped and abandoned by her brothers, and the jungle birth of a child. There is the declaration that the land has eyes, and that this family betrayal will not be forgotten amongst future generations of Rotuman.
We then jump, and I almost did, to the main story. The tale focuses on Viki (newcomer Sapeta Taito), who prides herself on maintaining the integrity of her family’s name after a nasty and influential neighbour wrongfully accuses her father of stealing. The villagers taunt Viki and her family for being poor after they are forced to pay a large fine. It is left to Viki to make sure that the eyes of the land reveal the truth, and she draws inspiration from the mythic Warrior Woman when the going gets tough.
Let’s be really clear. This is no Whale Rider. At best, it is naïve filmmaking. At worst it is awkward and struggles to maintain momentum. The often poor production values that include out of focus shots and erratic editing are only marginally redeemed by the narrative. Writer-Director Vilsoni Hereniko sadly misses the opportunity to place the story in the stunning landscape, and struggles to let the sensitive nature of the story emerge from the actions of the cast, who soldier bravely with the script. I had the fortune to live in Fiji for two years, and the beauty of the place demands the kind of spacious photography of the opening sequence. Hereniko opts instead for tight, close cinematography and is unable to let the main story breathe. The few real moments of beauty and power in the film come when the dialogue ceases and the action moves into the sea - such a dominant force in the lives and stories of South Pacific communities.
But despite this, it may be worth seeing the film if you want to get a sense of life in this remote and pristine island: the insights into the day-to-day cultural and spiritual rhythm of Rotuman life are fascinating. Otherwise, sadly, this is not really worthy of the big screen.
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