A defiant trio of New Zealand schoolgirls battle against their strict matron in this charming satirical comedy
BY ELLA GAUCI, IMAGE BY BFI
Could you tell us a bit about what inspired you to make this film?
I was inspired to make this film because of the characters and this all-female rebellious world. I loved that this was an all-female cast in which a bunch of kids are trying to fight the system. I also saw it as an opportunity to give the middle finger to the binary and society’s expectations on gender.
What is the key message you hope LGBTQIA audiences take from your film?
That it’s okay for your friends to be your family, your chosen family. And that there’s nothing wrong with you (in fact there never ever was).
What are the main themes that your film explores?
We’re a real nuanced melting pot, with one lens we’re looking at the impact of colonization on women and their bodies, and the impact of colonization on our indigenous peoples and then with the other lens we’re celebrating the power of female friendships. I’ve noticed that there’s duality in our themes: Church & State, Young & Old, Order & Chaos, these ideas are constantly bumping up against each other.
What is your favourite line or scene from your film?
My favourite line from the film is an improvised one from Rima Te Wiata who plays The Matron. At the end of a classroom scene we were shooting, Rima started improvising and she gave a brilliant, and very funny, retelling of Adam and Eve. I had to put it in the film. I’ve seen it over a hundred times now. Still makes me laugh. My favourite scene from the film is a lovely quiet moment where Nellie, Lou and Daisy are lying on the floor of their hut, a tangle of all arms and legs. They’re so relaxed with each other and they deliver the dialogue with such authenticity to their characters, that I well up with pride every time I see it. They allow us, the audience, into a sacred intimate moment. I was lucky to work with such exceptional actors, they take the film up to 11.
How did you get into filmmaking and what has been your biggest challenge in the industry?
I’ve been geeking out over films since I was a kid. I studied Film and Philosophy at University but it was all very academic and lots of intellectual chat, and not very me. So I auditioned for drama school, got in, and studied acting for three years. I came out of that process wildly in love with theatre. It was in the theatre that I started writing and devising my own work. Theatre was where I was able to hone my storytelling craft. My eventual move into film was gradual. I started out screenwriting before I moved into directing. I think the biggest challenge has been the lack of opportunities because there’s less visibility for people like you, you have to hunt them out and find your crew. Personally, I really grapple with imposter syndrome. This is something I still struggle with.
Why is LGBTQIA representation in film so important in 2024?
Visibility is instrumental in the normalisation of the LGBTQIA community. Not just in front of the camera but behind the camera too. It’s a strange world we’re living in at the moment and we all need to stick together and look out for each other. We especially need to protect our trans family who are particularly vulnerable at the moment.
Why are events like BFI Flare which centre LGBTQIA films so important?
It normalises queer stories, artists and makers. It creates a community where everyone can come together and celebrate each other. Look at you all! Beautiful geniuses!
This year’s Flare is split into the themes of Hearts, Bodies, and Minds. Do you have an LGBTQIA film which affected your heart, body, or mind?
The first lesbian film I saw when I was a young teen was an American western romance called Desert Hearts. Do you remember it? One of them was an academic from the city and the other was this pants-wearing ranch woman, and they end up together and no one dies or kills each other or goes crazy (which, let’s be real here for a moment – that’s a real anomaly for queer female stories back in the day). Anyway, that film gave me all the feels growing up. I felt seen.
What do you hope to see in the future of LGBTQIA filmmaking?
I hope we’re able to up-skill our community for some of the big roles that have traditionally been dominated by men, like Cinematography and Direction. I feel like what we are seeing onscreen is slowly moving in the right direction in terms of representation, but we must also look behind the camera. Who’s telling these stories? Who is making them? Shooting them? From whose eyes are we seeing this world? Authenticity of voice and story sovereignty is where (I believe) we still have a bit of work to do.
WE WERE DANGEROUS screens at BFI FLARE on Thursday 21 March and Saturday 23 March at BFI Southbank. The screenings are sold out however a limited number of standby seats are reserved for sale half an hour before each performance. These are only available for customers in person at the BFI Southbank Box Office.
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