Matiu Mareikura

Walter Burton's realistic photographs depicting poor treatment of Maori prisoners are rejected by late 19th century government officials. Walter is condemned to making a living from everyday studio work, the frustration of which is apparently quite sufficient to make him a drunk. His brother Alfred is happy to take the photos that the officials want and therefore gets the commissions. Alfred's photos are well received, but when Walter shows his own photos, toughs are sent around to smash up his plates.

A hundred years after the theft from New Zealand of three irreplaceable tribal carvings, two members of a Māori tribe decide it's time for ancient grievances to be put right. Variously praised as a major step forward in indigenous cinema, attacked for overambition, and little screened, Te Rua marked Barry Barclay’s impassioned follow-up to his acclaimed debut feature Ngāti.