The Convert
The Convert is a 2023 New Zealand historical action-drama film directed by Lee Tamahori, centering on a lay preacher's arrival in 1830s New Zealand amid Māori tribal warfare.[1] Starring Guy Pearce as Thomas Munro, a former British soldier seeking redemption through missionary work among early colonists, the film depicts his entanglement in local conflicts after aligning with a powerful Māori chief.[2] Tioreore Ngatai-Melbourne and Te Kohe Tuhaka co-star as key Māori figures, with the narrative exploring themes of faith, violence, and cultural clash in a pre-colonial Māori-dominated landscape.[3] The story unfolds in a era of intertribal wars, where Munro's Christian convictions are tested as he transitions from preaching to wielding a musket in defense of his adopted allies, reflecting historical tensions between European settlers and indigenous groups.[4] Produced with significant input from Māori advisors to ensure authentic representation of haka, weaponry, and warfare tactics, the film emphasizes visceral combat sequences over dialogue-heavy exposition.[1] It premiered in New Zealand on March 14, 2024, followed by releases in Australia and the United States, grossing modestly while earning praise for its technical achievements in cinematography and action choreography.[2] Critically, The Convert holds an 81% approval rating on Rotten Tomatoes from 47 reviews, lauded for providing insights into imperialism and marking a return to form for Tamahori, though some critiques note uneven pacing and unfulfilled thematic depth.[3] Audience reception averages 6.4 out of 10 on IMDb, with viewers appreciating Pearce's performance and the film's immersive depiction of 19th-century New Zealand, despite occasional formulaic elements in its redemption arc.[2] The production's commitment to historical accuracy, including consultations with iwi (tribes) for cultural fidelity, distinguishes it amid broader cinematic portrayals of colonial encounters.[1]Synopsis
Plot Summary
In 1830, lay preacher Thomas Munro arrives by sea at the British settlement of Epworth in New Zealand, seeking to minister to early colonists while grappling with his own violent military past. Amid the escalating Musket Wars between rival Māori tribes, Munro intervenes in a skirmish between the Ngāti Hau, led by chief Maianui, and the Ngāti Ruapu under chief Akatarewa, negotiating to save the life of Maianui's daughter Rangimai at the cost of his horse, though her husband is killed.[5][4] Disillusioned by the settlers' indifference—such as their refusal of aid to the wounded Rangimai and the subsequent killing of a Māori boy blamed on a storekeeper—Munro forms alliances with the ostracized widow Charlotte and gains Maianui's trust. He uncovers British arms trader Kedgley's plot to profit by supplying muskets to both sides, persuading Maianui to pursue a truce with Akatarewa, which is rejected amid escalating hostilities.[5][4] As war erupts, Munro and Charlotte join Ngāti Hau forces, employing terrain and tactics to defeat Akatarewa's warriors; the rival chief, mortally wounded, expresses a final wish for peace. Maianui spares Akatarewa's son Uenuku, arranging his marriage to Rangimai to unite the tribes, while Munro receives a traditional Māori tattoo and vows to defend Ngāti Hau against colonial encroachment, marking his transformation from preacher to tribal ally.[5]Cast and Characters
Principal Cast
Guy Pearce portrays Thomas Munro, the film's central figure, a British lay preacher arriving in 1830s New Zealand amid tribal conflicts. Pearce, born in 1967 in Ely, England, and raised in Australia, has received acclaim for dramatic roles in films including L.A. Confidential (1997), for which he earned an Academy Award nomination, and The Proposition (2005), a Western set in colonial Australia that shares thematic parallels with The Convert's exploration of frontier violence.[2][3] Tioreore Ngatai-Melbourne plays Rangimai, a young Māori woman caught in the intertribal wars. Ngatai-Melbourne, a New Zealand actor of Māori descent, debuted in feature films with this role, bringing authenticity to the character's cultural context through her ties to Ngāti Porou iwi.[1][2] Antonio Te Maioha depicts Maianui, a Māori warrior leader. Te Maioha, known for roles in New Zealand television such as The Dead Lands (2014) and international projects like The Shannara Chronicles (2016), embodies the physicality and strategic depth required for the part, drawing on his background in Māori performing arts.[2][6] Jacqueline McKenzie stars as Charlotte, Munro's companion. The Australian actress, recognized for performances in Romper Stomper (1992) and The Matrix Reloaded (2003), provides emotional grounding to the narrative's colonial dynamics.[1][2] Lawrence Makoare assumes the role of Akatārewa, a formidable Māori chief. Makoare, of Ngāti-Mahu and Te Aupōuri descent, has portrayed Māori figures in major productions like The Lord of the Rings: The Fellowship of the Ring (2001) as the Uruk-hai Lurtz, leveraging his expertise in traditional haka and weaponry for historical accuracy.[1][2]| Actor | Role | Notable Prior Works |
|---|---|---|
| Guy Pearce | Thomas Munro | L.A. Confidential (1997), Memento (2000) |
| Tioreore Ngatai-Melbourne | Rangimai | Film debut |
| Antonio Te Maioha | Maianui | The Dead Lands (2014) |
| Jacqueline McKenzie | Charlotte | Romper Stomper (1992) |
| Lawrence Makoare | Akatārewa | *The Lord of the Rings* trilogy (2001-2003) |
Supporting Roles
Antonio Te Maioha portrays Maianui, a formidable Māori chief and Rangimai's father who wields significant influence amid intertribal conflicts in 1830s New Zealand.[4][8] Maianui permits Rangimai to travel with the protagonist for education but becomes entangled in escalating violence following a mysterious murder.[6] Jacqueline McKenzie plays Charlotte, a settler widow of a Māori warrior who possesses knowledge of indigenous customs and serves as one of the few allies to the arriving preacher in the colonial settlement.[4][9] Her familiarity with Māori language and traditions positions her as a bridge between cultures during rising tensions.[10] Lawrence Makoare depicts Akatarewa, a rival tribal leader whose domain includes prohibited lands, contributing to the film's depiction of warring Māori factions amid British encroachment.[4][1] Te Kohe Tuhaka appears as a captive warrior, embodying the human cost of the Musket Wars-era conflicts central to the narrative.[11] Dean O'Gorman portrays Kedgley, a figure in the British settlement representing colonial interests and skepticism toward the preacher's mission.[4]Historical Background
Pre-Colonial New Zealand and Musket Wars
The Māori people, originating from East Polynesian voyagers, settled Aotearoa New Zealand in multiple waves of canoe voyages between approximately 1250 and 1300 CE, marking the end of pre-contact isolation for the islands.[12] These settlers adapted Polynesian navigational and agricultural practices to the temperate climate, developing a society centered on iwi (tribes) and hapū (sub-tribes), each tracing descent through whakapapa (genealogical lineages) and organized around marae (communal meeting grounds).[13] Subsistence relied on kūmara (sweet potato) cultivation, fishing, hunting moa and seals, and foraging, with social structures emphasizing rangatira (chiefs) leadership, tapu (sacred restrictions), and utu (reciprocity or revenge) in resolving disputes.[13] Intertribal warfare occurred using traditional weapons like taiaha (wooden clubs) and patu (mere clubs), typically involving small-scale raids with low casualties, as conflicts aimed at capturing slaves or resources rather than territorial conquest.[14] European contact began sporadically after Abel Tasman's sighting in 1642, but sustained interaction followed James Cook's voyages from 1769, drawing whalers, sealers, and traders to coastal areas, particularly the Bay of Islands.[15] Northern iwi like Ngāpuhi, positioned near trading hubs, acquired European goods including iron tools and, critically, muskets through bartering preserved Māori heads (moko mokai) and flax or timber, with firearms entering circulation by the early 1800s.[16] This trade imbalance favored northern tribes, who amassed muskets faster than southern counterparts due to geographic proximity to ships, amplifying existing feuds into larger conflicts as ammunition shortages initially limited but did not prevent escalation.[14] The 1807 Boyd incident, where Ngāpuhi killed and ate crew from a European ship in revenge for mistreatment, heightened mutual distrust but spurred further arms acquisition.[14] The Musket Wars, spanning roughly 1806 to the mid-1840s but peaking between 1818 and the early 1830s, comprised thousands of raids and battles among Māori tribes, triggered by the unequal distribution of muskets that revolutionized warfare from ritualized skirmishes to mass slaughter.[14] Ngāpuhi chief Hongi Hika exemplified this shift, leading devastating northern campaigns southward after acquiring 500–1,000 muskets during a 1820 visit to England, resulting in pā (fortified villages) adaptations like rifle pits and stockades to counter gunfire.[17] Causes rooted in pre-existing utu cycles were supercharged by firearms' lethality, enabling taua (war parties) to conduct long-distance invasions for captives, land, and prestige, with tribes like Ngāti Whātua and Ngāpuhi dominating early phases.[17] An estimated 20,000 Māori died from direct combat, disease, and famine, alongside tens of thousands enslaved or displaced, drastically redrawing rohe (territorial boundaries) and depopulating regions.[18] These wars, independent of formal British governance until the 1840 Treaty of Waitangi, underscored the disruptive impact of European technology on indigenous power dynamics without initial colonial oversight.[19]Arrival of Missionaries and Early British Influence
The first Christian missionaries arrived in New Zealand in December 1814 aboard the brig Active, dispatched by the Church Missionary Society (CMS) from New South Wales.[20] Led by Samuel Marsden, the Anglican chaplain at Parramatta, the group included lay missionaries Thomas Kendall (a schoolmaster), William Hall (a carpenter), and John King (a sawyer), along with their families and Maori guides Ruatara and Hongi Hika.[21] They established the initial CMS station at Rangihoua Pā in the Bay of Islands, under the protection of Ruatara's Ngāpuhi tribe, amid ongoing intertribal conflicts fueled by introduced muskets.[20] On 25 December 1814, Marsden delivered New Zealand's inaugural Christian sermon in English to a gathering of approximately 50 Māori at Oihi Beach (Hohi), translating key phrases into Te Reo Māori with Kendall's assistance; the event, themed "Behold, I bring you glad tidings of great joy," marked the formal onset of missionary activity despite initial limited conversions due to cultural barriers and warfare.[20] The missionaries focused on practical skills—teaching agriculture, carpentry, and literacy—while Marsden returned to Australia in early 1815, leaving Kendall, Hall, and King to manage the outpost, which faced hardships including food shortages and hostility from some Māori over perceived land encroachments.[21] By 1816, internal disputes, such as Kendall's extramarital affair with a Māori woman, prompted Marsden's intervention, but the station persisted, expanding to Kerikeri by 1819 with the arrival of additional CMS personnel like Henry Williams.[21] Early British influence in New Zealand predated formal colonization, manifesting through informal networks of traders, whalers, and sealers from Sydney Cove since the 1790s, who introduced European goods, firearms, and diseases, exacerbating the Musket Wars (Ngāpuhi–related conflicts intensified post-1807 with musket imports).[15] By the 1820s, a transient European population of fewer than 100 resided mainly in the Bay of Islands, engaging in flax trading and ship provisioning, with missionaries serving as de facto consular agents amid lawlessness—evidenced by the 1830s "lawless" reputation that prompted British humanitarian concerns over Māori enslavement and European excesses.[22] The CMS's efforts inadvertently amplified British soft power: missionaries disseminated the written word via Māori Bible translations (starting with Kendall's 1820 primer), fostering chiefly petitions for protection, such as the 1831 appeal by 13 northern chiefs to King William IV, which underscored growing reliance on British arbitration without ceding sovereignty.[21] This missionary bridge facilitated cultural exchanges, including European farming techniques adopted by Māori at mission stations, yet British policy remained hands-off until the 1830s; Whitehall rejected annexation proposals (e.g., 1836 New Zealand Association schemes) due to colonial overstretch elsewhere, viewing New Zealand as a peripheral humanitarian outpost rather than a strategic asset.[22] Appointing James Busby as British Resident in 1833—without military backing—aimed to curb trader abuses and recognize the 1835 He Whakaputanga (Declaration of Independence) by 34 Māori chiefs, affirming nominal British oversight while deferring formal control.[22] Missionaries like the Williams brothers navigated these tensions, advocating against musket-driven warfare and slave-raiding, though their influence waned as tribal autonomy persisted, setting the stage for the 1840 Treaty of Waitangi.[15]Production
Development and Pre-Production
The screenplay for The Convert originated from a story by Michael Bennett, loosely inspired by Hamish Clayton's 2011 novel Wulf, which depicts English sailors trading muskets for flax with Ngāti Toa chief Te Rauparaha during the Musket Wars.[23] Initially conceived as a modest, low-budget independent film focused on interpersonal drama, the project evolved significantly after an early director departed.[24] Lee Tamahori, known for directing Once Were Warriors (1994), was attached as director and co-writer alongside Shane Danielsen, transforming the narrative into a larger-scale historical action drama emphasizing intertribal warfare, cultural clashes, and themes of redemption and forgiveness—concepts noted by producer Robin Scholes as absent in pre-colonial Māori society, per input from historian Brad Haami.[24] Tamahori's vision incorporated expansive battle sequences and authentic Māori warrior elements, drawing on reimagined iwi dynamics with invented whakapapa to explore forgiveness through a lay preacher's arrival in 1830s New Zealand.[24] The production was a collaboration between New Zealand's Jump Film & Television and Australia's Brouhaha Entertainment, with Scholes leading development alongside Troy Lum, Andrew Mason, and Te Kohe Tuhaka, who joined as co-producer to ensure cultural oversight.[3] Funding challenges arose due to the project's unproven scale, but attachments of Tamahori and lead actor Guy Pearce facilitated approval from New Zealand's Premium Production Fund in 2020, a government initiative launched amid COVID-19 to support high-budget local films exceeding NZ$10 million.[24] Pre-production emphasized authenticity, with Māori experts consulted on tikanga, traditional dress, moko tattoos, and weaponry to depict pre-colonial society accurately.[24] Location scouting prioritized Whatipū beach near Auckland, selected by Tamahori for its dramatic dunes and isolation mimicking 1830s isolation; securing permits from Auckland Council involved stringent conditions, including scaffolded sets to withstand tides and helicopter logistics for remote access, reflecting logistical hurdles in environmentally sensitive areas.[24] Casting prioritized Māori performers for principal roles, integrating cultural advisors from inception to align historical portrayals with iwi perspectives.[24]Filming and Technical Aspects
Principal photography for The Convert commenced in September 2022 on New Zealand's North Island, with production emphasizing locations that evoked the untamed 1830s landscape central to the film's historical setting.[25] Key filming sites included Whatipu Beach and surrounding west Auckland areas, selected for their raw, windswept dunes and coastal terrain, which director Lee Tamahori described as offering immersion in the region's primal environmental challenges, including shifting sands and unpredictable weather that complicated shoots.[26][27] Tamahori noted the primary logistical hurdle was sourcing "untouched" sites free from modern human intrusion, necessitating regional scouting to maintain visual authenticity amid the story's depiction of tribal warfare and colonial arrival.[27] Cinematographer Gin Loane, reuniting with Tamahori from prior collaborations, employed wide framing and natural lighting to underscore the majestic yet harsh Aotearoa topography, framing action sequences with stark contrasts between verdant forests and exposed beaches to heighten the narrative's tension.[28][29] The production navigated environmental complexities at sites like Whatipu, integrating practical effects for battle choreography while prioritizing on-location authenticity over extensive studio work, though facilities such as Studio West supported select interiors.[26]Release
Premieres and Festivals
The Convert world premiered at the Toronto International Film Festival in the Special Presentations programme on 7 September 2023.[30][31] The screening featured director Lee Tamahori and cast members, including Tioreore Ngatai-Melbourne, highlighting the film's exploration of 1830s New Zealand colonial conflicts.[32] In 2024, the film screened at the Palm Springs International Film Festival in the Modern Masters sidebar, emphasizing its historical action elements.[33][1] It served as the opening night gala for the Manchester International Film Festival on 17 March 2024, with Guy Pearce in attendance.[34][35] The picture also received its Hawaii premiere at the Hawaii International Film Festival Spring Showcase in March 2024.[36] These festival appearances preceded wider theatrical releases, generating early buzz for its revisionist Western style set against Māori-British clashes.[1]Theatrical and Home Media Distribution
The film received a theatrical release in New Zealand on March 14, 2024, distributed by Kismet Films as part of an Australia-New Zealand co-production strategy.[37] In Australia, it debuted at the Sydney Film Festival on June 7, 2024, with Kismet handling wider theatrical distribution thereafter.[37] Magnolia Pictures acquired North American rights and launched a limited theatrical rollout in the United States on July 12, 2024, following international sales managed by Mister Smith Entertainment.[38] Additional markets included Russia on June 6, 2024.[37] For home media, digital download and rental options became available on platforms including Amazon Video and iTunes starting July 12, 2024, aligning with the U.S. theatrical debut.[39] Physical releases followed with DVD and Blu-ray editions distributed by Magnolia Home Entertainment on October 8, 2024.[39] Streaming access is offered on Hulu in the United States.[40]Reception
Box Office Performance
The Convert achieved a worldwide box office gross of $764,882.[41][2] In the United States and Canada, the film earned $5,491, with an opening weekend of $2,963 on July 14, 2024, from a limited release.[41] Internationally, it performed strongest in Australia ($277,711) and New Zealand (approximately $350,000 in early runs), alongside smaller earnings in markets like Russia/CIS ($62,870) and the Middle East ($24,052).[41] The film's production budget was estimated by director Lee Tamahori at NZ$15–20 million (roughly US$9–12 million).[42] This resulted in a significant financial underperformance, as theatrical earnings fell well short of recouping costs, typical for limited-release independent historical dramas amid competition from major 2024 blockbusters.[41] No public data on ancillary revenue from streaming or home media was available to alter this assessment as of late 2024.[43]Critical Response
Critics gave "The Convert" generally positive but mixed reviews, praising its strong performances, cinematography, and avoidance of overt white savior tropes while critiquing its uneven pacing, lack of narrative depth, and failure to fully realize its thematic ambitions. On Rotten Tomatoes, the film holds an 81% approval rating from 47 reviews, with a consensus noting it brings history to life in its messy complexity.[3] Metacritic assigns it a score of 66 out of 100 based on 13 critics, describing it as handsomely made but uneven.[44] Guy Pearce's portrayal of the lay preacher Thomas Munro drew widespread acclaim for its restraint and intensity, with RogerEbert.com awarding three out of four stars and highlighting how Pearce "brings him to life with the most solemn of performances, quietly restraining his emotions—and violence—until the very end."[4] The Hollywood Reporter commended the film's laudable elements, including its historical setting amid Māori tribal wars, but faulted it for ultimately lacking the depth to engage viewers fully.[28] Variety described it as a "handsomely shot historical saga" set in 19th-century New Zealand, appreciating director Lee Tamahori's scale and compositions despite the minister protagonist being caught in crossfire.[45] The Guardian noted the film's intelligent staging and lush visuals of New Zealand's wilderness, but observed it feels balanced yet sparkless, with dramatic events often lacking inflection due to a mellow tone.[46] The New York Times characterized it as an antipodean western where Pearce's character shifts allegiances upon arrival in New Zealand, emphasizing the cultural immersion without delving into overt savior dynamics.[47] Some reviewers, such as in Religion Unplugged, criticized its shallow treatment of conversion themes, arguing it substitutes one narrative cliché for another equally problematic one, despite solid pacing and acting.[48] Overall, the response underscores the film's technical strengths and historical evocation against shortcomings in emotional and thematic propulsion.Audience and Cultural Impact
The film garnered a moderate audience response, evidenced by an IMDb user rating of 6.4 out of 10 based on over 6,000 votes as of late 2024.[2] Viewers praised its authentic portrayal of Māori language and customs, well-choreographed action sequences, and Guy Pearce's performance, with many describing it as an engaging period drama that flows quickly while detailing historical conflicts.[49] However, some audience members noted narrative predictability and a focus on spectacle over deeper character development, contributing to its middling aggregate score.[49] Culturally, The Convert has contributed to heightened visibility of pre-colonial Māori society in international cinema, showcasing intricate tribal dynamics, warfare, and spiritual practices in 1830s Aotearoa New Zealand.[50] Lead actress Tioreore Ngatai-Melbourne urged non-Māori audiences to view the film to gain insight into indigenous worldviews, positioning it as a tool for broader cultural empathy rather than an exclusively Māori-centric narrative.[51] In New Zealand, it resonated with audiences interested in local history, depicting mutual influences between British settlers and Māori iwi amid inter-hapū conflicts, and has been framed as part of a "renaissance" in Māori-led filmmaking that builds on earlier works like The Lord of the Rings trilogy.[52] The film's release prompted discussions on colonial-era violence and cultural clashes, with some reviewers appreciating its avoidance of overt white savior tropes by emphasizing Māori agency and internal tribal animosities over simplistic outsider intervention.[29] Others critiqued it for potentially romanticizing British disillusionment with colonialism or under-exploring the geopolitical roots of Māori intertribal wars, reflecting ongoing debates about balanced historical representation in media.[53] Despite these points of contention, it has been credited with fostering symbolic portrayals of early cross-cultural understanding, aligning with New Zealand's historical narrative of eventual bicultural harmony without endorsing uncritical narratives of inevitability.[54]Accolades
Awards and Nominations
The Convert received nominations from the Septimius Awards and the Australian Academy of Cinema and Television Arts (AACTA), reflecting recognition in independent and regional cinema circles, though it did not secure major wins.[44][55] At the 2024 Septimius Awards, the film earned four nominations, including Best Oceanian Film, Best Oceanian Actress, Best Costume Design (for Liz McGregor and Gabrielle Jones), highlighting its production values and performances in the Oceanic category.[56][44][57]| Awarding Body | Category | Nominee(s) | Outcome | Year |
|---|---|---|---|---|
| Septimius Awards | Best Oceanian Film | The Convert (Lee Tamahori) | Nominated | 2024 [56][58] |
| Septimius Awards | Best Costume Design | Liz McGregor, Gabrielle Jones | Nominated | 2024 [58] |
| Septimius Awards | Best Oceanian Actress | Unspecified (cast member) | Nominated | 2024 [57] |
| AACTA Awards | Best Lead Actor in Film | Guy Pearce | Nominated | 2025 [59][55][58] |