SYNOPSIS BACKGROUND Tanna is set in the South Pacific where Wawa, a young People first arrived on Tanna in girl from one of the last traditional tribes, falls in about 3,000 years ago when the Lapita love with her chief’s grandson, Dain. When an inter- sailed from the Bismarck archipelago tribal war escalates, Wawa is unknowingly betrothed in Papua New Guinea to colonise as part of a peace deal. The young lovers run away, the islands. They brought along pigs, but are pursued by enemy warriors intent on killing chickens, pottery and a host of crops that Torres Is. them. They must choose between their hearts and are still the mainstay on Tanna today. the future of the tribe, while the villagers must The English Captain James Cook was wrestle with preserving their traditional culture and the first European to visit Tanna in adapting it to the increasing outside demands for 1774, followed by missionaries in the individual freedom. Tanna is based on a true story 19th century. In the mid 20th century, a and performed by the people of Yakel in Vanuatu. powerful local movement rejecting the VANUATU colonial presence emerged, advocating a return to Kastom and abandonment Port Vila Efaté of western clothes, money and schools.

Though the leaders were arrested, exiled,

and imprisoned, the movement swept

Yakel the island and still retains respect to

this day.

G Today, Yakel is one of a number of R E villages in Tanna’s central mountain A New T CORAL Caledonia chain that have held on to their fully B (Fr.) A SEA traditional Kastom lifestyle, maintaining R R its belief system and social structure I E R despite contact with the modern world.

R E Theirs is a deliberate choice to protect E F and nurture the old ways.

Brisbane DIRECTORS’ NOTE GLOSSARY The Yakel tribe of , Vanuatu, still Tanna: An island of 30,000 people in the hunt with bows and arrows and make their south of the Vanuatu’s archipelago, which clothes and houses entirely from materials became independent from Britain and gathered in the surrounding jungle. Their days France in 1980. begin with the rising sun and end with a kava Kastom: The traditional cosmology of ceremony at sunset. It’s a life that has all but Vanuatu, a system of laws, beliefs, songs, disappeared in modern times, yet people here dances and patriarchal social structures. are proud of their culture – ‘Kastom’ – and want to share it with the rest of the world. Kastom Roads: The metaphorical roads that link Tanna’s Kastom groups together, For seven months we lived together, exchanging which can be closed by war and opened food, stories, ceremonies, laughter, pain and by peace, allowing the exchange of goods adventures. Bentley’s children played with and people to resume. theirs, learning their language and way of life. Burying the Club: A formal ceremony One day the men sung a deeply moving song to end conflict between tribal groups. about two lovers who dared defy the ancient A peace-making chief calls the disputing laws of arranged marriage, some 20 years parties, in front of a witness chief, to earlier. They said the young lovers’ story agree on terms and exchange pigs, kava changed the course of Kastom on the island. and brides to seal the peace. Tanna is a cinematic translation of that song – Yahul: The Yakel name for the active which is at its heart a story of the universally volcano that dominates the southern transformative power of love. part of Tanna. She is their Spirit Mother. Working so closely with the people of Yakel has been one of the most rewarding experiences of our creative lives. Together we have opened a rare window into a rapidly- vanishing world full of hope and dynamism. Peter Kowia , Martin Butler, Lingai Kowia, , Caha Toata, JJ welcomed warmly by the men, all dressed plays the Chief of Yakel – Chief Charlie. in nambas (penis sheaths), and invited to The medicine man plays the Medicine AN INTERVIEW WITH drink kava. The next morning we played Man. Everyone agreed that Mungau Rolf De Heer’s Ten Canoes on a laptop to should play the leading man, Dain, THE FILMMAKERS demonstrate the type of film we might because he was the most handsome. make – a film based on their stories, with How did such an unusual film it would be great to find an excuse to stay But he was petrified of showing them as writers and actors. They had come to be made? longer, learn more, maybe make a film physical affection with a woman in never seen a feature film before. But what BENTLEY: Back in 2004 I found myself here one day. public – something that is strictly taboo. they wanted to know was: Can we start Collectively, we convinced him and by the on the lip of Tanna’s very active volcano MARTIN: In mid 2013 we had just finished tomorrow? end of the film he was quite comfortable discussing geopolitics with the leader of a landmark series on the Aboriginal During those first few days on Tanna, we the millenarian John Frum movement for history of Australia and were between lying on a beach having his nipples were taken to the other side of the island SBS’ international current affairs program, projects. Bentley told me he wanted squeezed by the ravishing Marie Wawa. where a big meeting was taking place Dateline. With deep concern Chief Isaac to live with his partner and two young between all the tribes from the area. A Marie, who plays Wawa was a one of a explained how he was beginning to doubt children in a very different culture before young couple were in love but she had kind but took a long time to find. Every whether the USA would fulfill the prophecy they started school and proposed we been promised to another tribe as part other girl we auditioned could barely look of returing to Tanna and questioned their make a feature film on Tanna. Given of an arranged marriage. We were Mungau in the eye – light years from the recent invasion of Iraq. “In World War 2, that neither of us had made drama fascinated. Passions flared and in the feisty teenager the film called for. But they stopped the Japanese here. They did before and we had no money I thought end it was agreed that each side should the instant Martin saw Marie, he knew good. But why are they in Iraq? I think it’s it a particularly ambitious plan, if not exchange kava and pigs and that the she was the one (Bentley could only see foolhardy. But we knew we had a couple for money.” On cue the volcano ejected couple could stay together and marry, blurred shapes at the time due to severe of strong advantages. Our two person lava and ash in an almighty eruption. viral conjunctivitis) – stunning, with an crew using equipment we owned, enabled as long as her tribe provided another Perhaps responding to my wide eyes Chief woman in the future. We were told after infectious laugh and great emotional Isaac reassured me: “Tanna is one special us to film for many months without huge expense and we had developed a that these disputes were not resolved depth in her eyes. island”. He’s right. Just 50km by 20km it so easily in the past. Star crossed lovers, successful way of filming with traditional The Peacemaking Tribe and Witness Tribe contains dense rainforest, black and white tribal disputes, challenge to the old sand beaches, brilliant coral and a stark people based on respect, patience and were drawn from neighbouring tribes personal rapport. We went to Tanna to ways – some powerful dramatic themes ash plain. But it also contains one of the were emerging. more or less in line with their traditional most diverse and unique set of belief test the waters. roles. Astonishingly, the men thought systems in the world. Among all the Pacific The head of Tanna’s Culture Centre, Jacob How did you do the casting? the enemy tribe, The Imedin, should be Islands Tanna is probably the strongest Kapere, suggested visiting the village There was a lot of life meeting art in the played by the tribe with whom Yakel were for following Kastom. I remember thinking of Yakel to discuss the idea. We were process of casting. The Chief of Yakel having a real-life bloody land dispute. They saw great potential: just as the pigs and exchange kava, what the men enemy tribes come together in the film, so would say, and what the women would too will they. Lingai went across the valley whisper in the background. Essential lines to ask. It didn’t go well. Their chief flatly were hit, but we always left room for the refused, calling Lingai a bastard – which spontaneous performances everyone is the worst possible thing you can say excelled at. Because we had discussed to a Tannese man as it implies he has the story together over many months, no right to his land. Lingai beat him up, everyone knew the emotional arc of and several other men when they tried to each scene and could move freely within ambush him. The film nearly ended before character as if it were happening for real. it began but all was eventually resolved We began filming rehearsals in March by a meeting where pigs and kava were 2014 to get ourselves and the actors used exchanged. They decided it would be to working with the camera. We weren’t better to cast Supreme Chief Mikum and sure what the style of filming would be his people as The Imedin. With a real-life until this moment. Amazingly this very first nickname, Tangalua (Snake), he couldn’t rehearsal is in the final film – the scene have been more menacing. where Chief Charlie teaches the peace How did you work with the Yakel people song to the men of the Yakel. Bentley to get their impressive performances? remembers feeling goosebumps as he Tanna was shot in an unusual way. None began capturing extraordinary nuanced of the actors are literate or have had any performances – Charlie goading and experience acting. The story and dialogue persuading, group acceptance, reluctance were developed through workshopping overcome from Lingai and defiance from and improvisation on location. Dain. We decided there would be no more rehearsals. We’d shoot for real. At the start of filming each scene we would ask everyone on location what The atmosphere on the shoot was would happen in real life. Say for the deliberately low key. We teased each Burying the Club ceremony – they would other a lot and there was much laughter. block out the direction tribes would come It’s our view that this ‘embedded’ and from, where they’d sit, the order that intimate filmmaking style is probably the chiefs would speak, when they’d sacrifice only way this film could have been made. Dancing and singing in the Nakamal, Yakel How do you share your tasks and Tanna in particular, is much stronger lovers of cinema! It was impossible for a specially built traditional cyclone proof in your film production? than elsewhere in the Pacific. First off it me to be in the presence of Yahul and hut, was destroyed. Thankfully no one We’ve been working together for more numbs the mouth and lips, but within ten not feel our planet is alive. was killed. Incredibly they insisted we than seven years, always co-directing, minutes there’s a warm flow of elation JANITA (LOCATION PRODUCER): Within come to show the film as planned. Yakel with Bentley filming and Martin recording in the brain and as the soft light of dusk days of arriving, it was clear my fear of was barely recognisable – trees were sound. We co-produce all our own turns into night a wonderful sense of our two and four year olds getting lost flattened, crops destroyed, but already projects and only work on one at a time. empathy with nature and the people in the jungle wouldn’t be realised. There about a third of the huts had been rebuilt We know each other’s thoughts and around you. After taking kava the chatter was no going anywhere without a gaggle and they’d buried enough food before the aesthetics so well now that often we don’t dies away and the soporific effects tend to of Yakel kids holding your hands. Even if cyclone to keep them going short term. talk while filming. We just know what a silent meditation. Slowly and quietly the you managed to sneak off, it was moments Spirits were high as they erected a screen feels right. We also write together, flinging men drift away to separate corners of the until a ‘lewher!’ (hello!) and someone’s we had brought – two white sheets sewn the script between us – often on a daily nakamal, carrying a fire stick to make their head would pop out from behind a tree. It together – lashed to a massive banyan basis. Sometimes we’ll argue a point own fire. I sat at the fireside with Albi, who was surprisingly hard to find privacy on a tree that had survived the winds. Tribes passionately, sleep on it, then argue the plays the Shaman, and meditated about remote island! So our kids were absorbed from all directions came to watch. It was other’s point of view just as passionately. our plans. It was an intoxicating experience into village life, picked up the language, an unforgettable experience. No one It’s an enormously stimulating process. and one that was repeated almost every went on adventures and visited families had ever been to a cinema. It was their evening that we were in Yakel. we’d never met up the mountain, and first film and it starred them in their ate bats and BBQd pigs intestines wound What are some of your most BENTLEY: Every time we filmed at the own language, telling their own story. on sticks while we’d go off to film. We’d memorable moments? volcano – the Spirit Mother, Yahul – was There were whoops of joy and laughter, discover what they’d been up to at the end MARTIN: My very first afternoon in Yakel a memorable moment for me. There was tut-tuts when the lovers did the wrong of the day when we scrolled through the was certainly memorable. It was kava no need for CGI – every eruption was thing, teenage boys sniggering during time. In Yakel, the kava is prepared in the photos from our stills camera lent to the the love scenes while young girls at the very real and at times scary. Selin had older kids. I’ll never forget the first time I traditional way. Uninitiated men clean front shouted at them to keep quiet. never seen Yahul before making this film saw our two year old gingerly wielding a the roots and chew them for about five- The following day, after much internal – it felt special to capture her awe and machete that was almost as big as him. ten minutes until they are a soft brown nascent understanding as she met and discussion, the chiefs gave us what will mush. This is spat out onto a broad leaf, got to know Yahul for the very first time. It What do the tribe think of the film? be our best review. “We know you came mixed with water and squeezed through was a feeling that I shared over dozens of We promised the people of Yakel they here with your equipment and idea to a coconut leaf into a coconut shell. It’s visits. Yahul has many moods. On the very would be the first in the world to see make a film, but we want to inform you a grey/brown cloudy liquid that tastes first trip She killed the camera with acid Tanna. But a few weeks before the that we consider this our film.” They said and smells of the earth. This was my rain. On the last trip with Dain and Wawa, scheduled Cast and Crew screening, the film reflected the truth and would first experience of traditional kava and a perfectly timed eruption created what Cyclone Pam devastated Vanuatu and help keep Kastom strong. They gave us it blew my mind. The kava in Vanuatu, could be one of the great rendezvous of Yakel was not spared. Every house, except a chicken and sacred kava root. BENTLEY DEAN Co-Director/Co-Producer/ Awards: Cinematographer Anatomy of a Coup (2002) Bentley Dean was a participant in the • Best Political Documentary, ABC’s inaugural Race Around the World Reel: Life on Film. series in 1997. After working as a freelance The President Versus David Hicks (2004) director and cinematographer, he started • Best Documentary, Logie Awards. working for SBS’s international current Martin Butler reviews a scene with JJ and Chief Mungau Yokay affairs program Dateline in 2001. • Best Documentary, Australian Film Bentley went on to make a number Institute Awards. of award-winning powerful social Contact (2009) documentaries including Anatomy of a • Gold Hugo for Best TV Documentary, MARTIN BUTLER Coup, The President Versus David Hicks, Chicago Film and TV Awards. Co-Director/Co-Producer/Sound Awards: The Siege and A Well-Founded Fear. • Best Documentary – Sydney Film Martin studied politics and economics at Frozen Asset (1989) In 2009, he teamed up with Martin Butler Festival, Australian Film Institute, Oxford University and then went to work • Best Documentary, New York Film and to make Contact – a film about the last Miradas Film festival, Walkley Awards. for the manager of ‘The Who’ at his palace Television Awards. desert peoples’ first-contact with modern • Prime Ministers History Prize. on the Grand Canal in Venice. In 1981 Australia. They made the four part Contact (2009) he migrated to Australia and spent the documentary series First Footprints about First Footprints (2013) • Gold Hugo for Best TV Documentary, next 25 years producing award winning Australia’s 50,000 year Aboriginal history • Best Documentary, Walkley Awards. Chicago Film documentary reports on ABC’s Fours in 2013. They have been making Tanna • Best Documentary, ATOM Awards. and TV Awards. Corners and Foreign Correspondent, and since then. • NSW Premiers History Prize. SBS’s Dateline. In 2009 he teamed up • Best Documentary – Sydney Film with Bentley Dean to make Contact, a film Festival, Australian Film Institute, about the last first-contact in the Western Miradas Film festival, Walkley Awards. Desert of Australia. They made the four • Prime Ministers History Prize. part documentary series First Footprints First Footprints (2013) about Australia’s 50,000 year Aboriginal • Best Documentary, Walkley Awards. history in 2013. They have been making • Best Documentary, ATOM Awards. Tanna since then. • NSW Premiers History Prize. Bentley Dean with Mungai Dain and Marie Wawa JJ NAKO Cultural Director Jimmy Joseph Nako (JJ) was brought up traditionally in the next village to Yakel, but as well as learning the Kastom ways he also attended school, completing high school on the island of Espirito Santo. He speaks impeccable English and returned to his village to found the school there. He knows everyone, is hugely respected and has deep knowledge of Kastom. He was our translator, cultural interpreter, guide and advisor. On location he would suggest script lines, guide the actors and even record sound. He was the essential lynchpin of communicating and negotiating with the tribe. Without his constant input over 6 months this film would not have been made. He continues to live traditionally and wants to start a Kastom School that combines traditional knowledge with the national curriculum.

In 2007 JJ translated, narrated and starred in the British documentary series Meet the Natives, where along with Albi Nangia, Posen Yarbitang, and Chief Yapa, he met Prince Philip in Buckingham Palace.

Treasured photo: JJ (4th from left). Albi Nangia (far left) playing The Shaman uses his real life meeting with Prince Philip to explain arranged marriage to Wawa MAIN CAST MAIN CREW Dain Mungau Dain Directed by Bentley Dean and Wawa Marie Wawa Martin Butler Selin Marceline Rofit Cultural Director Jimmy Jospeh Nako Chief Charlie Chief Charlie Kahla Written by Bentley Dean, Martin Butler and Grandfather John Collee in & Shaman Albi Nangia collaboration with Father Lingai Kowia the people of Yakel Grandmother Dadwa Mungau Produced by Martin Butler, Bentley Dean, Carolyn Mother Linette Yowayin Johnson Kapan Cook Kapan Cook Location Producer Janita Suter Peacemaking Chief Chief Mungau Yokay Cinematographer Bentley Dean Imedin Chief Chief Mikum Tainakou Edited by Tania Michel Nehme Sound Designer Emma Bortignon Composer Antony Partos None of the cast had ever acted Vocals by Lisa Gerrard before. All have lived only at Yakel or neighbouring villages. They have not been to a state sanctioned school, most have never left Tanna, and they all lead a completely traditional life.

Mungau Dain plays Dain Marie Wawa plays Wawa CONTACTS www.facebook.com/TannaMovie SALES & PROGRAMMING Visit Films 173 Richardson St, Brooklyn, NY 11222 [email protected] T +1 718 312 8210 PRODUCTION COMPANY Contact Films 11 Jaques Ave, Bondi NSW 2026, Australia Martin Butler M +61 422 006 697 [email protected] T +61 2 9365 1919 Bentley Dean M +61 439 385 594 [email protected] DISTRIBUTION AUSTRALIA & NEW ZEALAND Bonsai Films Jonathan Page M +61 404 004 994 [email protected] PUBLICITY VENICE Premier Annabel Hutton M +44 7710 199 324 [email protected] Natasha Unalkat M +44 7850 793 936 [email protected] PUBLICITY AUSTRALIA ABCG Publicity Cathy Gallagher M +61 416 227 282 [email protected]

Women of Yakel collect shells Alicia Brescianini M +61 400 225 603 [email protected] TECH SPECS Country of Production: Australia, Vanuatu Language: Nauvhal (English subtitles, Italian subtitles) Runtime: 104 min Stills: Philippe Penel. Design: Rachel Anning. Format: DCP (24fps), color Aspect Ratio: 1.78:1 Sound: 5.1 surround

Principal development and production investment by Screen Australia Developed and produced with the assistance of Film Victoria Developed with assistance from Screen NSW