The World of Movies: The Land Has Eyes
Written by Rachael Crawley
The World of Movies is a series that explores global cinema, drawing on films from many countries, industries and eras. This week, we find parallels in the past and present of Fiji.
The Land Has Eyes.
May contain spoilers.
The Land Has Eyes (Vilsoni Hereniko, 2004) is believed to be Fiji’s only feature film, though other productions have been filmed there. This coming-of-age story includes many elements of both tradition and the present. Thanks in large part to the performance of its lead actress, the movie manages to stay away from sentimentality, giving us characters and a story that feel realistic.
The title of this film refers to a common saying, “the land has eyes and teeth and knows what’s right.” Viki (first-time actor Sapeta Taito), who suffers due to her father’s reputation as a thief, can certainly understand this. As she struggles with her shame and worry, she takes comfort from the stories of the Warrior Woman (Rena Owen) – an ancient figure who survives and triumphs, despite having to outsmart her treacherous brothers. Viki holds secret ambitions of her own, and longs to leave her home in Rotuma for further education in Fiji. Her neighbours and teachers do not make it easy for her. (Though the film does not specify a year, it takes place near the end of British colonial control in 1970 – the era the director was himself growing up in Rotuma.) Throughout this ordeal, it becomes clear that her father is innocent, but is taken advantage of by his accuser and ignorant authorities. It falls to Viki to help find him justice. As she tries to make things right, life gives her a few unexpected swerves.
The film is well-shot, even through some tricky ocean scenes, and has brilliant colours. It moves at a pace that does not feel overcrowded; the story is simple enough that there is plenty of time for character development and moments of reflection (and it’s definitely not too slow). We are able to transition easily between lighter scenes of everyday life and heavy emotional moments. One villain is perhaps a little over-the-top. The only real technical drawback is its score. While it does match the appropriate intensity of the scene and includes some beautiful moments, it uses a few generic pop/synth elements, which don’t really work.
The Land Has Eyes.
As for the characters, they are written with depth and strongly cast. Even smaller roles are given a notable amount of detail, which in turn fills out the larger community. Owen, who appears virtually without dialogue, creates a determined character who is believable as a strong and compassionate leader. Voi Fesaitu goes from gentle caregiver to broken man as Viki’s father, Hapati. The standout performance, however, must be Sapeta Taito, who is able to show and develop the Warrior Woman’s qualities while still conveying her character’s deep pain. Her journey of growth feels authentic and is spectacular in its culmination.
By the end of the film, Viki has found her footing as a new adult. The story of her path to independence is grounded in a nuanced screenplay and great casting. The Land Has Eyes contains a lot of pain and a lot of courage, and at the end, a feeling of peace. Though it has sad moments, there is nothing that would make it inappropriate for younger viewers, and I would recommend it to families with teens and older children. Its strong protagonist, and fresh take on a familiar arc, make it a film that resonates across the board.
Rachael Crawley holds a Master's Degree in Film and Photography Preservation and Collections Management from X University (formerly known as Ryerson), and has worked with film in Canada and in Europe. She adores language and cinema, and how these subjects interact with each other.