Michael Bennett’s Matariki opened in cinemas yesterday. A decade or more in the making, it comes packed with many of the things that make south supercity the vibrant and violent place that it is, with a heart that keeps on beating.
As many readers probably know, the film is an ensemble piece, or multi-strand narrative, depending on one’s jargon preferences. In plain English it tells the story of a bunch of characters who participate in or are affected by a single, violent incident.
