Achieving and maintaining independence is vital to communities around the world, but there are some powerful truths that are clearly self-evident in that quest that must be acknowledged. Every character in the New Zealand action thriller, ‘Muru,’ ultimately needs saving in their journey to preserve their freedom, mostly from themselves and what they do to each other.

At stake for the ensemble cast of characters in the movie is their shared sense of humanity, and the ability to accept each other as they work to preserve their own self-sufficiency. The characters’ choice over whether or not they should eventually recognize and accept each other is an important conversation on race and identity.

‘Muru’ is having its international premiere in the Contemporary World Cinema Section at the Toronto International Film Festival (TIFF). The drama is having two more in-person screenings this week at TIFF, including tonight, Monday, September 12 at 9:45pm and this Saturday, September 17 at 6:15pm, at the Scotiabank Theatre Toronto.

‘Muru’ was written, directed and executive produced by New Zealand filmmaker, Tearepa Kahi. The drama, whose title is the Maori concept for reconciliation and forgiveness, is inspired by the 2007 New Zealand police raids in the Urewera mountain range near the town of Ruatoki.

‘Muru’ follows local Police Sergeant ‘Taffy’ Tawharau (Cliff Curtis), who recently returned home to the remote Ruatoki valley to look after his sick father. While there, he must choose between duty to his badge or his people, when the government invoke anti-terrorism powers to launch an armed raid on his remote Urewera community.

Taffy’s father’s close associate, Tame Iti (played by himself), runs a series of boot camps in the valley called Rama (fire light). These camps are centered around survival skills and help keep residents’ shared Tuhoe identity alive. Despite many invitations, Taffy has never attended Camp Rama. Unknown to everyone in the valley, Rama has been under police surveillance for six months, and when a troubled youth, Rusty (Poroaki Merritt-McDonald), fires a loaded rifle, surveillance footage triggers a response, led by Captain Gallagher (Jay Ryan) and an elite STG unit.

With pressure mounting to intervene, Gallagher starts to doubt the veracity of Tame Iti as a potential domestic terrorist. Tensions heighten when Rusty is caught in a domestic disturbance, and rather than locking him up, Taffy takes Rusty to Camp Rama to deal with the situation.

While Rusty joins the Rama circle and learns about his Tuhoe identity, Taffy sees a dark shape beyond the campfire and starts to chase it. Taffy pursues the runner through the bush and discovers a surveillance van. Gallagher steps out and asks Taffy, ‘Are you with us, or are you with Tame?’ Taffy senses the danger to his community and chooses to help Gallagher facilitate a safe round up of Tame and other targets, but the government betrays this agreement when Gallagher launches the Police Raid on a school day. During the raid, something goes wrong, which leads Taffy to make a bigger choice: to either serve or protect.

Kahi and Curtis generously took the time this weekend during TIFF to talk about penning, helming and starring in ‘Muru’ during an exclusive interview over Zoom. Among other things, the scribe-director and actor discussed that they wanted to make the thriller to help bring an understanding of the depth of impact the 2007 New Zealand police raids had on on the community of Ruatoki. The duo also expressed that having the opportunity to internationally premiere the movie at TIFF is a great achievement for them in the feature’s journey, as it helps bring attention to the events and aftermath of the police raids to audiences around the world.

ShockYa (SY): Tearepa, you wrote the script for the new action thriller, ‘Muru.’ What inspired you to pen the screenplay for the film? What was the process like of scribing the script for the drama?

Tearepa Kahi (TK): The development of the story was about understanding the depth of impact on the community by the government. So over a long period of time, maybe about three years, I worked with Cliff here towards creating a story that would speak as not only a factual depiction of the events of one day, but to also ensure that the events of this day never occurr again.

SY: Cliff, you play Sgt ‘Taffy’ Tawharau in the movie. What was it about the character, as well as the overall screenplay, that convinced you to take on the role?

Cliff Curtis (CC): Well, Tearepa and I started working and collaborating together a couple of decades earlier on short films and developing a couple of projects. So that’s a long-standing relationship, and there were several projects we’ve collaborated on together since the short films and our subsequent feature documentaries. So we had a pre-existing relationship and desire to tell stories from our heritage and culture.

Then there are also the events of 2007 and the unique characters of Tame Iti. We both have a personal relationship with that man, who’s an activist and artist.

We also have a relationship with our community. This event had an impact on our community. I remember exactly where I was when I heard the news that the government had uncovered a terrorist cell in our community. I know that something horrible and terrible had happened, and something unjust had taken place.

So all of that led us to the possibility of making a movie about it, which didn’t happen straightaway. It was over time that we decided to make the movie about it. We were seeking stories that matter and impact our people. Tearepa drew me in to making the movie.

TK: I gave him a character he couldn’t refuse! (Kahi laughs.)

CC: Yes, a bus-driving policeman in the middle of the raids.

SY: ‘Muru’ explores the real-life series of boot camps in the remote Ruatoki valley, and the New Zealand government’s exploration into a potential domestic terrorist there. What kind of research did you both do while developing the script and characters?

TK: It was extensive. I spoke to politicians, family members, kids and elders in the community. We also spent a long time with Tame.

There was all the work that Cliff did on top of that, as well. He invited the community sergeant and other policemen in the area in for sessions.

We know who was in the decision-making rooms. I know where the STG unit trained. Cliff’s cousins were part of the STG unit. So when I say extensive, we really did turn over many stones over a long period of time.

CC: Where these events took place were really familiar; it’s only an hour and 15 minutes from my home. The few times I went through the valley, it was to see Tame, actually. (Kahi laughs.)

So the research was really just going into the valley and meeting with people there, and making that human connection. For me, the craft of what we do has a sort of industrial aspect, which is using the resources to help build our expertise.

But for me, the storytelling really begins with human connection, where I can feel the humanity of the individuals that we’re portraying in the film, and can connect with them at a high level. When I find that connection, I can portray that, and bring that to life, on screen

SY: The thriller was shot on location in New Zealand, where the story is set. What was your experience like of shooting the film on location?

TK: It was really about strengthening our relationships and clarifying and sharing the vision, both with Tame and his community. So being able to be ushered into the valley and draw on new relationships within the community, and creating places with them for them to contribute to the film, was important. These were all the aspects to making the story, and hopefully make an authentic representation to where we are, and the people we were with.

It was exciting everyday to have the level of contribution that they gave, not only to looking after everyone who was there, but also the small moments of wrangling horses and being able to work on something collectively. I think sharing that spirit was spread across the entire storytelling process.

SY: ‘Muru’ also features an ensemble casting, including Tame Iti, Jay Ryan, Simone Kessell, Ria Paki, Manu Bennett and Roimata Fox. What was the casting process like for the actors?

TK: Well, there was only going to be one actor who could play Tame Iti, and that was the man himself. In terms of getting Jay Ryan, Simone Kessell, Ria Paki and all the other people…

CC: …the casting was interesting, as the film lives and dies on its authenticity. So in order for the action to have consequence and move the audience, you have to have characters portrayed on screen that you can feel are authentic. So there was a very clear blend of casting between non-actors from the community, including the man who played my character’s father and all of the children on the school bus, and the crafted, seasoned actors, including Jay Ryan, Simone Kessell and Manu Bennett.

There was also another requirement – people who could exist in this community and be proficient in the language. I was probably one of the weakest links, so I needed the most support.

So then we had the casting of Ria Paki and Roimata Fox. A lot of these individuals were proficient actors, and also had beautiful acting skills, which helped.

So the weaving together of all of these elements helped bring a sense of authenticity to the movie and make it all work. So a lot went into it; it didn’t happen by coincidence.

SY: ‘Muru’ is currently playing in the Contemporary World Cinema Section of this year’s Toronto International Film Festival. What has the experience been like of bringing the drama to the festival?

TK: Having the opportunity to bring the film to Toronto is a great highlight.

But there were two conditions from the community that I had to fulfill in order to make the film, which were discussed in a meeting we had together. We have a tribal house back home, and I had to ask for their permission and blessing (to make the film).

The first thing they said was, “Is this about the events of one day, or are you going to tell the whole story?” I said, “It’s about the events of one day,” and they said, “Well, you need to tell the whole story.”

The second condition they said was, “Is this for New Zealand, or is this for the world?” I said, “I’m not a festival programmer, but I think I can do really well in New Zealand.” They said, “New Zealand has turned its backs on us for a very long time, so if you want to tell this story, it needs to be for the world.”

So being able to fulfill that condition and bring the film to the world through Toronto is incredible.