The critically acclaimed film gives a visually sumptuous, sometimes shocking glimpse behind Toi Tū Toi Ora: Contemporary Māori Art, the largest Māori art exhibition staged in Aotearoa at Auckland Art Gallery Toi o Tāmaki in 2020. Winstanley was given full access to film everything from intimate moments of creation by artists to raw Zoom meetings that reveal mounting tensions and eventually the resignation of Borell, the exhibition’s curator and Māori artist.
Chelsea Winstanley at the TOITU: Visual Sovereignty documentary screening at the Auckland Art Gallery and auction event. Photo / David St George
Sitting in her Grey Lynn home, backed by a colourful wall of artworks, some by artists featured in her film, Winstanley reflects on whether she was the only person who could have told this story. “No,” she says. “But with documentaries, you have to be able to build trust with people, and I’m very grateful that people trusted me.” It helped that she had known Borell and many of the artists since filming the TV show Kete Aronui early in her career.
When Winstanley and producer Desray Armstrong began filming Toi Tū Toi Ora, everyone expected the exhibition would tour internationally, as Te Māori had in 1984. “I had the story arc: the exhibition would be a celebration of a well-overdue moment in time, and then travel. But I didn’t anticipate Nigel resigning.”
Exhibition curator and artist Nigel Borell with Winstanley. Photo / David St George
Winstanley also didn’t anticipate being told by the gallery that, despite record attendance and coveted international interest, the moment had passed for the exhibition to travel.
TOITŪ: Visual Sovereignty captures heartbreak and friction, showing what happens when a colonial institution meets an indigenous worldview; the former hierarchical, the latter collaborative. After watching it, you have red eyes, an expanded heart and a clear understanding of why Māori sovereignty should be honoured in every space.
Borell and Winstanley during their work on the documentary film TOITU: Visual Sovereignty.
Despite what’s revealed, Auckland Art Gallery Toi o Tāmaki is fully behind the film. When it was accepted into SBIFF, Winstanley called acting director Tom Irvine to suggest a screening and auction fundraiser.
“Give me an hour,” he told her. The auction idea had come from Gossage, who saw the film at Matakana Cinema and offered to paint a work to help raise funds. Borell and Gossage’s gallerist, Tim Melville, warned it would be “a lot of work” but quickly came on board, introducing Winstanley to Webb’s auction house.
Within three weeks, the project came together. Slipping into producer mode, Winstanley rallied sponsors and artists, securing Cotton as her “heavy hitter”, and says, “When the kaupapa is right, things fall into place.”
Taika Waititi signing artwork at the auction. Photo / David St George
Waititi features in the film. He kindly donated two pieces from his Dirty Money series. Before the auction, he texted Winstanley, worried his art, featuring doctored $1 and $2 notes, might not sell. He needn’t have worried. On the night, bidders went into a frenzy and more than doubled the estimated price.
Gossage’s paintings also sparked a storm of paddle-waving. Winstanley had hoped for $50,000; she raised more than $100,000.
“Having the ability to be ready to respond to any festival or market is an independent film-maker’s dream. Both Desray and I have personally invested far beyond what was raised, so not having to put more into distribution means I’m on my way to creating the distribution roll-out I only dreamed of five years ago.”
There’s talk of screening the documentary in museums and galleries globally, especially those holding Māori taonga.
Chelsea Winstanley’s mother, Cherry Wilson, at the Auckland Art Gallery. Photo / David St George
TOITŪ: Visual Sovereignty is storytelling at its best: affecting change. Winstanley, who chairs the Indigenous Alliance Affinity Group at the Oscars, says her work always has a bigger purpose. “You put your heart and soul into it, and hope that you’re able to create conversation. That’s what this film’s done more than I ever hoped for. People are talking.”
We discuss possibilities: what might happen if every Pākeha in a position of power watched the film. “This country could be incredible, and be teachers around the world. We could break that colonial stronghold and show what working together looks like.”
The response at SBIFF was wonderful, says Winstanley. “Nigel and I weren’t sure if it would translate overseas, but the universal themes touched people.” Representatives from the Chumash Nation (Los Angeles) attended the screening and later spoke of shared indigenous journeys and colonial histories.
“We were thrilled to be joined by award-winning director Andy Davis (The Fugitive), who told us the film was ‘beautifully put together … with substance and soul, giving voice to those who are rarely heard’.”
Troy Kingi watching the work of Ngahina Hohaia.
Praise continued. LA-based New Zealand business leader Peter Cooper said, “How we experience our heritage is deeply personal and must be treated with dignity and humility. This production achieves both.”
Nigel Daly, president of Screen International North America, said, “Beautifully directed — it’s a film everyone needs to see, especially now.”
It’s been a full-circle moment for Winstanley. Just before the Covid pandemic, she moved back from LA to switch from producing to directing.
“I’m so glad I made that decision to return to what I always wanted to do. I was 45. Don’t let age get in the way of your dreams.”