Nellie, Daisy and Lou attend an institution for delinquent girls on an isolated island in 1954. The trio rail against the system, finding strength in their friendship but this is challenged when the school's matron divides them.
No matter what anyone might suggest to the contrary, generally speaking, girls will be girls, especially during those often-turbulent, rebellious adolescent years. What’s more, attempts at implementing “correction” are frequently frustrating and unsuccessful for those undertaking such efforts, an ou
... tcome that was usually just as true in the past as it is today. Such was the case in 1954 New Zealand, where a dozen social and sexual “deviants” were confined at the government-sponsored Te Motu School for Incorrigible and Delinquent Girls. The facility, located on a remote island that was once a leper colony and home to assorted misfits and undesirables, was established out of the alleged genuine concern of the state to help rehabilitate the behavior of young women gone astray with the aim of helping to transform them into proper ladies suitable for marriage and motherhood. This was accomplished by strictly following a three-step program of “Christianize, civilize and assimilate” (with particularly heavy emphasis on the first step). Narrated by the school’s stern, calculating, insincere head matron (Rima Te Wiata), the film chronicles the diverse life experiences and backgrounds of her girls, many of which are presented anecdotally and in flashbacks. Some of these incidents are wryly humorous (though quaintly archaic), while others are sad, tragic and profoundly unfair. As the story unfolds, however, matters take a more sinister and disturbing turn, one that prompts three of the island’s residents (Erana James, Manaia Hall, Nathalie Morris) to take cleverly clandestine yet courageously assertive steps to fight back to protect themselves and their peers from a potentially catastrophic and appalling fate. Writer-director Josephine Stewart-Te Whiu’s debut feature tells an engaging, economically paced coming of age tale (said to be inspired by actual events). The “life at a rigidly run girls’ reform school” narrative might be seen by some as rather episodic, formulaic and trite, but those shortcomings are handily overcome by elements that distinguish this offering from others of its kind, namely, its superb writing, excellent character development (especially among the residents and colorful supporting cast members), a well-balanced and deftly combined mix of comedy and drama, and gorgeous location cinematography. Then there are the outstanding performances of the ensemble, most notably James, Morris, Hall (who had no prior acting experience and auditioned for her role on a lark), and, most of all, Te Wiata, who delivers a truly award-worthy portrayal. What’s most impressive here, though, is the work of first-time feature filmmaker Stewart-Te Whiu, a promising new voice in the field whose initial release bodes well for a bright big screen future. Indeed, “We Were Dangerous” is one of those delightful arthouse gems that has largely flown under the radar but has quietly earned a well-deserved reputation as the inspiring work of a new talent who has managed to successfully knock it out of the park on her first try. Catch this one in limited theatrical release or online; otherwise, report to the matron immediately.
