- [Announcer] This series was created in partnership with the Sundance Institute.

More information at sundance.org Funding for "Native Shorts" was made possible by a generous grant from the San Manuel Band of Mission Indians, and from viewers like you.

(bold drumming music) ♪ (singing in indigenous language) ♪ ♪ ♪ - [Bird] "Native Shorts", presented by Sundance Institute's Indigenous Program.

- Hello, and welcome to "Native Shorts."

I'm Ariel Tweto.

- And, I'm Bird Runningwater.

- And, this episode I am very excited about.

Bird.

- Yeah?

- You are looking very tan and very island-y.

(Bird laughing) - Why, thank you!

I happen to be wearing a designer from where our short film is from, which is in, on the island of O'ahu, Hawaii.

- Hawaii.

- Yes.

- Oh!

Love it there.

- I know, right?

- Take me there!

- Ah.

But, this film is by Erin Lau.

It's called "The Moon and the Night" in English, but it has a Hawaiian title as well called, "Ka Mahina a Me Ka Po."

And, you know, I've known Erin for a while.

She is from the island of O'ahu, and she graduated from the Academy for Creative Media, which is a really amazing film school at the University of Hawaii at Manoa.

And, she went to-- after she graduated from there, she went to grad school at Chapman.

Didn't you go to school there?

- Yes, I did.

Go Panthers!

Woo!

- Yes.

So, anyways- - Great school.

- This was her thesis film for her grad program at Chapman University.

And, you know, it's a really great short because it has-- Well?

I don't wanna get in too much about it, but, you know, it has like, a very traditional three-act structure.

It has a beginning; it has a middle; it has an end.

It's very cinematic.

We were actually tricked into thinking that it was shot on film when it wasn't.

It's actually shot digitally.

- Okay.

- And, you know, and I think Erin worked, you know, particularly hard on this one.

And so, I'm just really proud of her.

- When was it made?

Was it-?

- It was made in 2018, I believe.

- Okay.

Awesome.

Well, I think we should dive in, and then we'll come back and break it down with the expert, over here!

(Bird laughs) - Let's do that.

- So, grab your popcorn and your pop and enjoy "The Moon and the Night."

- The Hawaiian title for this short film is called, "Ka Mahina a Me Ka Po."

(film machine whirring/clattering) [dull roar of ocean waves crashing] (waves crashing; low roar) [ocean waves crashing] (Mahina chuckling) - Hi, Po.

Good boy.

Do you wanna go play?

Wanna go play?

Let's go play!

Come on.

[pleasant humming music] Good boy, good.

Good boy.

Good boy.

Ready?

Ready?

[pleasant humming; no music] Aah!

Good.

(dog panting) Po!

Come on!

Come and get it.

Come on.

Go get your duck.

Good boy.

Good boy.

[soulful humming; no music] (matchstick sparking) (gas hissing) (pen clicking sounds) [gas hissing sounds] (pen scribbling sounds) (gas hissing) (Mahina sighs) (distant truck rumbling) (distant upbeat radio music) ♪ (engine rumbling loudly) - [David] Brah, Old Street murdered that other dog.

You know?

He's seeing me and I was just like- - Dad?

- Feeling that.

Hey, Mahina!

We won!

(David laughing) (dog whimpering) I told you!

(loud music from truck radio) (dog whimpering) (whispers) - Hey, Po.

Hi.

♪ There.

Good boy.

Good.

(dog munching) It's okay.

♪ (David chattering indistinctly) ♪ You're safe now.

(loud music from truck radio) Okay.

♪ (clanking gate) Come on.

Come on.

♪ Good boy.

(crickets chirping) (footsteps crunching grass) - [David] They shut off the power again.

I checked for the electric bill.

Must've got lost in the mail.

Hey, I'll take care of it tomorrow.

Okay?

- [Mahina] I did some more job applications for you.

You just have to finish some other questions.

- No need.

I talked to Keoni.

I'm gonna meet at his office tomorrow.

We got some construction jobs comin' up.

- Doesn't hurt to just send them out.

- Come on, Mahina.

We won.

- You said just a couple of fights to get us on our feet.

- I know.

(fencing rattles softly) I know.

But... if you could've seen us out there.

Like, we were connected, me and Po.

It was-- even before the match, we got 'em.

(crickets chirping) (footsteps crunching grass) (fencing rattles softly) Hey.

(crickets chirping) (crickets chirping) Go to bed soon.

Please?

(David chuckles) Alright.

(fencing rattles softly) (crickets chirping) [soulful humming; no music] [soulful humming; no music] (waves rolling softly) (birds chirping) (clears throat softly) (birds chirping) (wind ruffling leaves) - [Teacher] Of the three groups, the ali'i class was the highest.

This group possessed great amounts of mana because of their relationship to their gods.

The highest-ranking ali'i was called ni'opio, (phone buzzing) and this group could clearly and perfectly articulate their genealogy and how it tied to the gods.

And, this was vital because, at the time, everyone believed that the communities- (thunder rumbling) (entry bell ringing) (rain pattering) - Thanks, Pono.

(rain pattering) - [David] Okay, okay.

(thunder rumbling) (raindrops tapping roof) (Mahina huffing) (rain pattering windshield) - [Mahina] Can I have the keys?

Give me the keys.

- Oh.

(slurring) Don't you have school?

- We finished early.

(raindrops tapping) (engine rumbling) (David groaning) - I got it.

I got it.

(David sighing) (light switch clicking) (rapid flicking) - Dad?

(Mahina sighs) (light splashing) (Mahina sighs) (clunking side walls of fridge) (plastic bag wrinkling) (plastic bag wrinkling) (trash rattling in bag) (thump!)

(sighs) (car whining) (child giggling) (ambient social chatter) [melancholy guitar music] ♪ - [Waitress] Here we go.

One large chicken katsu plate.

- [David] Thanks.

♪ Go ahead.

♪ Good?

Hey.

You know, when you were a kid, you used to hate the crispy ends.

- Really?

- Oh, yeah!

You convinced yourself it was gross.

So, every piece you just peel it off, and give it to me.

♪ (snickers) - Nice try!

(David laughing) Good one.

- Oh, yeah?

How about this?

That one's mine!

- No!

- That one's mine.

- No.

- Yes.

- Uh uh.

That's not fair.

- [David] Oh, yeah.

- No, it's not.

- It's happening!

- No, 'cause I'm growing, so I need to eat more.

- Oh, yeah?

- [Mahina] Yeah.

(David laughing) That's not fair.

(both laughing) - [Bryce] Hey, David!

- [David] Whoa.

- What's up?

What's up, brah?

- [David] Bryce!

(hands slap) How's it, brah?

- Alright.

- [David] What you doin' here?

- [Bryce] Starving!

Waiting for a table.

- As always!

- [Bryce] Yeah.

(David laughs) - [David] Hey, you remember my daughter?

- [Bryce] Yeah!

How you, baby?

- Hey, uncle.

- [David] Oh, sit down.

- [Bryce] Are you sure?

- [David] Yeah, yeah.

Hey, Mahina.

Move over, please.

Thank you.

- [Bryce] Cool, right on.

- Yeah, man.

Oh, you like some?

- Oh shoot, man!

Wow.

- Yeah, man.

- Yeah, it's you.

(David laughs) - Brah, Po was mean out in there.

I owe you some beers!

- Nah.

- No.

For real, man.

That dog prints some serious money.

- Hey.

You know me; I only raise winners.

- [Bryce] Right?

(David laughs) - [Ikaika] Hey, Bryce.

- [Bryce] Oh!

Time for grind, brah.

- [David] Oh, is that Ikaika?

- [Bryce] Yeah.

What, you like come?

Talk story!

- Yeah, shoot.

- Let's do it!

(slaps) - [David] Hey.

Oh?

I'll be right back, okay?

Real fast.

[gentle guitar music] ♪ (thunder rumbling outside) (ambient families laughing/chattering) (thunder rumbling outside) (windshield wipers scratching) (rain splattering hard) (thunder rumbling) - What'd you guys talk about?

- Just catching up.

I haven't seen those guys in a long time.

(windshield wipers rubbing/rattling) We used to go to school together.

(rain splattering hard) (windshield wipers rubbing/rattling) They might be able to help us out.

(crickets chirping) (sighs) (waves roaring/crashing) - [Mahina] Po!

(light breathing) - Okay, so you gotta make sure you finish that assignment.

(teacher indistinctly speaking) Okay?

(teacher speaking indistinctly) Okay?

See you on Monday.

(traffic whining sounds) (car whooshing) (traffic whining sounds) (car whooshing) (footsteps crunching grass) (gasps) - [Mahina] Po?

(bike gears cranking/rattling) (faint beat music) (crowd cheering) (bike thumps) (crowd applauding/shouting) (dog whimpering) (ambient shouting/clapping) (loud music) (faint beat music) (spectator whistling) (dogs barking/growling) (crowd cheering) (dog growling) (dog whimpering) (dogs barking) (muffled beat music) (sighs) (high-pitched barking) (distant dogs barking) (muffled beat music) (distant dogs barking) (light footsteps) (light thump) (shaky breathing) (exhales heavily) [low ominous music] (strained breathing) (light grunting) [low ominous music] (Mahina groaning) (straining/grunting) [low ominous music] [soulful humming; no music] (distant dogs barking) (thump) - [David] Mahina!

[soulful humming] Mahina!

[soulful humming] (metal thudding) Hey, hey!

Mahina, I'm sorry.

- No!

- I'm sorry.

- No!

- It was an accident.

- You killed Po!

- It was an accident.

- F--- your apologies!

- Wait.

Stop, stop!

Hey, hey.

- No!!

- Listen to me, listen!

- Let go!

- Listen to me!

Wait, hey!

- You killed him!

- Mahina, I didn't mean to.

- F--- you!

- I'm sorry.

- I hate you!!

(Mahina gasping) (sobbing) (Mahina crying) (huffing/gasping) (huffing) Give me... the keys.

(slam!)

(engine rumbling) (distant rooster crowing) (insects buzzing) (distant rooster crowing) (insects buzzing) (distant rooster crowing) (birds chirping) [melancholy organ music] ♪ ♪ (clank!)

♪ (clank!)

♪ (fence rattling/clanking) (groaning/straining) (fence rattling/clanking) (clank!)

(straining/groaning) (fence rattling/clanking) (squealing parts) [dramatic music] (Mahina huffing) (birds chirping) (thump!)

(huffing) (birds chirping) (birds chirping) (birds chirping) (birds chirping) (birds chirping) (birds chirping) (birds chirping) (birds chirping) - [Ariel] Oh?!

That was...sad.

- [Bird] Yeah.

- Aw.

Poor thing.

- It's an emotional ride.

- It is!

It is and I-- like, in my head, I want everything to be happy and fluffy all the time, but I guess-?

Part of life.

- Yeah.

- Like, sometimes it's really sad and hard.

- [Bird] It's complex.

- It is.

Yeah.

- Right.

Well?

Like, as I mentioned, this was Erin's master's thesis film from Chapman University.

And, you know, one of the things that she did was she developed this short film with the Indigenous Program at Sundance Institute.

This is, like, a real film, you know?

- Yeah.

- It has texture.

It has depth of field.

Structurally, it has, you know- - That arc.

- It's a three-act structure.

- Mm hm.

- The arc, you know?

So many, like, beautiful little details in the shooting of the film, like the depth of field and all of the cutaways with from the hands and the dog.

And, like, you just get such a dimensional feel for that world, which a lot of "kanaka maoli", "native Hawaiian" filmmakers, I really feel like they are really trying to portray modern native Hawaiian life amidst, you know, people who are living in occupied lands.

You know, the United States illegally overthrew, you know, the native Hawaiian kingdom, the Hawaiian kingdom and their queen.

And so, like, there's a lot of that-- I feel like a lot of that complexity.

You kind of, you kind of get a sense of- - Yeah.

- And, a feel of.

- And, tension.

There's always so much tension in these films.

Okay.

Wait?

A short film?

How short does a short film have to be, to be-?

Or, how long could a short film be?

- Well?

I think, technically, according to a lot of film festival standards, like, a feature film starts at 50 minutes: five-zero.

- Okay.

- So, anything less than that is kind of considered, you know, a short film.

- Okay.

- This film, I think, plays a little bit on the long end.

I think it's around 20 minutes.

And most often, you know, a lot of film festivals, especially like Sundance, they-- you know, they receive 10,000-12,000 short film submissions, and then they actually only end up selecting about 90.

So, most often, the longer the film, the least likely it is to be programmed into a festival.

- Okay.

Wow.

- You know, which is one of the things about making, you know, really great short, concise film in the shortest timeframe possible.

- Yeah.

I like in this film, too, how many-- there is a lot of symbolism.

Like, just the-- the music, the humming, when it gets to like a scary part in the show, or something sad.

Like there, and the colors.

Do you notice there's never the-?

Like, I hadn't seen the sun at all in that film.

- [Bird] Right.

- And, because it is, I mean, it's a dark film and so- - Yeah.

- Yeah, there's just a lot of thought that the director put into all of this.

- Mm hm.

And also, kind of, I feel like, it's kind of-- (sighs) it's a little bit of a coming-of-age story.

You know?

Where the girl kind of has this revelation.

Like, ultimately she's wiser than her father.

- Yeah.

- You know?

But, I think she kind of resists it until the final very end when she, you know, picks up the shovel and destroys the dog cage because, you know, she just is, she's trying to break the cycle.

- Yeah.

- Right?

She's trying to, you know, create a different pathway.

- Yeah.

Because if-- yeah.

If she breaks the cage, that means they won't have to get any more dogs; that means the cycle's broken.

When you're just watching some of these films, you don't really think of that until you actually break it down, but that was a good, good point, Bird.

You're so smart.

- Hey, hey.

That's what I do.

(Ariel laughing) (Bird laughing) - It is!

But, you know, this is-- this is an amazing film, I really enjoyed it, even though it was so sad and I learned a lot from it.

- Yeah.

- And...poor Po.

- And, it was really wonderful to visit O'ahu again, which is, you know, again, a beautiful island.

- Yeah.

Oh, God.

I love Hawaii.

- [Bird] Yeah.

- Aloha.

- Aloha.

- Yeah.

Mahalo.

- Mahalo.

But, that was a great episode.

I can't wait for the next episode.

- Mm hm.

- But until then, cheers.

[bold drumming music] - Yes.

A hui hou.

- Yeah.

A hui hou!

(Bird laughing) A hui hou.

[singing in indigenous language] ♪ - Goodbye.

♪ - Mahalo.

♪ - [Ariel] Today, I am wearing Hanovi Designs, and Roy Tracy.

- [Bird] And, I'm wearing Native Hawaiian designer, Manaola.

♪ - Ooh?

(Bird chuckles) Almost fell.

♪ - [Announcer] This series was created in partnership with the Sundance Institute.

More information at sundance.org Funding for "Native Shorts" was made possible by a generous grant from the San Manuel Band of Mission Indians, and from viewers like you.