Striking hakas and alien appendages: Inside the new wave of New Zealand horror

New Zealand's emerging horror scene has found a unique voice through two recent films, Mārama and Mum, I’m Alien Pregnant, both showcased at the Melbourne International Film Festival. These films represent a shift in the country’s cinematic landscape, offering bold narratives that challenge traditional horror conventions and explore themes of identity, colonization, and bodily autonomy. While the titles suggest wildly divergent genres, gothic revenge and body horror, their shared focus on cultural storytelling and unconventional storytelling methods marks a defining trend in New Zealand cinema. Mum, I’m Alien Pregnant, directed by the Auckland-based filmmaking duo Thunderlips, tells the story of a directionless Millennial woman who becomes unexpectedly pregnant after encountering her neighbor, an awkward man with a tentacled alien penis. The film blends dark humor with body horror, portraying the protagonist’s struggle against dismissive medical professionals, overbearing family members, and bizarre physiological phenomena such as uncontrollable breast-milk-squirting episodes. The film’s tone is described as quirky, grotesque, and extremely horny, a combination that makes it difficult to market but also resonates with audiences seeking unconventional narratives. The film’s production involved practical effects, including an alien penis rig that actor Arlo Green had to be physically sewn into during filming. Despite its controversial subject matter, the film received critical acclaim and was funded by the New Zealand Film Commission before being accepted at Sundance. Meanwhile, Mārama, directed by Taratoa Stappard, presents a gothic narrative centered around a Māori woman traveling to a grand estate in 19th-century England to uncover the truth about her heritage. The film explores the lingering impact of colonialism on indigenous cultures, depicting the protagonist’s haunting experiences amid stolen Māori artifacts and unsettling visions. Stappard notes that while numerous Māori films have been produced, few have focused on female-led stories set outside of New Zealand, despite historical evidence of Māori migration to Britain during the era of European colonization. Mārama is positioned as one of the first films to address this underrepresented history, offering a nuanced portrayal of cultural displacement and resistance. Both films reflect a broader movement in New Zealand cinema toward risk-taking and cultural authenticity. Filmmakers like Jordan Mark Windsor and Sean Wallace of Thunderlips emphasize that their work represents a departure from Hollywood-style horror, which often prioritizes jump scares over thematic depth. Instead, they aim to provoke discomfort and introspection, using horror as a vehicle for social commentary. This approach aligns with the growing recognition of New Zealand’s potential as a hub for innovative, culturally specific storytelling. The success of these films on the international festival circuit signals a shift in how global audiences perceive New Zealand cinema. Mārama won the Grand Jury Prize at the Seattle International Film Festival, while Mum, I’m Alien Pregnant took home Best First Feature at Canada’s Fantasia International Film Festival. Such accolades highlight the increasing appetite for diverse and challenging narratives, suggesting that New Zealand filmmakers are beginning to carve out a distinct space in the global horror genre. As the New Zealand horror industry continues to evolve, filmmakers are leveraging local traditions and contemporary issues to craft stories that resonate beyond national borders. Whether through the surreal body horror of Mum, I’m Alien Pregnant or the haunting gothic realism of Mārama, these films exemplify a new wave of creativity that is reshaping the landscape of horror cinema. Their continued success will likely pave the way for more ambitious projects, further solidifying New Zealand’s role in the international film community.