We were in a car, and the movement may have been particularly fast, or it might not have been, but those motifs remain, as in most memories, separate from finer feelings or the consequence of detail. As is only natural for that kind of brilliant day, we thought of that thing called ‘the beach’ and we were moving with the inevitability of numbers getting crunched.

People are protective of their space and often suspicious of outsiders. People are cramped together in auspicious looking high-rises, disturbingly typical and askew. Outside of my inner-west bubble, I often talk to friends who have lived in Ashfield for years, a suburb that completely transformed and reshaped within a matter of months.

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Ultimately it is the comfort of privilege that blindsides Brian in Little Men. His place within white mediocrity becomes obvious when he cannot fathom someone else earning something, even succeeding, as much as Leonor can in her position, despite being poor. Perhaps he feels that she has ‘cheated the system,’ whereas he has not achieved anything himself, despite his cultural capital, and he is enacting a kind of punitive response. This is where the nuances of race intersect keenly and cruelly across class boundaries.

Initial impressions may border on associations with kitschy, indie movies, Hunt for the Wilderpeople hints at something more structural and political – but an understanding of New Zealand’s colonial history, the oppression of Māori and the pervasive inequalities that linger on to this day would prove beneficial to anyone watching the film, and watch it you must.

Today, histrionic arguments about representation, feminism and righteousness are happening all around the globe: perhaps now more than ever, with the ‘Gamergate’ video game issue playing out and Anita Sarkeesian receiving death threats for her ‘Feminist Frequency’ series.