‘Mārama’ Review – Debut Feature Brings Bold Visuals, Shock, And Awe To Gothic Horror [Milwaukee Film Festival 2026]

As glass ceilings across the film world continue to break, new perspectives are brought into the cinema-sphere, leaving audiences with cinematic treats. Taratoa Stappard’s Mārama is one of those treats. A darkly beautiful, repulsive treat that will leave you in shock.

Set in 1859 England, Mārama follows Mary (newcomer Ariāna Osborne), a mixed-race Māori woman traveling to North Yorkshire to uncover family mysteries. She is quickly taken to the lavish house of Nathaniel Cole (Toby Stephens from Black Sails fame), a rich Brit with a taste for the indigenous culture of New Zealand. He promises Mary answers to her past in exchange for a permanent stay at his residence… and to teach a young half-Māori girl (Evelyn Towersey) more about her culture. The girl, Anne, is an intelligent sweetheart whom Mary feels a deeper connection to as they spend time in the museum-like halls of Nathaniel’s house.

The house, especially its mirrors, conjures up visions of Māori pain, and we quickly find out that Mary’s lineage comes with the traumatic power of a seer. Her all-seeing visions are further enhanced by the presence of Nathaniel and his menagerie of indigenous artifacts and house guests. Peggy (Umi Myers), a downtrodden maid, is jealous of Mary’s immediate standing in the household, yet is bonded to her through Victorian womanhood. Arthur Cole (Jordan Mooney) is Nathaniel’s drunkard kin, sulking nonchalantly in the shadows. And then there’s Jack Fenton (Erroll Shand), the tattooed Māori right hand to Nathaniel. A purveyor of relics and theatrics, Fenton’s presence casts a long shadow over Mary. He triggers more violent visions within Mary, forcing her to take her destiny (and her ancestor’s destiny) into her own hands. 

The paths each character is sent down are tonally clear from the film’s initial jump. It adds a thin layer of predictability to the overall narrative and character arcs, but it does little to dampen an otherwise flawless film. Director Taratoa Stappard and his crew build an atmospheric dread. This dread is ever-present and keeps the film moving, making sure it never falls into the slog-like trappings of other Gothic horror flicks. 

Building horror through atmosphere is a staple of the modern indie horror genre, but when it’s done correctly, it produces instant gems. I’m so happy to report Mārama is one of those gems, and I’m not alone. The packed theater was in a buzz after my screening, with more than a handful of conversations centered around Mārama as the best of the film fest. So far, I’m in full agreement. 

Musically, composers Karl Sölve Steven and Rob Thorne strip the score down into two distinct flavors. The first is a tapping of rocks/traditional Māori tattoo tools, which the film displays during Mary’s visions. The other is the dissonant string work. This blending of European and indigenous sounds is never overplayed. Both are given just enough staying power to be memorable and serve their suspense-building purpose. 

The cinematography and acting work especially hand-in-hand. The film is doused in blue tones, both in set design and lighting. The blue tones have a hint of vibrancy that distinguishes them from other Gothic modern hits like Frankenstein and the muddy Nosferatu. Even the exteriors bolster beautifully blown-out blues within their skies. At times, cinematographer Gin Loane gives us wide POV shots as Mary takes in displays of English conquest at the expense of the Māori people. As the film continues, Loane gives space for Ariāna Osborne’s Mary to react within. In these moments, mainly of rage, Osborne fills the space like an actress destined for stardom. 

The character of Mary is confident in her convictions as an ancestor of a proud lineage, and Osborne has the confidence to follow the performance all the way through. At the hands of Nathaniel and his compatriots, Mary’s life is tested in psychologically torturous ways. Osborne is game, and as an audience, we feel we can follow her anywhere. Unfortunately, that anywhere is grim beyond imagination. The supporting cast (both villainous and not) gives us flavors that keep us glued to every look and conversation. Myers’ sympathetic turn as a captive nanny is haunting. Mooney’s drunk bit part has just enough nuance to keep his character’s unraveling worth paying attention to. Towersey shines as the film’s heart, while Shand rips our own heart apart as Fenton. He feels unpredictable, and yet you intrinsically know he’s dastardly. The performance is dangerous, and Shand revels in it.

Finally, there’s Toby Stephens, who, as the arch nemesis, is surprisingly even-keeled. His obsession with both Mary and the Māori will break audience members. Stephens is delicious as the sly yet matter-of-fact colonizer. The nuance on display gives Osborne’s Mary something to rip through as she searches for truth. The tit-for-tat between veteran Stephens and newcomer Osborne is a joy to watch play out before us. 

It’s been fun to see Māori and other Pacific Island indigenous cultures have their time in the entertainment zeitgeist, and I think audiences are better off for it. Films & shows like Mārama, Talk To Me, Book of Boba Fett, and Moana give us new cultural traditions, folklore, and life perspectives to ponder. We are enriched as people because we have art like Mārama to reflect upon. There’s a visual nature within the Māori culture that’s now on display in the art form that is filmmaking. To experience it is a wonderful thing. To put it on display within the context of all its historical tragedy and pride is a powerful thing. Mārama is all of these things, and it felt like an honor to watch Stappard’s work. 

Mārama continues at the Milwaukee Film Festival on Wednesday, April 29th. The film is currently playing in select theaters courtesy of Dark Sky Films and Watermelon Pictures, with further expansion over the coming weeks. 

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