As his debut film Once Were Warriors showed, Lee Tamahori was a director of guts and flair

I n 1994, the New Zealand film-maker Lee Tamahori made one of the biggest debuts of the decade, firing on all six cylinders with his gut-wrenching social-realist melodrama Once Were Warriors. The Mekes are a working-class Maori family in South Auckland: Temuera Morrison is the boozing, brawling, bragging alpha-male welfare claimant Jake, who comes home from drinking in the pub with his pathetic sycophant mates to terrorise and assault his wife Beth, played by Rena Owen, and their five children. He is entirely indifferent to the fate of his two elder sons who have drifted into gangland culture and crime, as well as his sensitive daughter Grace, who has talent as a writer. One son gets gang tattoos; the other is taken to a juvenile reformatory where he is at least tutored in the ways of M