Two days after watching Moana 2, my “For You Page” on TikTok was flooded with critiques. Phrases like “not worth it” and its 70% Tomatometer score stood out. But I loved it—or at least what it represented. Although it has been strongly criticized, the movie offered representation to a whole new audience. As Pacific Islanders, it is so rare for us to get representation. I grew up never seeing my island on the world map or in geography books, always having to select “other” on forms asking for my country of residence or ethnographic identity. With Disney broadening its reach, Pacific youth finally got to see people “like them,” bringing the spotlight onto their traditions and languages.
From the Polynesian tātau (tatoo), the dances taken from Hawai’i and Samoa, to the famous soundtrack “We know the way” sung in Tokelauan, Disney’s Moana franchise undeniably brought Polynesian culture into the spotlight. This resonated with Pacific Islanders while also piquing the interest of foreigners, increasingly curious about the culture. One of the references in the movie I would like to touch on is the Octopus of the Pacific. In Polynesian oral traditions, the octopus is a powerful symbol representing the vastness and interconnectedness of Polynesia. Different cultures have their own interpretations, such as Taumata-Fe‘e-Fa‘atupu-Hau (Grand Octopus of Prosperity) and Tumu-Ra‘i-Fenua (Beginning-of-Heaven-and-Earth), which embody knowledge, creation, and the link between islands. The octopus is often depicted as a guardian of navigation and wayfinding, emphasizing the ancestral connection Pacific Islanders have to the ocean. Moana 2 subtly incorporates this cultural reference, reinforcing the deep-rooted history of exploration and kinship that defines the Pacific experience.
Yet, bringing culture into the mainstream also raises concerns about the oversimplification of Pasifika traditions, often reducing rich cultural practices into a “Polynesian aesthetic.” This pattern isn’t new. Hollywood has a history of portraying the Pacific through a romanticized, outsider gaze—from island paradises in classic films like Mutiny on the Bounty (1935, 1962) to more modern representations like Lilo & Stitch (2002). While these films introduced aspects of Pacific culture, they often did so through a Western lens, prioritizing entertainment over authenticity.
While Moana 2 introduces valuable cultural elements, it also raises questions about Hollywood’s long history of shaping Pacific narratives through an outsider’s gaze.In contrast, films created by Pacific Islanders offer a deeper, more nuanced representation of their cultures. For instance, The Orator (2011), Samoa’s first-ever feature film, was made in the Samoan language and authentically portrayed Samoan culture, social hierarchies, and the power of oral storytelling. My personal favorite: Vai (2019), an anthology film directed by nine female Pasifika filmmakers, showcased different cultural experiences across various Pacific Islands, highlighting the diversity within the region. These films stand apart from Hollywood productions by telling stories from within the culture rather than about the culture, exploring complex issues like colonial legacies, climate change, identity struggles, and the balance between tradition and modernity.
Once again, representation matters. Seeing one’s culture on screen fosters pride, visibility, and recognition. For young Pacific Islanders, Moana and Moana 2 provide a sense of belonging and validation. However, the challenge remains: how do we ensure representation is authentic and not just marketable? The Pacific is not a monolith. With over 25,000 islands and numerous languages and traditions, no single film can fully capture its cultural richness.
Pacific voices must lead the narratives about their own cultures. While Moana 2 continues to bring Pacific culture into the global spotlight, true representation will come when Pasifika filmmakers have the resources and platforms to tell their own stories on a global scale. The future of Pasifika cinema must move beyond just seeing Pacific faces on screen. It must empower Pacific voices, ensuring that the stories told are not just about us, but by us.
