A new wave in Pacific cinema is taking shape as Andrew John Fakaua Ponton’s BATI reaches audiences, offering a Pasifika lens on regional life and dreams.
Born in Tuvalu and raised in Suva, Ponton’s journey into filmmaking mirrors the film’s own message: persistence, faith in craft, and a commitment to telling authentic Pacific stories. After finishing high school, he pursued filmmaking and balanced it with other work, saving enough to bring BATI to life. He recalls that the glamorous finish of a film belies the daily grind, self-doubt, and relentless effort required to complete a project. Yet the payoff has arrived, with BATI making its mark on the big screen and the crew (cast and production team) sharing in the pride of bringing the story to life.
BATI foregrounds Fiji’s landscapes and communities in a way that goes beyond the country’s well-known beaches and resorts. Filmed in Suva and inland settings, it adds authenticity by showcasing locations that many viewers may not expect to see in a boxing drama. The project reflects a broader push to present Pacific stories on their own terms, with local environments and voices at the forefront.
Beyond the film itself, BATI’s journey has highlighted the strength of Fiji’s growing film industry. Deputy Prime Minister Manoa Kamikamica has framed BATI as more than a release; it is a milestone in strengthening regional collaboration and storytelling, with the potential to bolster the Fijian economy and social fabric. Fiji’s film and television sector generated around 255 million Fijian dollars in economic activity in 2024, supporting more than a thousand local jobs and engaging hundreds of service providers across transport, catering, and technical services. Kamikamica emphasized that the aim is to build a sustainable, inclusive creative economy where Fiji’s stories are not only seen but valued around the world. He spoke of moving Fiji from “location” to “hub”—a place for storytelling, training, production, and innovation—so that aspiring Fijian actors, directors, and designers can build careers at home.
BATI has already begun to reach international audiences. The film has been positioned for screenings in New Zealand, Fiji, Samoa, and Papua New Guinea in August and September, helping to showcase Pacific cinema beyond regional borders. Notably, BATI drew early international attention at key markets: it debuted at the European Film Market in Berlin, with Ponton and his team using the platform to connect with distributors, sales agents, and potential co-producers. In New Zealand, BATI has secured a premiere at a major Auckland venue with plans for subsequent showings in Wellington and Christchurch, signaling strong cross-Tasman interest in Pacific stories.
The project underscores a broader national and regional strategy to nurture talent and grow the film sector. Fiji’s leadership has repeatedly highlighted the importance of education and training to develop local filmmakers, and the idea of a “People’s Plan” for the national development strategy reflects a commitment to expanding the creative economy. There is a clear sense that BATI is part of a larger movement—one that seeks to keep money circulating within Fiji, support local crews and actors, and enable productions to thrive by leveraging cinemas, networks, and local infrastructure.
Key facts and context:
– BATI is a boxing drama about a humble Fijian security guard pursuing a professional boxing dream to support his family, set against real Fijian locales in Suva and inland areas.
– The film is described as an 83-minute feature with a strong emphasis on perseverance and identity within Fijian culture.
– BATI has been shown to international audiences through the European Film Market in Berlin and is planned for screenings in New Zealand (including an Auckland premiere and later Wellington and Christchurch) as well as Fiji, Samoa, and Papua New Guinea in August and September.
– The film’s release sits against Fiji’s broader push to develop a sustainable, innovative creative economy, with ongoing government support for local universities and talent development as part of a larger National Development Plan described as “The People’s Plan.”
– The industry’s economic impact and job creation in 2024-2025 reinforce the potential of Pacific storytelling to attract audiences and investment, while elevating local talent and regional collaboration.
A hopeful takeaway is that BATI embodies a turning point: Pacific stories told by Pacific hands, built with local crews, and shared with the world. For Fiji, this is more than cinema; it is a sign that the country can be a thriving hub for storytelling, training, and production—benefiting communities and sparking pride in regional narratives. The film also offers a blueprint for how smaller nations can leverage international markets to elevate local talent, expand economic opportunities, and deepen cultural exchange across the Pacific.
Summary of impact and outlook:
– BATI strengthens Fiji’s cultural export potential and demonstrates the viability of Pacific cinema on the global stage.
– It aligns with government goals to foster local talent, bolster the creative economy, and create sustainable, inclusive growth through the arts.
– As more Pacific films gain international platforms, audiences gain access to authentic stories from the region, while filmmakers gain opportunities for collaboration, funding, and career advancement.
Overall, BATI signals a positive trajectory for Fiji’s film industry and for Pacific storytelling, offering both cultural resonance and economic upside as local talent continues to emerge and connect with audiences around the world.
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