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Grand Festival Award ~ Berkeley Video and Film Festival, 2011

Special Jury Prize ~ Tahiti’s Festival International du Film Documentaire de Oceanien, 2010

Best Documentary Award ~ Hawaii International Film Festival, 2008

 June 30, 2015, Native America Calling

Interview about “Aloha” movie & representation

November 25, 2014, Uprising Radio, KPFK Los Angeles

Interview with Sonali Kolhatkar

August 1, 2014, Resistance Radio

Interview with Derrick Jensen

 May 18, 2014, Radio New Zealand

Te Ahi Kaa Interview

May 7, 2014, ABC Radio Australia

Pacific Beat interview

April 26, 2014

Pacific Media Watch – Auckland – Q&A with Maori and Pasifika Women 


“Noho Hewa” is a brilliant, incisive, and complex expose of colonialism (American and other) and its devastating effects on Kanaka Maoli, the indigenous people of Hawaii, and their land.

 – Albert Wendt, author, poet, scholar and painter


Just as the geographic scope of militarization pulls back to include the US meddling around the world, so too Kelly expands her analysis of occupation to include the systemic context which supports the military occupation of Hawai’i. Promoting strong native voices of dignified resistance and critical analysis throughout the film, Kelly deconstructs the institutions of rabid tourism, corporatized academia, the food industry and manipulative politics. In doing so, she exposes a deeply complex system of enforced servitude, state and corporate collusion, and internalized racism. (Read full review in The Journal of Pacific History)

– Tina Ngata, educator, activist, cultural practitioner and writer (The Non Plastic Maori)


Through “Noho Hewa,” Kelly has carefully illustrated how the militarisation of Hawai‘i both produces and is enabled by broader processes of land alienation, indigenous social dislocation, and late capitalism. (Read full review in the Asia Pacific Journal of Anthropology)

– Teresia Teaiwa, author, poet, professor at Victoria University of Wellington


Keala Kelly attempted something very difficult with her film: to have a story without a narrator. The characters, interviewees and events themselves tell the story, and few films are more brutally powerful.

Umi Perkins, Kamehameha Schools faculty and University of Hawai‘i-Manoa College of Social Sciences faculty


“Noho Hewa” hits viewers with the emotional weight of what it is like for Hawaiians living under US occupation of our homeland. The film explores the diverse impacts of this occupation: desecrated burials, contamination by agribusiness, commodification of culture, militarization and over-development. “Noho Hewa” should be essential viewing for anyone interested in Hawaiʻi, and especially for tourists, investors, military service people, and educators. It will make you ask yourself, “what responsibilities do I have, now that I have heard this story?”

– Noelani Goodyear-Kaʻōpua, author, co-founder of Halau Ku Mana, associate professor at the University of Hawai‘i-Manoa

(“The Seeds We Planted,” University of Minnesota Press)


“Noho Hewa” is seemingly not reality to those who aren’t in touch with it. It is not just a recent time event in history but one of a long truth being ignored regarding the destruction of a people at peace with Mother Earth. I have no doubts that the revealing of an antiquated way to treat Life will be obsolete when more are informed with “Noho Hewa.” Decisions have been made from a far off place with no experiences as the Hawaiian Nation have had, but now one is given the choice of how to proceed after seeing “Noho Hewa.”

– Tiokasin Ghosthorse – Host of First Voices Indigenous Radio~ WBAI in NYC


As in the best activist film-making, the alternative analysis and testimony provided in “Noho Hewa” recruits the viewer, in part by suggesting that complacency in the face of desecration is itself a wrongful occupation.

Paul Lyons, author, professor at the University of Hawai‘i-Manoa


… As ethnic studies scholars now call for a new, critical ethnic studies that considers the roles of ethnic minorities in the context of U.S. settler colonialism, “Noho Hewa” is a necessary primer that helps us understand settler colonialism and the radically different stakes for indigenous peoples and ethnic minorities.  “Noho Hewa” is one of the most important films ever made.

– Candace Fujikane, author, editor, professor at the University of Hawai‘i- Manoa


“Noho Hewa: The Wrongful Occupation of Hawai’i” is an intense, exceptional, and important film that shows settler colonialism and the destructive effects on the Kanaka Maoli people, their land, and their way of life. This film is critical for all to see!

– Lloyd L. Lee (Navajo), author, editor, assistant professor at University of New Mexico

(“Dine Perspectives: Reclaiming Navajo Thought,” University of Arizona Press)


Deftly combining a powerful critique of militarism, environmental degradation, tourism and cultural annihilation, “Noho Hewa” should be required viewing at every school, university, and military academy.

Gayatri Gopinath, professor at New York University


Through its inclusion of a range of political actors—academics, community organizers and educators, lawyers, farmers, environmentalists, people struggling to maintain their homes on public beaches, members of organizations ranging from the Revolutionary Communist Party to Nuclear Free/Independent Hawai‘i to Kūlana Huli Honua—who eloquently address settler colonialism and occupation from different disciplinary angles and perspectives, the film also debunks the “there are two sides to every issue” approach to politics that stymies thought and limits action. (Read the full review in The Contemporary Pacific)

– Cynthia Franklin, author, editor, professor at the University of Hawai‘i- Manoa


…Kelly has created something akin to a contemporary multimedia kanikau (mourning chant). My analysis of “Noho Hewa” examines the ways in which mourning acts as a central cohesive element that relates many of the issues portrayed in the film. The theme of mourning speaks to intergenerational trauma from which many Native Hawaiians suffer in the aftermath of the US-backed overthrow of the Hawaiian Kingdom. (Read the full American Indian Quarterly review/essay)

– Marie Alohalani Brown, assistant professor at the University of Hawai‘i- Manoa


The Hawai’i that exists in our imagination is not the real Hawai’i. The real Hawai’i is a land that is under cultural, psychological, economic, ecological, and military siege… It has the highest concentration of GMOs anywhere in the world. It has more endangered species per square mile than anywhere else in the world. (Read full review at Deep Green Resistance News Service)

Owen Lloyd, Deep Green Resistance News Service


For more information about Keala’s work, go to

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Noho Hewa

The Journal of Pacific History’s review of Noho Hewa by Tina Ngata

The Journal of Pacific History 

Published online: 24 Oct 2017

Review of Noho Hewa: The Wrongful Occupation of Hawai‘i

By Tina Ngata

At a time of growing tensions around the Pacific, the world nervously eyes both the United States and North Korea, and every move being made by either side draws a sharp, collective breath. With military strikes threatened against the US military base established on Guåhan, it seems that the Pacific basin is indeed poised to be the playground within which these global tensions play themselves out. For those of us living within or coming from the Pacific, this situation is as terrifying as it is infuriating, for it is precisely this targeting of our islands that underpins many of our calls to demilitarize the Pacific. With this backdrop in mind, it has never been more important or timelier to consider the potent messages within Anne Keala Kelly’s documentary Noho Hewa.

Noho Hewa provides a vital Indigenous lens on militarization in the Pacific. Although the film’s initial focus is on Hawai‘i, that lens pulls out to consider the broader questions around United States military activity around the world, and the role Hawai‘i is forced to play in global warfare. In order to fully comprehend the grievous nature of this portrait, one must first appreciate that Hawai‘i is a sovereign state, under illegal occupation by the United States. Illegally annexed without a treaty in 1898, the US claim to Hawai‘i has never been validated and is still, to this day, decried by Indigenous Hawaiians and their supporters. Indeed, the title Noho Hewa alludes to an occupation that is unwelcome, unjust and immoral.

Just as the geographic scope of militarization pulls back to include US meddling around the world, so too Kelly expands her analysis of occupation to include the systemic context which supports the military occupation of Hawai‘i. Promoting strong native voices of dignified resistance and critical analysis throughout the film, Kelly deconstructs the institutions of rabid tourism, corporatized academia, the food industry and manipulative politics. In doing so, she exposes a deeply complex system of enforced servitude, state and corporate collusion, and internalized racism.

These themes of government, military, tourism and the food industry are deftly analysed as the posts which hold up the house of neo-colonialism in Hawai‘i. Military testing upon sacred sites is layered upon tourism expansion over ancient burial grounds, which extends to economic supplanting of native families and the simulation of native realities, reflecting the replacement of traditional economies and ecological pillaging by the food industry. All of which serves ultimately to erase native presence upon the land, to be replaced with a military settler population. As Haunani-Kay Trask so poignantly states within the film: ‘This is not a natural environment anymore – This is a tourist environment, this is a military environment’.

As an Indigenous woman of the Pacific, I watched this documentary with a tight chest. Seeing the various engagements with state and industry, I realized I knew these manoeuvres. I have encountered them in public meetings here in Aotearoa, with extractive industries and our own facilitative government. The pervasive sense of colonial entitlement is the same. The steadfast self-righteousness. The complete lack of respect. The duplicitous language. This is no coincidence – the colonial playbook has been handed around the world, and certainly around the Pacific. And this is why, when we consider the current geopolitical climate of the Pacific, Noho Hewa holds a vitally important insight to the realities of those upon whose territory this brutal scenario will play out. At one point, Keanu Sai issues a chillingly prophetic statement: ‘December 7 1941, Hawai‘i was attacked because of Pearl Harbour, it wasn’t attacked because of Hawaiian sovereignty. That’s the problem …  Hawai‘i is targeted for nuclear strikes by Russia and China. The question now is: Could Korea reach us?’

Anne Keala Kelly pulls no punches in her portrayal of the longstanding, immoral and unjust occupation of her homelands. Not even fellow Hawaiians escape the accounting as confronting internalized racism is an important dimension of her evaluation. From the opening scene, the Indigenous audience is challenged to consider how we respond to the calamity of colonial occupation around us. Further on, Steve Biko’s words are invoked: ‘The most potent tool of the oppressor is the mind of the oppressed’. This documentary will take its wider audience on an important yet confronting journey. At the same time, it is unapologetically Indigenous, and messages of resilience, perseverance, dignity and strength also shine through. Kelly urges Indigenous peoples to remember our sovereignty, our inherent right to self-determination, and our obligations to our ancestry and future generations. This is our true north. As the world threatens to spin out of control, and the mainstream media landscape consumes itself in self-preservation, Noho Hewa is a crucial touchstone for Indigenous perspectives on militarism in the Pacific.


Making Sense of Disney’s Moana ~ Indian Country Media Network

I wrote this last fall, but it’s worth sharing here, given the overall horror of cultural appropriation being aided and abetted by plenty of natives. Anywayz… You can go to this link for the complete commentary:

Here’s an excerpt:

Our hopes, dreams and struggles are inconvenient to what Disney has chosen to produce about us. Worse yet, we’re expected to shut up and enjoy the ride everyone’s taking on our back. Yes, some of our own people, grateful for any acknowledgment, don’t recognize an insult or culture theft when they see it. Others will happily join in with the massive, commodifying monstrosity of “Moana” and buy Moana-gear and computer games. (I heard that the Ala Moana Disney Store is already well-stocked.) One Maori writer, who likes the Maui-Skin-Suit, said it’s like dressing up as Santa Claus. He’s not far off, seeing as how we’re the ones doing all the giving. He reminded me of something funny that Haunani-Kay Trask, one of our beloved sovereignty leaders, once said to me: “Yah, the haole, they stole everything we gave them.”

Being culturally poached and misrepresented isn’t flattering, it’s a threat. The historical fact is that colonization in the Pacific, everywhere for that matter, has had catastrophic consequences for Indigenous peoples in every conceivable way. And Native collaboration, while highly problematic, doesn’t legitimize hijacking or pimping our knowledge, heritage, and identity. Having said that, not knowing who the members are of the Oceanic Story Trust, a group that was hand-picked by Disney to shepherd the cultural content and merchandising, we can’t ask these Pacific Mouseketeers what the capital F they were thinking when they helped Disney strip mine our culture(s) for the sole purpose of making a profit.

On Being Hawaiian and Homeless

Screen Shot 2017-06-13 at 8.11.33 PMThis is a radio documentary I did 10 years ago. Sadly, the story of Hawaiian homelessness has only worsened, and it was already really bad then. (This story, and a few others, are available at

From “A Nation Rising”

Screen Shot 2017-06-13 at 8.00.01 PMLately, the selling out of Hawaiian culture, and silence of Hawaiians who literally fly around the world posing as Hawaiian “leaders,” compels me to share this essay. Why? Because, in part, it’s about them and their state sanctioned privilege. If I were to write it now I would use stronger language. Here’s to hoping they stop using a broken compass.

Here’s an excerpt:

The now normalized American social order and economy requires Hawaiians to assimilate or disappear. One common form of the vanishing Hawaiian is evidenced by the ongoing mass desecrations of Hawaiian graves.



Screen Shot 2017-04-04 at 11.13.10 AMThe Australian Association for Pacific Studies Annual Lecture in memory of Epeli Hau’ofa will be presented by Tevita O. Ka’ili.

“In the beginning was the ocean” is the opening line of the Tongan creation story. Tongan deep history states that people originated in the moana (deep sea), and that Limu (seaweed) and Kele (sea sediment) are our primordial parents. Epeli’s Hau’ofa’s concept of Oceania revives an ancient cosmogony that begins with the moana and frames our advocacy for the ocean.

In this paper, Tēvita O. Kaʻili will navigate Hauʻofa’s Oceania by traversing what has now become a sea of ocean pollution, ocean acidification, rising sea levels, overfishing and deep sea mining. He will also critically examine, from an indigenous Tā-Vā (time-space) theory, the “mining” by extractive corporations, like Disney, of cultural heritage, such as stories, symbols, iconographies, objects, motifs, and deities that are associated with the ocean.”

Date: 12th April                                                                                                            

Time: 5.30-6.30pm                                                            

Venue: Theatre, Lower Ground Floor, Melbourne Museum, 11 Nicholson St, Carlton

Entry is free but please book to reserve a seat by emailing

For inquiries or other information please contact Lindy Allen:; phone 8341 7386

Special Discount for Australian Association for Pacific Studies affiliated universities through April 20th

20% off Institutional DVDs

20% off Streaming Rights (send inquiries to

The Passing of One of the Pacific’s Brightest Lights

Screen Shot 2017-03-29 at 6.12.18 PMTeresia Teaiwa has walked on ahead of us, and I am sadder than I can say. She was a brilliant, courageous, beautiful Pacific woman who led the way for so many of us. She was one of the most powerful and articulate voices when it came to colonization and militarization, thinking and speaking in ways that the rest of us had to run to keep up with. She was kind, generous, and an extraordinary poet.

I am heartbroken. There never was and never will be anyone like her. And those of us who were lucky enough to have been on the receiving end of her beautiful smile, or any of the beautiful words she wrote and spoke, or to have stood in her light, were blessed.

Her being gone from us… the void is immeasurable.
God bless her soul, and blessings and prayers for her ohana.

STARBUCKS EULOGY (August 6th marks 5 years since Annie’s death)

annie pauANNIE PAU and I first met at the Farrington Highway Starbucks on the Waianae Coast of Oahu. I was working on a story for Al Jazeera and needed a Hawaiian who was willing to be interviewed about what life is like for thousands who can’t afford rent. Parts of Waianae resemble refugee camps, so it felt wrong, meeting with a homeless person inside the mother ship of gentrification.

But nothing else was open at 6am on Sunday near Lualualei Beach Park, where Annie and her husband, John, were living in a tent with their two dogs.  That beach is nicknamed “Sewers,” for the stench from a sewage treatment facility wafting across the road.

Hawaiian names are often derived from an event or legend. Sometimes they’re metaphors, other times they describe something literal.  But they always have meaning, although many have ended up on the sacrificial altar of tragic irony.  Given its name millennia before the sewage, Lualualei means, “Beloved one spared.”

When I arrived at Starbucks that morning, Sinatra’s voice crooned over the din of hissing spigots and grinding beans.  Those in need of stimulus lined up dutifully, awaiting their single soy this and double whipped that. And there was Annie, wearing frayed coveralls, perched uneasy on the corner of a sienna toned sofa, ready to bolt if the manager looked askance in her direction.  Though her life, her story began not far from there, she was incongruous with the newly built Starbucks narrative.

Annie had a short, shocking white mane, and skin so darkened by the sun she looked more black than brown. She rose when I approached and smiled apprehensively.  The last of her teeth sat side by side on the bottom front row, like two moviegoers staying behind to read all the credits. Somehow the lack of enamel took nothing away from the warmth of her smile. Her face was kind and expressive.  There was nothing hidden or deceitful about her.

People like Annie, ragged and anonymous, are insurgents in the war of politics and culture, their marginalized lives embodying resistance to assimilation.  To quote Hawaiian activist and folk-singer, Skippy Ioane, “‘Dem get democracy, us get survive.”

I asked her what she’d like to eat and drink and she declined, saying, with a tobacco-scorched voice, “When we’re done talking-story I’d like a large Coke from Burger King and a pack-a-smokes from Longs, if that’s okay.”  The most she’d let me buy her from Starbucks was a croissant for her husband.

Standing beside me at the register, she was flanked on the other side by a row of plastic “Ethos” water bottles, shipped from 2,500 miles away and destined to spend eternity in a Waianae landfill.  A placard in front boasted that a nickel of the dollar-eighty price goes to a clean water cause in a developing country. I guess it takes the other buck seventy-five to get that nickel from here to there.

We sat down at a table and I imbibed sweet Chai Latte and Annie’s fierceness. During the 40-minute drive to Starbucks, I’d prepared myself for meeting someone who was possibly drug addicted or a little crazy. No doubt a projection of what I figured I’d become if I lived on that razor’s edge. Annie was neither. However hopeless her situation appeared to be, she was what Hawaiians call koa, a warrior. She had righteous anger without being self-righteous and the courage to speak it.

Ask her about being homeless and she takes you and your paradigm to school: “You mean houseless. How can a Hawaiian be homeless in Hawaii?” she says. “Even if I have to sleep on the ground, Hawaii’s my home.”

I interviewed Annie twice and shared a meal with her several times, but rife with paradox and contrast, the Starbucks meeting is seared in my memory.

After the police swept everyone off Lualualei, she, her husband and their dogs relocated several more times, eventually ending up at the Haleiwa Boat Harbor on the North Shore.  That was where I saw her last.  She looked unwell, had a cut on her foot and wore a sock on it in a futile attempt to keep it clean.

She talked about wanting to find a house, but in the same breath refused to consider living in a homeless shelter because it would mean giving up the dogs. “And besides,” she said, “in the [homeless shelter] system, you go into lockdown… they gotta lock us up to help us?”

One night, 4 months later, Annie’s husband found her collapsed in the dirt outside their van. She’d suffered a stroke. This beloved one, spared none of the ravages of poverty, died the next day, in a nice, clean hospital bed.

Annie’s last name, Pau, it means done, finished, complete.  It also means consumed, destroyed.

Screen Shot 2015-09-03 at 2.09.15 PM

A book launch for LIMBO, an environmental novel by Jamaican filmmaker and author, Esther Figueroa, is taking place Friday, September 4th, at UH Manoa’s English Dept, 5:30PM. Figgy, as she’s called by friends, is a brilliant writer and artist whose works are fast becoming the archive of environmental destruction and resistance in Jamaica.

Here’s the event flyer:

Join us for the Hawaii launch of ESTHER FIGUEROA’s novel Limbo, also featuring the powerful poetic voices of RAJIV MOHABIR and RAIN WRIGHT-CANNON, as well as novelist SHAWNA YANG RYAN reading from her forthcoming novel Green Island.

Praise for Limbo:
“In this brave and witty new novel, Esther Figueroa takes us into the dark side of tourism’s uncontrolled development. The work is intelligent, clear-eyed and unforgiving; Figueroa does not avert her gaze – the devastation of land and wildlife is harrowing. Esther’s passionate concern for the future of Jamaica and the Caribbean, and ultimately for the future of our planet makes Limbo a landmark work of extraordinary importance.”
—Patricia Powell, author of The Pagoda and The Fullness of Everything

The reading will be followed by a book signing.

Watch Noho Hewa FREE on Vimeo and Donate to the making of Why The Mountain

Vimeo final flyer

Fundraising with “Noho Hewa” for a new documentary called “Why The Mountain”

Since my last post on this site, I’ve been working on a new project, Why The Mountain. Long story short, after participating in stopping the so-called “Hawaiian blessing and ground-breaking ceremony” for the Thirty-Meter Telescope (TMT) on Mauna Kea on October 7th, that mauna has been on my mind and in my heart more than usual. In December, after returning from a couple of weeks in the Bay Area, I began piecing together fundraising material and reaching out in hopes of making a film before construction began on the summit.

But I was unable to get it together in time, as the TMT work started almost 3 weeks ago. However, while this film’s fundraising has been slow going, the consciousness of Hawaiians and anyone else who is now aware of Hawaiian resistance to the TMT being built on the summit, has moved like wildfire.

Largely, this is due to the protective presence of hundreds of people on the mountain since work began on the site. And their devotion to saving that mauna has inspired thousands of people across Hawaii Nei and throughout the world.

“Noho Hewa” is going to be available free on Vimeo for one- week in part to support the mass education taking place right now about Hawaii. It’s also a fundraiser for this new project. You can get information about the film at or There’s also a FB page at

My twitter handle is KealaKelly.