The demi-god Maui-tikitiki-a-Taranga (Maui) is a central character in the many traditions of the Maori (Indigenous people of Aotearoa/New Zealand). These traditions provide Maori with an understanding of how aspects of their environmental world were created. These range from the slowing of the sun, Tama-nui-te-ra, the fishing up of the North Island (Te Ika-a-Maui), the attainment of fire and mortality. The subplot to all of Maui's adventures is his relationship with his tīpuna kuia (female ancestors) who provide Maui with the knowledge to undertake his feats. One of his tīpuna kuia, Muri-ranga-whenua, gave her jawbone to Maui, among many things, symbolising the importance of women in leadership roles in Maori society. The metaphorical use of this title symbolises the intent of this article to challenge the way in which the film Whale Rider portrays many Maori cultural concepts. This article will illustrate how various tribal traditions are represented, and more importantly misrepresented, in the film. Furthermore, this article concentrates on the education and social status of young Maori women, demonstrating how the patriarchy/feminism division operates very differently in the Ngati Porou tribe, where Whale Rider is based, than it does either in the film or in Eurocentric feminisms. A description of why a Maori/Pakeha (a non-Maori person of European ancestry) film production aiming at a global market intervenes on tribal cultural reproductions so as to transfigure the role of elders and girls, provides an account of various sites for tribal reproduction (from the local meeting place to the globally popular film) and their relative power.