Instead, it is Moira, the disarmingly casual and drawling support worker who fends off his violent anger with courageous no-nonsense resolve in another brilliantly realised characterisation.
Still, the “camera” angle doesn’t get in the way of the stories or the way they are portrayed. The split-second transition Kopae makes from bolshie 23-year-old mum of five with paint-peeling vocabulary, to well-spoken middle-class, 57-year-old Teresa is astonishing.
The most affecting vignette is Kopae’s moving portrait of the deliberate and quietly spoken Kat Rakiora.
The devastation after being raped by a close family member is evident in her every move and word, as she struggles to process what has happened and the wider ramifications the sexual abuse has for her whanau.