As Hawai’i attempts to build its filmmaking scene, it benefits from diverse voices.
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The Hawai’i film industry is intent upon growing into a leading force within the local economy and global entertainment scene. Fueled by tax breaks and an increasingly educated, motivated and well-trained talent and crew base, the islands are attracting both big-budget Hollywood productions and independent passion projects. Popular recent series filmed in Hawai’i include NCIS: Hawaii, Magnum PI, Hawaii Five-O, Rescue: HI Surf and Chief of War; blockbuster movies include Aquaman, Jurassic Park and Jumanji.
Globally, there is also a fresh focus on the value of diverse voices in storytelling, with media producers like Netflix and Prime Video expressing a desire for more indigenous content. The University of Hawai’i, in collaboration with Island Productions, just announced that it will be building a state-of-art film studio on West O’ahu, an area of the island traditionally populated by higher numbers of Native Hawaiians.
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And yet, according to the nonprofit International Cultural Arts Network (iCan), “despite the large number of TV and film productions filming in Hawai’i, the Native Hawaiian Pacific Islander (NHPI) population is still the smallest percentage represented in the overall entertainment industry.”
Therefore, those involved in leading the local media scene increasingly are dedicating themselves to spreading the message that Hawai’i is about more than just beautiful backdrops. It’s a place that births and supports filmmakers, actors, and storytellers with diverse backgrounds and points of view.
Here, six leaders of the Hawai’i entertainment industry share their insights on what’s working, what needs to be fixed, and what the future holds: Ken Kao, James Sereno, Aaron and Jordan Kandell, Angela LaPrete and Jeanette Hereniko.
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Ken Kao is the cofounder of Waypoint Entertainment.
Tsugu Wada
Ken Kao, Waypoint Entertainment
Waypoint Entertainment has successfully produced highly acclaimed films including Academy Award-winning The Favourite starring Olivia Coleman, The Nice Guys featuring Ryan Gosling and Russell Crowe, and The Glass Castle, based on the bestselling memoir. Their latest feature, Cuckoo, premiered at the 2024 Berlin International Film Festival and also screened at South by Southwest.
Waypoint cofounder Ken Kao has made an impact in the film industry for 14 years, but only relocated from LA to Hawaii four years ago, during the pandemic. This move has given him an enhanced local perspective on global filmmaking.
“I’ve never been into creating entertainment just to make a buck,” said Kao in an exclusive interview with me. “I like the films I work on to have a message, to push the limits of a genre, to be something that stays with people. The Holy Grail for me is making something entertaining and meaningful at the same time. That’s what I strive for.”
The experienced producer recently branched out into screenwriting, and hopes to direct someday soon. One of his biggest objectives these days is to bring attention to indigenous cultures and help support inclusiveness within the entertainment industry.
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“A lot of film people come here for the beauty of the scenery, and I have nothing against this. Hawaii Five-O, NCIS Hawaii – good for them,” Kao says. “But very few shows or movies use Hawai’i as a character. I would love to be able to do that, to elevate the story so that outsiders don’t just think of Hawai’i as some tourist spot with piña coladas and aloha shirts. I also know there is a growing lineup of local talent in terms of behind-the-camera crew, as well as great actors. We plan to really tap into that in our local productions.”
James Sereno, founder of Kinetic Productions, films ‘Paradise Broken’ w DP Paul Atkins.
Kinetic
James Sereno, Kinetic Productions
Kinetic Productions is an award-winning production firm based in Honolulu, Hawaii. Founder James Sereno is a producer and director of short films, feature films and commercials. He grew up in Hawaiʻi and graduated from the USC Film School with a degree in Cinematic Arts. At Team One Advertising, he won a coveted Cannes Bronze Lion for his America West Airlines spot. Back home, he has received numerous Pele Awards, which are given to local advertising agencies.
Sereno wrote, produced and directed the short film Silent Years, which won numerous awards and resulted in an invitation from Roger Ebert to showcase the narrative work at Ebertfest. He also directed and produced the feature films Paradise Broken and Haole, and has produced several more.
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“I grew up in Hawaiʻi and went away to film school in LA, but eventually wanted to come home to tell stories of my culture,” Sereno said in an exclusive interview with me. He moved back in 1999, formed Kinetic Productions, and has since focused on telling local stories. “I love that I live, love and produce in my ʻaina [homeland].”
Sereno feels it is a very dynamic time for telling stories of inclusion and diversity – and that Hawaiʻi sits at the center of the cultural melting pot. “With filmmakers like Justin Chon (Gook, Chief of War) and Chris Yogi (I Was a Simple Man, August at Akikoʻs), the future is exciting,” he says. However, it’s always a challenge to “share your unique perspective and point of view while still making something that appeals to a broader audience.”
To aspiring filmmakers, Sereno offers this advice. “There is really no excuse today for not being able to tell a story and bring it to life. Equipment is so accessible. You truly just need passion and a good story to make it happen.”
Angela Laprete is a producer and the founder of ICAN.
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Angela Laprete
Angela Laprete, ICAN
Angela Laprete has over 30 years of experience as a producer on projects spanning from feature films and TV series to music videos and commercials. Her credits include Chief of War, Monarch, Hawaii Five-O and the award-winning independent film The Wind and The Reckoning, which was shot mostly in Olelo (Hawaiian language).
Born to a Japanese mother and Italian-Irish father, Laprete grew up in Hawaii from the age of four. She is fiercely committed to building out Native Hawaiian talent at all levels of production, from PAs and crew to directors and producers. She also feels that authenticity is critical in shows about Hawai’i, and therefore helps productions connect with cultural advisors. But she admits it can be frustrating at times to get people to take local talent and cultural values seriously.
In order to further these objectives, Laprete cofounded the nonprofit International Cultural Arts Network (iCan) with industry partners Brian Keaulana and Robert Suka last year. “Our big picture goal is building out a sustainable entertainment industry in Hawai’i – infrastructure, workforce development and opportunities for our talent,” she said in an exclusive interview with me.
ICAN offers free classes in acting and writing to Native Hawaiian and Pacific Islanders (NHPI) who are accepted into their programs. “We always think outside the box,” says Laprete. “We don’t conform to the norms because we are fortunate to have been in the business for so long. We bring in these high-level people who are in Hawai’i to teach. It’s been really inspiring for our students and our teachers.”
In terms of seeing more indigenous content and opportunities for NHPI folks, Laprete points to the success of Reservation Dogs and Beef. “There is an opportunity for more of these kinds of indigenous, diverse stories to be told from the inside out. That’s happening – and it is happening in Hawai’i, if slowly. But it is only happening because of people like those at ICAN saying, ‘We have the talent. Give them the opportunity. Our culture is so important. We have to preserve that.’”
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Aaron and Jordan Kandell are writers and producers at Twin Ink.
The Kandell Brothers
Aaron and Jordan Kandell, Twin Ink
Identical twins Aaron and Jordan Kandell were born and raised in Hawai’i, then went on to study film and creative writing at USC. After graduating, they moved back home to the islands. Operating under their banner of Twin Ink, they have produced and written for numerous film and TV projects, including the animated version of Disney’s Moana and the feature film Adrift.
The Kandell brothers feel strongly that it is time for the film industry to become more inclusive. As a result, they’re delighted to see so many people of Hawaiian and Polynesian ancestry emerging onto the scene – not just in crew positions, but also rising up as writers, directors and producers.
“We are values-driven in Hawai’i,” they said in an exclusive interview with me. “The culture of collaboration, humility and hard work that endures in the islands plays a vital role in the success of people in the industry.”
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They then proceeded to list filmmakers of note based in the islands, many of whom are kanaka, of Polynesian ancestry:
· Dana Ledoux Miller, an accomplished Samoan female writer who is currently working on the live action Moana and the animated Moana sequel
· Angela Laprete and Brian Keaulana, producers, and Pa’a Sibbet, writer/creator, the local team behind Jason Momoa’s massive epic series Chief of War
· Chris Bright, the first writer of Hawaiian ancestry on a major studio film set in Hawaii: the live action version of Lilo & Stitch
· Mitchell Viernes and Paula Fuga, who shot the new short Kukini entirely in Olelo (Hawaiian language) using an all-kanaka cast, crew, and craftsmen
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· Gerard Elmore, a producer and the director of Ohina, who has been selected for Sundance producer lab
· Matt Kester, the first local boy writer to become a showrunner of a major network show, Rescue: HI Surf, which is being set and shot entirely on O’ahu using local talent
· Noah Evslin, the Kauai-born and bred writer and producer of numerous Shondaland shows who currently writes on NCIS Hawaii and Rescue
· Erin Lau, the first female kanaka filmmaker to direct a network TV episode, who is currently shooting Rescue
· Alika Tengen, who is in post-production on his second local feature film. His first was hailed at Sundance in 2022
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“And there are still other heavy hitters who aren’t from Hawai’i, but do live and work here!” the Kandell brothers add. “The new head of film at Netflix, Dan Lin, relocated his family to the islands a few years ago, for example, and now serves on the Board of the Hawai’i International Film Festival.”
When the Kandell brothers returned to Hawai’i after university, they worked briefly as teachers. They maintain that same spirit of mentorship to this day, actively leading creative salons and participating in efforts to uplift the local film community. “You have to build relationships in order to succeed in this business,” they say. “We’re happy to help the future generation of Hawai’i filmmakers do just that.”
In the early days of HIFF, Jeannette Hereniko honored then unknown Chinese filmmaker Zhang Yimou.
HIFF
Jeannette Hereniko, Hawaii International Film Festival
As the founder of the Hawaii International Film Festival back in 1981, Jeannette Hereniko is the O.G. matriarch of the local film world. A lifelong storyteller, she decided to create HIFF shortly after moving to Hawaii in the mid-70s because, she said in an exclusive interview with me, “It became clear and shocking to me that the individual life stories of Hawai’i’s Asian Americans and Hawaiians were rarely featured in the media and never seen on the big screen.”
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When she launched the Hawaiʻi International Film Festival, the purpose of her life came into focus: The Festival showcased films made by and about Asians and Pacific Islanders that reflected their stories about their culture and point of view.
These days, Hereniko says, the Hawaiʻi film scene is experiencing a renaissance. “Hawaiʻi filmmakers are better prepared and positioned to share their stories on the screen than ever before. We have built a supportive film community nurtured by HIFF, Ohina, ICAN and Hawai’i Women in Filmmaking, to name but a few. Perhaps most importantly, today the world of filmmaking welcomes and often seeks out diversity.”
That said, people in Hawai’i continue to face the same challenge as always: Funding. “Unlike New Zealand, Canada, France, Korea, and many other places, our national and state governments do not offer meaningful funding for filmmakers, particularly for those who want to make a feature film that may not be a blockbuster hit,” Hereniko explains. “It’s especially competitive to secure funds from Hawaiʻi donors because we are a relatively small state with immediate worthy and urgent needs.”
The solution? “We need more imaginative producers who, among other things, can write convincing business plans that attract investors and private donors,” Hereniko says. “We also must elect state leaders who recognize the value of Hawaiʻi’s film industry, not only economically but as a universally effective medium to tell stories that reflect our diverse and rich culture.”
The third-ranked Hawaii men’s volleyball team had no problem recording its 11th sweep of the season, handling No. 6 BYU 25-18, 25-21, 25-16 tonight at Bankoh Arena at Stan Sheriff Center.
A crowd of 6,493 watched the Rainbow Warriors (14-1) roll right through the Cougars (13-4) for their 11th straight win.
Louis Sakanoko put down a match-high 15 kills and Adrien Roure added 11 kills in 18 attempts. Roure has hit .500 or better in three of his past four matches.
Junior Tread Rosenthal had a match-high 32 assists and guided Hawaii to a .446 hitting percentage.
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UH hit .500 in the first set, marking the third time in two matches against BYU it hit .500 or better in a set.
Hawaii has won seven of the past eight meetings against the Cougars (13-4), whose only two losses prior to playing UH were in five sets.
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Hawaii has lost six sets all season, with five of those sets going to deuce.
UH returns to the home court next week for matches Wednesday and Friday against No. 7 Pepperdine.
Hawaiian Airlines’ passengers are back in federal court trying to stop something most people assumed was already finished. They are no longer arguing about whether they are allowed to sue. They are now asking a judge to intervene and preserve Hawaiian as a standalone airline before integration advances to a point this spring where it cannot realistically be reversed.
That approach is far more aggressive than what we covered in Can Travelers Really Undo Alaska’s Hawaiian Airlines Takeover?. The earlier round focused on whether passengers had standing and could amend their complaint. This court round focuses on whether harm is already occurring and whether the court should act immediately rather than later. The shift is moving from procedural survival to emergency relief, which makes this filing different for Hawaii travelers.
The post-merger record is now the focus.
When the $1.9 billion acquisition closed in September 2024, the narrative was straightforward. Hawaiian would gain financial stability. Alaska would impose what it described early as “discipline” across routes and costs. Travelers were told they would benefit from broader connectivity, stronger loyalty alignment, and long-term fleet investments that Hawaiian could no longer fund independently.
Eighteen months later, the plaintiffs argue that the outcome has not matched the pitch. They cite reduced nonstop options on some Hawaii mainland routes, redeye-heavy return schedules that many readers openly dislike, and loyalty program changes that longtime Hawaiian flyers say diminished redemption value. They frame these not as routine airline integration but as signs that competitive pressure has weakened in our island state, where airlift determines price and critical access for both visitors and residents.
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What is different about this filing compared with earlier debates is that it relies on developments that have already occurred rather than on predictions about what might happen later.
The HA call sign has already been retired. Boston to Honolulu was cut before competitors signaled renewed service. Austin’s nonstop service ended. Multiple mainland departures shifted into overnight red-eyes. And next, the single reservation system transition is targeted for April 2026, a process already well underway.
Atmos replaced both Hawaiian Miles and Alaska’s legacy loyalty programs, and readers immediately reported higher award pricing, fewer cheap seats, no mileage upgrades, and confusion around status alignment and family accounts. Each of those events can be described as aspects of integration mechanics, but together they form the factual record that the plaintiffs are now asking a judge to examine in Yoshimoto v. Alaska Airlines.
The 40% capacity argument.
One of the more interesting claims tied to the court filing is that Alaska now controls more than 40% of Hawaii mainland U.S. capacity. That figure strikes at the core of the entire issue. That percentage does not automatically mean monopoly under antitrust law, but it does raise questions about concentration in a state that depends exclusively on air access for its only industry and its residents.
Hawaii is not a region where travelers have options. Every visitor, every neighbor island resident, and every business traveler depends on our limited air transportation. The plaintiffs contend that consolidation at that scale reduces competitive pressure and gives the dominant carrier far more leverage over pricing and scheduling decisions. Alaska says that competition remains robust from Delta, United, Southwest, and others, and that share shifts seasonally and by route.
Competitors reacted quickly.
While Alaska integrated Hawaiian’s network under its publicly stated discipline strategy, Delta announced its largest Hawaii winter schedule ever, beginning in December 2026. Delta’s Boston to Honolulu is slated to return, Minneapolis to Maui launches, and Detroit and JFK to Honolulu move to daily service. Atlanta also gains additional frequency. Widebodies are appearing where narrowbodies once operated, signaling Delta’s push into higher capacity and premium cabin layouts.
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Those moves complicate the monopoly narrative. If Delta is expanding aggressively, one argument is that competition remains active and responsive. At the same time, Delta filling routes Alaska trimmed may reinforce the idea that structural changes created openings competitors believe are profitable, and that markets respond when gaps appear.
What changed since October.
In October, we examined whether the case would survive dismissal and whether passengers could refile. That moment felt more procedural than what’s afoot now. It did not alter flights, fares, or loyalty programs.
This filing is different because it is tied to post-merger developments and seeks emergency relief. The plaintiffs are asking the court to prevent further integration while the merits are evaluated, arguing that each added step toward full consolidation this spring makes reversal less feasible as systems merge, crew scheduling aligns, fleet plans shift, and branding converges.
Airline mergers are designed to become embedded quickly, and once those pieces are fully intertwined, unwinding them becomes exponentially more difficult, which is why the plaintiffs are pressing forward now rather than waiting any longer.
The DOT conditions and the defense.
When the purchase of Hawaiian closed, the Department of Transportation imposed conditions that run for six years. Those conditions addressed maintaining capacity on overlapping routes, preserving certain interline agreements, protecting aspects of loyalty commitments, and safeguarding interisland service levels.
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Alaska will point to those commitments as evidence that consumer protections were built into the core approval. The plaintiffs, however, are essentially claiming that those conditions are either insufficient or that subsequent real-world changes undermine the spirit of what travelers were told would remain. That tension between formal commitments and actual experience is at the core of this dispute.
Hawaiian had not produced consistent profits for years.
That is the actual financial situation, without sentiment. Alaska did not spend $1.9 billion to preserve Hawaii nostalgia. It purchased aircraft, an international and trans-Pacific network reach, and a platform it thinks can return to profitability under tighter cost control.
What this means for travelers today.
Nothing about your Hawaiian Airlines ticket changes because of this filing. Flights remain scheduled. Atmos remains the reward program. Integration continues unless a judge intervenes.
However, Alaska now faces a renewed court challenge that points to concrete post-merger developments rather than speculative harm. That scrutiny alone can bring things to light and influence how aggressively future route decisions and loyalty adjustments occur.
Hawaiian Airlines’ travelers have been vocal since the start about pricing, redeyes, lost nonstops, and loyalty devaluation. Others have said very clearly that without Alaska, Hawaiian might not exist in any form at all. Both perspectives exist as background while a federal judge evaluates whether the integration should be impacted.
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You tell us: Eighteen months after Alaska took over Hawaiian, are your Hawaii flights better or worse than before, and what changed first for you: price, schedule, routes, interisland flights, or loyalty programs?
