Taika Waititi is present in indies and blockbusters alike, from What We Do in the Shadows and Jojo Rabbit to Thor: Ragnarok. Whether he’s playing an unusually-polite vampire, a child’s imaginary friend Hitler, or an unusually polite Kronan warrior, Waititi’s off-brand quirk and irreverence are swiftly taking over. His quest for world domination continues as he’s set to star as the (probably unusually polite and) legendary pirate Blackbeard in HBO Max’s upcoming comedy series Our Flag Means Death.
The show will reportedly be “loosely based on the true adventures” of Stede Bonnet. He was “a pampered aristocrat who abandoned his life of privilege to become a pirate.” In addition to headlining the series, Waititi will also serve as executive producer and director alongside showrunner David Jenkins (People of Earth). Speaking with Variety, Jenkins said Waititi is “the only man” who could play Blackbeard, calling him, or rather his character “a legend, a lover, a fighter, a tactical genius, a poetic soul, and quite possibly insane.” In honor of the quite possibly insane, we rank Waititi’s best as a director, writer, and actor.
Cover Photo: Rachel Luna/Getty Images
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6. 'Eagle vs Shark' (2007)
Following a plethora of shorts in the early ‘00s, Waititi debuted his first feature, Eagle vs. Shark, in 2007. The film follows two awkward 20-somethings, Lily and Jarrod, who meet at a costume party before the latter decides to return home and kill his childhood bully. While he seems dead-set on killing a man, he doesn’t have the follow-through/ability. That’s only half of the film, its more watchable half, the half that most aligns itself with Waititi in top form, centers on the relationship between its two protagonists who exemplify the clumsy stages of new love and how oddities are the most honest and (should be) revered reflection of our personal histories.
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5. 'Thor: Ragnarok' (2017)
Thor: The Dark World is considered by many to one of the MCU’s weakest entries; the plot is as formulaic as it gets and its titular character borders on caricature (and not in a good way). Enter Waititi, who famously reinvigorated the franchise by bringing his wit to the script and its character without trivializing its story. On top of that, he voiced Korg, who he says was inspired by Polynesian nightclub bouncers or, “giant hulking dies” who have rather delicate and gentle voices. Waititi’s work on the film was his first big step into mainstream Hollywood, leading to other Disney projects like The Mandalorian. He will return as writer/director/actor in the upcoming Thor: Love and Thunder.
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4. 'Jojo Rabbit' (2019)
In adapting Christine Leunens’ novel, Caging Skies, Waititi did the unthinkable and made Adolf Hitler funny. That said, the story of Jojo Betzler and his antisemitic imaginary friend is tragic and uplifting—a duality that’s almost impossible to achieve when approaching the topic of children coming of age amid Nazis during World War II. This is why Waititi only won the Academy Award for Best Adapted Screenplay but deserved it.
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3. 'What We Do in the Shadows' (2007)
Based on Waititi’s 2005 short of the same name, What We Do in the Shadows is a mockumentary following three centuries-old vampires/roommates (one of which is played by a very sweet, yet apprehensively bloodthirsty Waititi) as they argue about Deacon not doing the dishes in five years and lure home victims to feed on. The horror-comedy satirizes vampire tropes; its uniqueness inevitably leading to a spinoff series on FX/Hulu.
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2. 'Hunt for the Wilderpeople' (2016)
Taika Waititi's Hunt for the Wilderpeople might last decade's crowning achievement in independent cinema. It follows a juvenile delinquent, Ricky, who is sent to live with a childless couple, Hec and Bella, in the New Zealand countryside. After the death of Bella, Ricky evades child services by going on the lam with Hec into the wilderness. Hilarious, poignant, and strange, Hunt for the Wilderpeople is the byproduct of a truly unique talent.
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1. 'Boy' (2010)
Waititi’s second feature, Boy, is perhaps his most personal project. The film follows the titular “Boy,” who is obsessed with Michael Jackson and enthusiastic about the return of his absentee father, Alamein (Waititi). Boy idealizes his father for being a proficient deep-sea diver, captain of the rugby team, and a man with the record for punching the most people with one hand (among other things). Boy is filled with humor and heart; exploring the pain of its particular circumstances and the core objective of its creative: make fun of serious topics without undermining them. Laughter is and always will be the best medicine when taken as prescribed.
