Set in 1970s New Zealand, Holy Days follows Brian (Elijah Tamati), a young Māori boy who forms a personal connection with a trio of eccentric nuns at the local convent after his mother passes away. While hiding out in a confessional booth, Brian overhears the bishop saying he’s going to send the nuns away so they can sell the land to a real estate developer. This sets up an unlikely partnership between Brian and the nuns, who embark on a road trip to find the original deed to the land and save the covenant.

Each nun has their own quirks, led by the tenacious Sister Agnes (Judy Davis), who has been looking after the small community for 50 years as the number of nuns on staff has dwindled. Sister Luke (Miriam Margolyes) acts as the group’s comedic relief, her dentures often flying across the room for one reason or another. Sister Mary Clare (Jacki Weaver) is steady and sensible, but will step in to save the day if necessary. And while Brian may not be the obvious choice to come along on their trip, he almost immediately proves to be essential as the group races back to the convent to thwart the developer’s plans.

It’s incredibly funny, but it’s also a poignant meditation on loss, the importance of embracing change, and the power of found family. In her feature debut, writer and director Nathalie Boltt delivers a tight, compelling, well-paced screenplay. While it follows familiar story beats for a road trip comedy, it still makes you smile at every turn. Set throughout rural New Zealand, the visuals are diverse and often breathtaking, featuring coastlines, mountain peaks, and winding roads. Boltt intertwines delightful stop motion scenes throughout the film, cleverly breaking up the shots of a car on the road while still showing the progress of the journey.

“This sets up an unlikely partnership between Brian and the nuns, who embark on a road trip…”

But Boltt doesn’t just pay homage to the physical landscapes of the country; she also honors the cultural ones. Māori culture is at the center of Holy Days, subtly referencing the long, complex relationship between New Zealand’s Māori population and the Catholic church. Unlike some of the colonial conquests in the country, the relationship between Māori and Catholic groups has been built on respect, with Catholic communities acting as safe havens for the Māori people. In this film, we hear the Māori language, we see Māori customs practiced, but those aren’t in opposition to Catholic practices; they’re in addition to them. The intersection of this unlikely relationship between a Māori boy and Catholic nuns adds an additional layer of cultural context and resonance to the film’s themes.

Another highlight is the abundance of stellar performances. The pre-teen Tamati acts like a veteran, perfectly toeing the line between childish and grief-stricken. He handles both the comedic and the emotional moments with ease. Boltt’s dialogue for Brian not only creates an authentic portrayal of someone his age but also sets up some of the funniest moments in the piece. Davis, Margolyes, and Weaver are equally fantastic. They each create a distinct, lovable character that you have no choice but to root for.

Holy Days is the definitive feel-good movie of 2026 so far. From its vibrant tone to its wholesome story, you’re guaranteed to walk out of the theater with a smile on your face. Nathalie Boltt seamlessly transitions from her career as an actress to establishing herself as a filmmaker to watch with this promising first feature.