You've probably seen the trailer or heard the buzz coming out of SXSW about a spunky, rebellious trio of girls in 1950s New Zealand. It’s called We Were Dangerous. It’s funny. It’s heart-wrenching. Honestly, it’s the kind of indie film that makes you remember why you liked movies in the first place before everything became a multi-billion dollar franchise. But here is the annoying part: finding we were dangerous where to watch isn't as straightforward as just opening Netflix and hitting play.
Distribution for international indies is a mess. It’s basically a game of geographical whack-a-mole. If you’re in New Zealand, you’re in luck because the film had a proper theatrical run and found its way onto local platforms relatively early. For everyone else in the US, UK, or Canada, the "where to watch" answer depends entirely on which streaming giant felt like writing a check this month.
Directed by Josephine Stewart-Te Whiu and executive produced by the legendary Taika Waititi, this film carries that signature Kiwi blend of dry humor and deep, stinging pathos. It follows Nellie, Daisy, and Lou—three "delinquent" girls sent to a religious reformatory school on an island. They’re supposed to be "cured" of their rebellion. Instead, they find each other.
The Streaming Reality: Where is it Hiding?
Right now, if you are looking for we were dangerous where to watch in the United States, your best bet isn't a subscription service like Max or Hulu. Instead, the film has largely landed on Video on Demand (VOD) platforms. This means you’re looking at a rental or purchase situation.
You can find it on Apple TV (iTunes), Amazon Prime Video, and Google Play. Usually, a rental will set you back about $5.99, while buying it costs closer to $14.99. Is it worth the six bucks? Absolutely. It’s a tight 82 minutes. No filler. Just pure, chaotic teenage energy and a scathing critique of mid-century moral panics.
In New Zealand, the situation is different. The film is a homegrown hero. You can often find it through Neon or for rental on the AroVision platform, which is a godsend for fans of boutique cinema. If you're in Australia, keep an eye on Stan or the usual VOD suspects.
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Why isn't it on Netflix?
Small films like this often get "windowed." They spend a few months on VOD to recoup the production costs through direct sales before a major streamer buys the exclusive rights for a flat fee. We are currently in that middle zone. If you wait another six months, it might pop up on a service you already pay for, but by then, the cultural conversation might have moved on.
What Actually Happens in the Island Home for Girls?
The plot centers on a "school" that is actually a prison in disguise. It’s located on an island—geographical isolation as a metaphor for social exclusion. Groundbreaking? Maybe not. Effective? 100%.
Nellie is the firebrand. Daisy is the dreamer. Lou is the observer. They are being managed by "The Matron," played with a chilling, repressed intensity by Rima Te Wiata. The film doesn't lean into the "misery porn" trope that a lot of period pieces about reform schools fall into. Instead, it focuses on the absurdity of the "virtue" the school tries to instill.
There’s a specific scene involving a "breath test" to check for impure thoughts. It’s ridiculous. It’s also based on the very real, very weird history of how colonial societies tried to domesticate indigenous and "wayward" women. The film tackles the intersection of Te Ao Māori and British colonial structures without feeling like a history lecture. It feels like a heist movie where the prize is just being allowed to exist.
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Why the Taika Waititi Connection Matters
People see Taika Waititi’s name and expect Thor: Ragnarok. Don't do that. This isn't a big-budget spectacle. Waititi’s role here as an executive producer is more about lending his "clout" to ensure indigenous voices get a platform.
The DNA of the film is much closer to Hunt for the Wilderpeople. It has that same "us against the world" mentality. If you enjoyed the vibe of Reservation Dogs, you will feel right at home here. The dialogue is snappy. The stakes feel life-and-death because, for these girls, they actually are.
A Breakdown of Availability by Region
If you’re skimming this because you just want to know where to click, here’s the current landscape as of early 2026:
- United States: Available to rent or buy on Amazon, Apple TV, and Fandango at Home (formerly Vudu). It has not yet been added to a "free" subscription library like Netflix or Peacock.
- United Kingdom: Digital release via Curzon Home Cinema and the usual VOD platforms.
- New Zealand: Streaming on Neon; available for digital rental on most local platforms.
- Canada: Follows the US model—primarily VOD on Apple and Cineplex Store.
Don't bother looking for it on "free" sites that look like they were designed in 1998 and want your credit card info for a "verification." You'll just end up with malware and a headache. Stick to the legitimate storefronts. The filmmakers actually see a percentage of those rental fees, which is how more movies like this get made.
Why You Should Watch It Instead of Another Blockbuster
We are living in an era of "content sludge." Everything is a sequel. Everything is twenty minutes too long. We Were Dangerous is a lean, mean, emotional machine.
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It’s about the power of female friendship in a world that wants to categorize women as either "saints" or "delinquents." The performances from the lead trio—Erana James, Nathalie Morris, and Manaia Hall—are star-making. Erana James, in particular, has this presence that suggests she’s going to be a massive name in about three years. You’ll want to be the person who saw her "back when."
The cinematography is also stunning. New Zealand landscapes often get used for epic fantasy, but here, the coastlines feel claustrophobic and jagged. The island is beautiful, but it's a cage. That visual tension carries the movie through its slower middle act.
Navigating the "Where to Watch" Confusion
The digital divide in cinema is real. Sometimes, a film will be available in the US but blocked in the UK due to "territorial licensing." This is a fancy way of saying lawyers haven't finished arguing over who gets the money.
If you are traveling and find your favorite app says "This title is not available in your region," you know the drill. A VPN can technically solve the problem by making it look like you're browsing from Auckland when you're actually in Chicago. But honestly, for a film this good, just paying the rental fee on your local digital store is the path of least resistance.
Actionable Next Steps for Viewers
- Check your Prime Video or Apple TV app first. These are the most consistent hosts for the film globally.
- Search for "AroVision" if you want to support NZ cinema directly. They often have better behind-the-scenes content than the big American platforms.
- Add it to your Letterboxd watchlist. The algorithm there is actually pretty good at alerting you when a film hits a subscription service like Mubi or Criterion Channel.
- Watch the trailer on YouTube. It gives you a perfect sense of the tone. If the humor in the first thirty seconds doesn't land for you, the rest of the movie won't either. But if it clicks? You’re in for a treat.
The film ends on a note that isn't exactly "happily ever after," but it is deeply defiant. It’s a reminder that even when the system is designed to break you, there are parts of the human spirit that are simply too stubborn to snap. Stop scrolling through the endless "New Releases" on Netflix that you know are going to be mediocre. Spend the few dollars to support a distinct, powerful voice in cinema. You won't regret it.