Some of New Zealand's most memorable screen images have come from the genre of science fiction: Bruno wandering man alone onto Eden Park in a nightie; giant slugs living under Rangitoto. From alien hunters to futuristic fuel wars to nuclear volcanoes, this collection is a showcase of film and TV that has imagined 'what if?' versions of life in the shaky isles.
In director Geoff Murphy's cult sci-fi feature a global energy project has malfunctioned and scientist Zac Hobson (Bruno Lawrence) awakes to find himself the only living being left on earth. At first he lives out his fantasies, helping himself to cars and clothes, before the implications of being 'man alone' sink in, along with his own culpability in the disaster. As this awareness sends him to the brink of madness, he discovers two other survivors. One of them is a woman. Los Angeles Daily News gushed: “quite simply the best science-fiction film of the 80s”.
Classic sci-fi TV series Under the Mountain follows the adventures of redheaded twins with psychic powers — Rachel and Theo — as they battle the alien Wilberforces. This fourth episode sees the twins venture into the aliens' submarine lair for the first time. The lair's uterine production design, the NZSO score, and still-creepy transmogrifying SFX contributed to the slimy imprint the series left on a generation of NZ kids, haunted by the giant slugs slithering underneath Auckland's volcanoes. The award-winning series was adapted from the Maurice Gee novel.
In a lawless fuel wars future, marauders roam the wasteland looking for oil. Their malevolent leader Straker threatens his daughter Corlie; she’s rescued by loner Hunter and they harbour with eco-sensitive folk in the Clearwater Commune ... but not for long: there will be blood on the Central Otago plains! Following in the exhaust of Mad Max, the cult film was made during the 80s tax-break feature surge, with US director (Harley Cokliss) and leads flocking south during a Hollywood writers’ strike, and Kiwis as crew (“artists with chainsaws”) and supporting cast.
On a holiday to Mt Tarawera, teenager Jenny (Katrina Hobbs) finds an odd shard of metal. In this third episode of the kids sci-fi series she meets its owner: 'Drom' — a survivor of an alien mission to deactivate a planet-annihilating space gun (aka Tarawera itself). They find themselves under siege from a Predator-like 'Guardian' of the gun. If Drom and Jenny and local kids Tessa and Lloyd (future What Now? presenter Anthony Samuels) can't defeat the mechanoid, catastrophe is imminent! The South Pacific Pictures series found international sales and cult repute.
This documentary showcases some of the tricks of the trade used by Peter Jackson in the making of his first feature — the aliens-amok-in-Makara splatter classic, Bad Taste. Compiled following the film's 1988 Cannes market screening, it's framed around an extensive interview with a 25-year-old Jackson at his parents’ Pukerua Bay home. These excerpts offer fascinating insight into his ingenuity: from building a DIY Steadicam, to the making of the infamous sheep-obliterating rocket launcher scene, to PJ musing on the impetus that being an only child provided him.
Armed with his trusty ray gun and protected by his pith helmet Lord Broadforce's exotic species search on an alien planet is going swimmingly ... until the dame gets colonial angst. The short is based on the sci-fi world of Dr Grordbort created by Weta Workshop's Greg Broadmore (designer on District 9, King Kong) in which Victorian steampunk meets star-trekking trophy hunting. The live action-CGI film is another impressive product of Media Design School's 3D animation programme: created by 11 students over 22 weeks under the direction of James Cunningham.
This sci-fi telefeature for kids follows the adventures of runaways Peter (Toby Laing) and Maggie (Toni Driscoll), who meet when Maggie’s attempt to get Picnic bars on a five finger discount go awry and "rich brat" Peter is on the lam on a 10-speed. After falling into a grave of golden light at a farm cemetery, they wake up in the house of the strange Piper family. Laing is now trumpeter for Fat Freddys Drop, and a young Kerry Fox appears briefly as a policewoman in the opening. Scripted by veteran Ken Catran, the telefeature was re-cut from a four-part series.
In The Tem Show Temuera Morrison interviews and hangs with his entertainment whānau. This 'revenge of the bros' episode sees Tem korero with Kiwis involved in the Sydney-shot Star Wars chapters: he hakas with Jay Laga'aia and Bodie Taylor and cooks some eggs for Rena Owen in LA. He also meets George Lucas and gets cloned at Skywalker Ranch. Other guests in the series include uncle Howard Morrison, coaching Rotorua schoolboy rugby with Buck Shelford. This was Prime TV's first publicly funded local programme, and replayed on Māori Television.
Set during the 1974 Commonwealth Games, thriller-fantasy series The Games Affair was NZ telly's first children's serial. Remembered fondly by 70s kids, it follows three teenagers battling a miscreant professor who's experimenting on athletes. The second episode begins with the trio finding a performance-enhanced (by nifty stop-motion) beach runner. The trail takes them to QEII Park for the Games' opening ceremony where they confront the villains, and — via pioneering DIY FX — deflate John Bach Flat Stanley-style. Note: the episode has nothing to do with toilets.
In James Cunningham’s award-winning short a mutant three-fingered hand attempts a brash virtual heist, seeking to wipe a student loan debt in a government databank. The “digital action thriller” was a third collaboration between Cunningham and producer Paul Swadel. Infection’s fast-paced action, humour, and (then) state-of-the-art 3D CGI rendering (punctured eyeballs, hypodermic needles) was in confident contrast to the realist Kiwi short film tradition. Infection won selection in competition at Cannes, Sundance, and numerous other international festivals.
Masterminded by director and fx whizz Derek Pearson, Event 16 is a brain-teaser spanning three eras. After neglecting his girlfriend (Jocelyn Christian) while struggling to perfect time travel, inventor Matt (Peter Rutherford) inadvertently puts her in danger when a colonial-era killer arrives in modern-day Wellington. Ambitiously plotted, with a plethora of double identities, Event 16 demonstrates how computers have opened new imaginative vistas for the low budget filmmaker — notably in the film's stylish vision of Victorian Wellington.
After adapting Maurice Gee classic Under the Mountain for TV, writer Ken Catran wrote his own tale of teen extraterrestrial contact. While holidaying with relatives in the country astronomy-mad Gretchen discovers that a farm weathervane has mysterious powers. In this second episode of the girl-power sci-fi series, the weathervane does strange things to cars and appliances; and Gretchen and local scallywag Ronny discover a secret in a tapu swamp threatened by development. Actors Zac Wallace and Roy Billing feature, and future weatherman Jim Hickey cameos.
Matthew Sunderland (Out of the Blue) plays the sole survivor of an unexplained cataclysmic event. Roaming bloody and dazed amongst a polar landscape — pocked with beached container ships — he experiences a moment of sky-splitting Ballardian beauty. A rare sci-fi Kiwi short film, Vostok Station was directed by Dylan Pharazyn, and filmed on Mt Ruapehu, with convincingly-rendered effects added in post-production. The film was selected for Sundance (where it was nominated for a ‘New Frontier’ award), Valladolid (Spain) and onedotzero (London) film festivals.
This tale of body-snatching botanical aliens invading 70s Wellington shared the 1973 Feltex Award for Best Drama. Dominated by Davina Whitehouse’s performance as a retired teacher-turned ET foster parent, it included early TV roles for Paul Holmes, Grant Tilly and Susan Wilson. Vincent Ley’s script won a Ngaio Marsh teleplay contest, and its realisation stylishly traverses local summertime environs — Silence was one of the first NZBC dramas filmed in colour. Director David Stevens went on to success in Australia (writing Breaker Morant, and The Sum of Us).
After the assassination of scientist David Typhon, a cast of interested parties head for his secret lab in New Zealand, pursuing the truth behind rumoured experiments on humans. Among them are rabid protestors, a European infiltrator (Michael Hurst) and the strangely-gifted Cato (Greg Wise). Typhon’s People marked a rare time that writer Margaret Mahy created a story aimed at adult audiences. Blessed with an impressive cast of Kiwis, Brits (Wise, Alfred Molina), and The Castle star Sophie Lee, it sold as both a mini-series and as a 90 minute tele-movie.
"It was the beginning of the end of the world..." Award-winning actor Tim Balme (Braindead) narrates this rain-lashed tale of being trapped in a world where all the women have disappeared. The film noir stylings, Blade Runner climate and tough-talking dialogue come to the fore when Balme encounters a beautiful woman with an attitude (Balme's real-life partner Katie Wolfe), and finds desire playing tricks with his mind. Planet Man was judged best short film in the Critics' Week section of the 1996 Cannes Film Festival.
A young boy is afflicted by apocalyptic visions in medieval Cumbria. Believing he is divinely inspired to save his village from the Black Death, he persuades a group of men to follow him into a tunnel. They dig deep into the earth and emerge ... in Auckland, New Zealand, 1987. Following portents, the time travelers must negotiate the terrors of a strange new world, (motorways, nuclear submarines) — while seeking to save their own. Nominated for the Palme d'Or at Cannes, it scooped the gongs at the 1988 AFI and 1989 NZ Film & TV Awards.
Ambitious kids' sci fi series Space Knights pitched the King Arthur myth into a zany universe of Knights of the Round Space Station, Vader-esque villains, rainbow rocket exhaust, and laser lance jousting. The distinctive look of this early South Pacific Pictures series — like a picture book come to life — was led by cartoonist Chris Slane who achieved it by using actors in life-size puppet suits and blue screen effects. In this excerpt, the evil Mordread creates an android Trojan horse to infiltrate Castle Spacelot. The 'Space Junk' theme song is by Dave Dobbyn.
Set in Antarctica (and partly shot there), the science fiction tale sees a researcher (Crawford Thomson) dealing with unsettling events — traumatic personal news, isolation, disquieting “anomalous electrical readings”, and warping time. As newsreader John Campbell says in an intercepted transmission: “the speed of light is changing. Well, what does that mean?”. The title is from Hone Tuwhare’s anti-nuclear themed poem of the same name, but the film was inspired by Pat Rushin short story Speed of Light. It was an official selection at Edinburgh Film Festival.
The Dominant Species is a loopy look at the relationship between people and cars in 1975 Aotearoa ... from an alien's eye view. Nifty animations and FX intersperse the alien automotive anthropological survey of Mark IIs, VWs, anti-car activism and driveway car-washing. There's a ladykilling Jesus Christ atop-a-motorcar dream sequence; and Wagner's Ride of the Valkyries scores a rugby match traffic jam (predating Apocalypse Now's choppers). Screenspotters will note the tripped out assembly is flush with formative industry talents (see Derek Morton’s guide below).
Perfect Creature is set in an immaculately realised alternative colonial New Zealand where steam powers cobble-stoned cities, and zeppelins cruise the skies. A race of benevolent vampires preside over the spiritual life of humanity. When one of them turns rogue, a manhunt begins. Starring international actors (Dougray Scott, Saffron Burrows) Perfect Creature was the second feature for director Glenn Standring. It was the first NZ film picked up for distribution by a major Hollywood studio (Twentieth Century Fox), who ultimately dithered with its release.
The original concept involved a girl in love with a weta. Sadly the weta has an affair with a horse. Consequently the girl tries to metamorphosise into an insect to be with her love... of course. "In the end I don't think anyone really gets the story. But there is a great feeling to the video. My favourite scene is where she walks around a room shutting doors, with a projection of maggots and crawlies all over the walls - it's so spooky and sad and threatening." Band member, Geoff Maddock - Feb 09
When inept environmental activists release a mutant lamb from a laboratory, thousands of sheep are turned into bloodthirsty predators. Three hapless humans are stranded far from help. As the woolly nightmare develops, they discover a bite from an infected sheep has an alarming effect on those bitten. director Jonathan King executes genre thrills and tips over a few sacred cows in his well-received debut feature. In this excerpt a liberated lamb goes Mike Tyson on greenie Grant (Oliver Driver), and Henry (Nathan Meister) doubts the legacy on the family farm.
The song title is literally animated in this Ned Wenlock-directed promo for a track from Wellington electronica explorer Rhian Sheehan. Sheehan's lounge beats are set to a lunar day-trip plot, where a chilled-out Right Stuff ends in satellite-gazing reverie.
Shot in Wellington, Hawke’s Bay and Hong Kong, Eternity is a rare homegrown sci-fi feature. In the whodunnit, set in a virtual world, Detective Richard Manning must solve a case where the (fictional) suspects were all in the next room to the murder, all the while battling a memory-eroding virus that may have real world consequences. Director Alex Galvin’s good-looking globetrotting film was rendered on a shoestring budget. Scenes and some post-production was done in Kong Kong, after his first movie When Night Falls impressed HK-based producer Eric Stark.
This live-action CGI short attempts to find the answer as to why UFO sightings have been in decline recently. The truth is indeed out there, but in this sci-fi spoof, it turns out to be the result of alien bureaucratic cover-ups, outsourcing and an unorthodox use of space probes The film was made by students in the 3D Productions course that director James Cunningham teaches at Media Design School — a one day green screen shoot, 14 weeks of post-production. Written by Nick Ward, First Contact won selection to computer graphics conference SIGGRAPH 2011.
From The Phoenix Foundation’s second album Pegasus, ‘Hitchcock’ is an eerie “electro noir” instrumental tribute to the great film director. Reuben Sutherland’s remarkable clip (which he shot, directed, animated and edited) features a choreographed army of Russian Lada cars — created out of images shot with a stills camera and layered 90 times. What follows is a surreal, conservation-themed revisiting of the Cold War as the electric powered Ladas of the ‘Petrol Crimes Bureau’ are pitted against a gas guzzling 4x4 (bedecked with the Stars and Stripes).
In this children's sci-fi caper, an all-singing all-dancing gang of cronies led by 'evil Eva' holds Auckland to ransom for $5,000,000. As in Under the Mountain Auckland's volcanoes play a starring role, with Eva threatening to drop a nuclear bomb into the crater of Rangitoto. Who will save the city? A trio of intrepid kids and their DIY anti-gravity machine are on the case. Writers Ian Mune and Keith Aberdein give director Roger Donaldson (and a bevy of industry talent) plenty of goofy 70s fun to play with. Donaldson would shortly helm the acclaimed Smash Palace.
Maurice Gee's classic novel about aliens running amok under Auckland has rarely gone out of print, since its debut in 1979. First adapted as a memorable 80s TV series, this movie retooling sees teenage twins Theo and Rachel stumbling across shape-shifting creatures that are hiding beneath Auckland's extinct volcanoes. American showbiz magazine Variety praised Black Sheep director Jonathan King's "solid helming", and the excellent acting of Sam Neill as the mysterious Mr Jones. Oliver Driver plays lead villain Mr Wilberforce, under four hours of make-up.
Director Peter Salmon's sci-fi short is set in a dystopian future where citizens spend most of their lives in virtual reality to escape the bleak Blade Runner-like offline world. Grace (Sara Wiseman, in a NZ Film Award-winning performance) is a lonely programmer looking for cyberspace love via Angelife: a fantasy-fulfillment site with "five billion connections worldwide". Disenchanted with her Adam (Rupert Cocks), her desire for real world connection, plus a chance meeting, push her into a dangerous underworld. Ray Woolf cameos as a winged Angelife agent.
Off his own bat, Ilam art student Glenn Standring got his third-year short into competition at Cannes. The minimal plot — hipster private eye Lenny Minute dryly narrates, before facing his nemesis, a rampaging giant blue “sheila doll” — allows Standring to conjure up a distinctive collage-styled cityscape, mined from a grab-bag of Americana inspirations: 50s sci-fi, jazz, the hardboiled detectives of Dashiell Hammett, plus Marlene Dietrich. After this early computer-aided short, Standring joined the Gibson Group as an animator, then directed two stylish features.
Two tadpole-like creatures with enormous eyes chase each other around, to a driving techno soundtrack. Then these digitally-animated characters find themselves plunged into a different reality - one where a single wrong move could mean they exist in only two dimensions. After completing this mind-warping mini-rollercoaster ride, creator James Cunningham and producing partner Paul Swadel worked together on bank robbery tale Infection, which won invitation to the Cannes Film Festival.
Taika Waititi's 80s extravaganza wouldn't have been complete without the man himself arriving on set in a DeLorean — the time-travelling car from Back to the Future. The clip is another homage-packed example of lo-fi genius from the Oscar nominee. Note the Eastern European-derived keyboardist Luke Buda's 'Poland' synth. Director Taika Waititi: "I spotted the DeLorean parked near our flat in Mt Cook, and left a note under the wiper saying 'what year are you from?' Turns it was one of two owned by a local doctor."