Leon Narbey is one of New Zealand’s most prolific and lauded cinematographers. His talents have contributed to roughly 20 features, including Whale Rider, Desperate Remedies, The Price of Milk and No.2. Narbey's work as a director includes movies The Footstep Man and Illustrious Energy, an acclaimed drama about Chinese goldminers.
Sometimes we were working in imaginary spaces where there are no walls, like the artificial gardens. We were in a white studio and moving in every direction. It was fascinating and I really enjoyed it. Leon Narbey, on shooting Desperate Remedies
Action movie The Dead Lands joins the short list of screen tales set in Aotearoa, before the pākehā. James Rolleston (star of Boy) plays Hongi, the son of a Māori chief. After the massacre of his tribe, Hongi sets out into the forbidden Dead Lands, hoping to enlist the help of a legendary warrior (Lawrence Makoare). The Anglo-Kiwi co-production marks new screen territory for playwright turned director Toa Fraser (No. 2) and writer Glenn Standring (director of fantasy Perfect Creature). Following its debut at the 2014 Toronto Film Festival, the film topped the NZ box office upon local release.
This documentary sees Dean Spanley director Toa Fraser and producer Matthew Metcalfe swap dialogue for dance. Based on The Royal NZ Ballet's acclaimed 2012 production of Giselle, the movie features American Ballet Theatre star Gillian Murphy as the dance-mad villager, wooed by a prince in disguise. Inspired by concert film The Last Waltz, a Leon Narbey-led camera team filmed the performance, with scenes of the lead dancers in Shanghai and New York counterpointing the onstage action. Following its Kiwi festival debut, Giselle screened at the 2013 Toronto Film Festival.
This often confronting documentary observes a Māori restorative justice model through the eyes of straight-talking Mike Hinton, manager of Restorative Justice at Manukau Urban Māori Authority. The bringing together of victims (including wider whānau) and offenders may offer an alternate way forward for "a criminal justice system failing too many and costing too much”. Restoring Hope kicked off Māori Television’s 2013 season of Sunday night docos. In a Herald On Sunday preview, Sarah Lang argued it was “enough to restore hope in local documentary-making.”
Tusi Tamasese’s first feature tells the story of a taro farmer (real life farmer Fa’afiaula Sagote) who finds the courage to stand tall for his family and culture, and stand up to sceptical villagers. Variety called it “compelling drama”. Though previous films (eg. Flying Fox on a Freedom Tree) have told stories inspired by Samoan writers, The Orator is the first feature written and directed by a Samoan, and the first filmed in Samoan. In its debut at the prestigious Venice Film Festival it won a special jury mention in the Orizzonti (New Horizons) section.
Taro planter Lui’s grief for his dead wife is blighting his life and crops. A widow, Malia, is bound by anger to the grave of her abusive husband, as the rising sea slowly drowns it. When Lui and Malia meet by chance, he’s provided with a path from his hurt. Filmed in Samoan on the island of Upolu, and directed by Samoan-born Tusi Tamasese, the short is a fable-like meditation on communion, cooking and sacred places. It was selected for Clermont Ferrand and Hawaii film festivals, and was the precursor to Tamasese’s Venice-selected debut feature, The Orator.
This documentary is a portrait of Wellington art-dealer Peter McLeavey, who spent over 40 years running his influential Cuba Street gallery. In the Leon Narbey-shot film, McLeavey talks about his life: a roving North Island railway childhood, an early love of art, discovering his New Zealand identity while living in London, and returning home to run over 500 plus exhibitions, initially from his flat — including key showcases of artists such as Toss Woollaston, Gordon Walters, and Colin McCahon.
Part concept film, part biopic, part historical record and part comedy, Leanne Pooley’s documentary was made to mark the Topp Twins' 50th birthday. New Zealand's favourite comedic, country singing, dancing and yodeling lesbian twin sisters tell their personal story: from their "coming out" to Jools' brush with breast cancer. The film features archive material, home movies and interviews with the Topps' alter-egos. Alongside local box office success and dozens of international awards, Girls won the People’s Choice best doco gong at 2009 Toronto Film Festival.
This offbeat father and son feature was written by Scotsman Alan Sharp, and mostly filmed in the UK by a Fijian-Brit Kiwi. Lawrence of Arabia legend Peter O'Toole plays a stiff upper lip Englishman whose frosty relationship with his son warms after hearing an extraordinary tale of reincarnation from Reverend Dean Spanley (Sam Neill). Based on an Edward Plunkett novella, Toa Fraser's second feature won praise for its cast, and mix of comedy and poignancy, "intertwined to the last" (The Age). Spanley won a host of Qantas awards; GQ rated it their film of the year.
This lauded documentary revisits the subject of a film Vincent Ward made in 1978, aged 21. That film, In Spring One Plants Alone, told the story of 80-year-old Puhi, who lived with her schizophrenic son in the isolated Urewera. The follow-up — part detective doco, part historical re-enactment — focuses on Puhi's life. She married the son of Māori prophet Rua Kenana, had 14 children, and after a run of tragedies, believed herself to be cursed. The excerpt goes “way out there in the bush” to the Maungapohatu community where Rua, “made the city of God on Earth”.
John Reynolds is one of New Zealand's most talked-about contemporary artists. His diverse practice takes in painting, photography, clothing, tattooing and landscaping. Director Shirley Horrocks frames the film as a series of questions. The answers reflect Reynold's exuberant personality, his strong family life, his sense of humour, and his adventurous art-making. Following a year in his life, the film observes him as he makes and debuts a work (Cloud) at the 2006 Biennale of Sydney, and takes time out to appear in an episode of bro'Town.
Tattoo artist Jake Sawyer (Jason Behr, American star of Roswell) travels the world looking for ethnic designs to exploit for his art. At a tattoo expo in Singapore, he is introduced to the traditional Samoan tattoo, and falls for Sina (No. 2's Mia Blake) the beautiful cousin of tattooist Alipati. When Jake recklessly steals a Samoan tattooing tool, he unwittingly unleashes a powerful spirit that endangers everyone he touches. This inaugural Kiwi-Singaporean co-production was directed by Peter Burger and produced by Robin Scholes (Once Were Warriors).
The writing and drawing of comic books has remained a little-known and under-rated area of New Zealand culture. Director Shirley Horrocks reveals it as a highly creative subculture with a rich local history. Eric Resetar, the grand old man of local comics, discusses the moral panic brought on by comics in the 1940s and 1950s; and other artists of the genre, such as Barry Linton, Dick Frizzell, Coco and Dylan (Hicksville) Horrocks, explore the wide variety of stories that have been drawn, framed and speech-ballooned since then.
Nanna Maria, the matriarch of a Fijian family living in Auckland feels that the heart has gone out of her clan. Nanna demands that her grown grandchildren put on a traditional feast at which she will name her successor. The grandchildren — Soul, Charlene, Hibiscus, Erasmus, and Tyson — reluctantly turn up. But tiffs send the day into chaos and Nanna calls the whole thing off. The lovo-warmed love letter to his Mt Roskill hometown was the debut feature for director Toa Fraser. It screened at many festivals and won the World Cinema audience award at Sundance 2006.
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.
Gretchen Albrecht's richly-coloured large abstract paintings made her reputation in New Zealand from the late 1980s. This documentary (made for TV One's Artsville series) traces the development of Albrecht's work from her art school years through to her current interest in sculpture. Interspersed with commentary from family, collectors, writers, and art historians, the artist discusses her life, and the ideas and influences that inform her work. And in the studio, her working methods are revealed as she's filmed making new work.
Who Laughs Last profiles Roger Hall, New Zealand’s most successful playwright. Three decades after the opening of Hall's Middle Age Spread became a hit, the original cast return for 2006 follow up Spreading Out. The Shirley Horrocks doco explores the secrets behind Hall’s successful brand of comedy (25+ stage plays, plus TV series and musical comedies) andclosely explores the popularity of Middle Age Spread and Spreading Out. Among those interviewed are John Clarke, Ginette McDonald, the late Grant Tilly, and Hall himself.
Shirley Horrocks' documentary profiles the life, work and influence of pioneering PI writer Albert Wendt (1973's Sons for the Return Home was the first novel published in English by a Samoan). The film accompanies the writer to various locations in the Pacific and addresses his Samoa upbringing, his education in New Zealand and his work as writer and teacher; and discusses the contemporary explosion of Pacific arts. "I belong to Oceania — or, at least, I am rooted in a fertile part of it and it nourishes my spirit, helps to define me, and feeds my imagination."
One summer’s day, teenaged Jayde (Atarangi Manley) and Wiremu (Darcey-Ray Flavell-Hudson) tag along with their older siblings on a trip to a local swimming hole; young passions ignite by the Rotorua hot pool. Later, tragedy occurs and Jayde faces lost innocence and the ritual of tangi while bearing a secret. Michael Bennett’s short — cutting between Jayde’s experience of the day and its aftermath — was shot in his Te Arawa home environs. It won selection for the 2005 Berlin Film Festival; 'Mu' was an early role for Flavell-Hudson (Mt Zion, Ghost Chips ad fame).
This documentary looks at the life and work of New Zealand's most celebrated painter, Colin McCahon. The first excerpt looks at McCahon's beginnings in Timaru and Dunedin, and his explorations of modernist techniques in paintings that reconceived 'the promised land' in an endemic landscape. The second excerpt covers McCahon's time in Muriwai in the 60s and 70s, and the influence of the environment and Māori spirituality on his work. Sam Neill reads from McCahon's letters and writings. Directed by Paul Swadel, it won best documentary at the 2005 Qantas Awards.
Marti: The Passionate Eye is a film about leading New Zealand photographer, Marti Friedlander. Friedlander arrived in New Zealand from London in the late 1950s and photographed the country partly as a way of coming to terms with what she saw as its foreignness. In the process she captured aspects of New Zealand that familiarity had made invisible to its inhabitants, and created an important record of its social history.
Jonathan Brough’s insightful documentary on the making of Whale Rider travels from East Coast town Whangara, where the mythical whale rider Paikea landed - to Hollywood. This excerpt concentrates on the movie’s vital special effects component: nine whales, brought to the screen through a combination of life-sized models and digital effects. The largest model measured 65 feet in length. Star Keisha Castle-Hughes reflects on filming the challenging whale-riding scenes.
Set at the East Coast town of Whāngārā, Whale Rider tells the tale of a young Māori girl, Pai (Keisha Castle-Hughes), who challenges tradition and embraces the past in order to find the strength to lead her people forward. Directed and written by Niki Caro, the film is based on Witi Ihimaera's novel The Whale Rider. Coupling a specific sense of place and culture with a universal coming-of-age story, Whale Rider met with sizeable success worldwide, winning audience choice awards at Sundance and Toronto.
Early Days Yet, directed by Shirley Horrocks, is a documentary about New Zealand poet Allen Curnow, made in the last months of his life. The poet talks about his life and work, and visits the places of some of his most important poems. It includes interviews with other New Zealand poets about Curnow's significance as an advocate for New Zealand poetry. As Curnow famously mused in front of a moa skeleton displayed in Canterbury Museum: "Not I, some child, born in a marvellous year / Will learn the trick of standing upright here."
Tele-movie Clare is based on Clare Matheson's autobiographical book Fate Cries Enough. It recreates the experiences of the author (played here by Robyn Malcolm, then fresh from Shortland Street) who for 15 years was an unwitting part of a disastrous gynaecological study at Auckland's National Women's Hospital. The study would later become known as ‘The Unfortunate Experiment', after a Metro article by Sandra Coney and Phillida Bunkle. It was also the subject of a Commission of Inquiry, whose official report led to major changes in law around health consumers' rights.
Lucinda lives a fairytale life with dairy farmer Rob and his 117 cows. Driving to town one day, she hits an old Māori woman who runs off, unharmed. Some time later, Lucinda decides to test Rob's love for her by trying to make him angry. He passes her tests until a quilt goes missing from their bed. Lucinda spots this on the bed of the old woman she nearly ran over and desperate to get it back, she makes a bargain with her. But the price is high. The Moscow Symphony Orchestra is the soundtrack to director Harry Sinclair's second feature.
The Savages are a working class West Auckland family who like drinking, and living by their own rules. Savage Honeymoon is a celebration of their passion and leather pants - and a snapshot of a couple worried their children may not be as lucky as them. Mark Beesley’s debut feature won good reviews (The Herald praised its “self-confident swagger”) – and headlines, after being downgraded from an R18 to R15. The film pre-dated the Westie family of Outrageous Fortune - though Beesley then hated the Westies label, disliking the word’s negative connotations.
Billy Williams (Cliff Curtis) is enthusiastic and likable, but a bit hopeless. When the driving force behind the Waimatua School 75th Jubilee is killed in an accident, Billy takes over - determined to prove himself. Meanwhile, the arrival of ex-international rugby player Max Seddon (Kevin Smith) forces his wife Pauline (Theresa Healey) to question the choices she has made in her life. This affectionate comedy about small-town NZ life was the first feature directed by actor Michael Hurst, most well-known for his role on the TV series Hercules.
After her son, Kamal Bamadhaj, a New Zealand Malaysian student of history and Indonesian politics, was shot dead in the Dili massacre in East Timor in 1991, New Zealander Helen Todd decided to pursue a law suit against the Indonesian general she believed was responsible. Her personal and political campaign for justice would eventually span five continents and four years. The documentary from Director Annie Goldson won awards and screened internationally.
Duggan features John Bach in the title role of the brooding city detective who is called on to solve murders, amid the tranquillity of the Marlborough Sounds. In this excerpt from part one of two-parter 'A Shadow of Doubt', Duggan, initially reluctant, finds himself investigating the kidnapping of the daughter of friend Joanne Taylor (Jennifer Ward-Lealand). The cast of suspects includes Joanne's business partner (Andy Anderson). A sharp, stylish Kiwi take on the classic English whodunit, this episode features some evocative imagery by Leon Narbey.
Duggan - Sins of the Fathers is the second of two telefeatures starring a brooding, charismatic John Bach as a city detective drawn into a Marlborough Sounds murder mystery. Marion McLeod conceived the show, Donna Malane and Ken Duncum scripted it and The Gibson Group produced it. The turquoise waters of The Sounds (shot by Leon Narbey) make for the evocative setting where Duggan, drawn by the irresistible allure of explosions and dead bodies, investigates the murder of a convicted rapist. Effects are by a pre-Lord of the Rings Weta Workshop.
In a wooden cabin on the edge of the forest, a strange young girl referred to only as 'Kid' holds court over her trapper Dad and his isolated bush family; she sits beneath the dinner table, makes animal sounds and refuses to be washed. This pitch-black fable is told through the eyes — and distinctive voice — of her sympathetic brother 'Little Man', who one night makes a fateful decision that liberates her into the wild. Filmed in gas-lit sepia by Leon Narbey, the atmospheric and award-winning film announced the directorial talents of the late Brad McGann.
Before The Gibson Group TV series Duggan there were two telefeatures: Duggan - Death in Paradise, and Duggan - Sins of the Father. Marion McLeod conceived the show; Donna Malane and Ken Duncum scripted it. New Zealand's answer to Inspector Morse finds John Bach, the troubled and brooding Detective Inspector Duggan, attempting to solve murders amid the tranquillity of the Marlborough Sounds. In this excerpt from the first of the two telefeatures, a reluctant Duggan is persuaded to investigate when police fish a body out of the water.
A homage to Dusky Maiden images as well as a playful take on the low art of velvet painting, Sima Urale’s Velvet Dreams provides a tongue-in-cheek exploration of Pacific Island stereotypes. Part detective story, part documentary, an unseen narrator goes in search of a painting of a Polynesian princess that he has fallen in love with. Along the way he meets artists, fans and critics of the kitsch art genre, as well as the mysterious Gauguin-like figure of Charlie McPhee. Made for TVNZ's Work of Art series, Velvet Dreams played in multiple international film festivals.
A jandal-shod journey through Kiwi pop culture. Kiwiana takes a light-hearted look at the fashion, art, architecture, attitudes, and icons (Buzzy Bees, Edmonds, Swanndri, Pavlova etc) we call our own. Directed by Shirley Horrocks, and shot by Leon Narbey, it featured personalities Gary McCormick, Ginette McDonald, John Clarke, Peter Jackson, and others. Screening at a time (1996) when New Zealanders were just beginning to appreciate these neglected everyday objects as ‘collectibles,' it rated highly, and inspired a sequel, Kiwi As.
Flip & Two Twisters is a Shirley Horrocks documentary about New Zealand artist Len Lye. Motion maestro Lye's international reputation rests on his work as a filmmaker and kinetic sculptor and his lively contributions to the London and New York avant-garde. The documentary explores Lye's career and ideas, with the help of historical footage and excerpts from his films. It includes footage of Lye in typically exuberant form outlining his process, introduces many of his kinetic works, and documents how some of his most ambitious plans are now being realised in NZ.
This documentary looks at the attempts by New Zealand's small towns to attract attention: ranging from giant statues of fish, fruit, and soft-drink bottles to festivals devoted to local vegetables or wild food. Actress Miranda Harcourt travels from Paeroa to Alexandra to explore the colourful expressions of small-town identity and pride. Shot by Leon Narbey, this was one of a series of documentaries directed by Shirley Horrocks about kiwi popular culture. A book by Claudia Bell and John Lyall (with the same title) was the film's starting-point.
Ever wondered why artist Peter Peryer photographed himself holding a chicken? This film provides the answer. It profiles Peryer, one of New Zealand's most significant, and intriguing, art photographers. Directed by Greg Stitt, the documentary traces the development of Peryer's work - from "crucified Christ to laughing Buddha" - through Catholic themes to a more minimalist approach. It explores the importance of the idea in his work; and shows some of his captivating images - the "bodies of work, families of photos, and images that rhyme".
This short film was a directorial debut for actor Michael Hurst and screened at Cannes (1994) in a Kiwi shorts showcase. The title comes from country music legend Hank Williams; and more Americana staples — strangers, trains, road trips — are relocated to late-1953 NZ. The marriage of a salesman and his wife has ended in tears. With skilful use of flashbacks, Hurst follows their respective paths with some mysterious travelling companions: Hank Williams and a railways inspector. A passing interest in NZ rail history will add context to the conclusion.
A young couple (Danielle Cormack and Erik Thomson) wander into a photographic studio, where the owner seems to have the power to bring another age to life. Chosen for many international festivals including Clermont-Ferrand, Snap marked another collaboration for filmmakers Stuart McKenzie and Neil Pardington. Inventive and sly, the film plays like a twisted episode of The Twilight Zone, one in which the lead-up to the shock finale provides at least half the fun. Peter Hambleton steals the show, as the oddball photographer with Cormack in his sights.
Released to mark 100 years of women's suffrage in New Zealand, Bread & Roses tells the story of pioneering trade unionist, politician and feminist Sonja Davies (1923 - 2005) who rose to prominence in the 1940s and 50s. Directed by Gaylene Preston and co-written by Graeme Tetley, the acclaimed three-hour film was created for a dual cinema/television release. Australian actor Geneviève Picot (Davies) and Mick Rose (as her husband) were awarded for their roles at 1994’s TV Awards. This excerpt sees Davies take direct action to protest closure of a Nelson railway.
This film documents Miranda Harcourt taking her stageplay Verbatim (written by Harcourt and William Brandt) to prison audiences. The play is a six-character monologue made up of accounts of violent crime, all performed by Harcourt. Director Shirley Horrocks captures the reactions of the prison inmates watching their own lives unfold on stage. Harcourt’s powerful performance is augmented with revealing testimonies of the broken men and women who agree to be interviewed. The documentary won the premier prize at the 1993 Media Peace Awards.
Desperate Remedies is high-camp Cannes-selected melodrama from directors Stewart Main and Peter Wells, set in an imaginary 19th-century town called Hope. ‘Draper of distinction' Dorothea Brooks is desperate to save her sister Rose from the clutches of opium, sex and the dastardly Fraser. She begs hunky migrant Lawrence Hayes to marry Rose. Lawrence has his eyes on Dorothea however, and he has competition from malevolent politician Poyser (who has made her an attractive offer), as well as Brooks' sultry lover. Sumptuous and ripe, The Piano this definitely ain't!
Don McGlashan has never been scared to use NZ place names in his songs and never more so than here on the Mutton Birds’ classic debut. His imagined back story for a man he watched from a bus window one day — a resident of the fabled “half way house, half way down Dominion Road” — is a tale of loss and redemption set on one of Auckland’s busiest arterial routes. Fane Flaws directed the shots of the band, while the colour footage (showing glimpses of forgotten shops and a less multi-cultural streetscape than can be seen today) was shot by Leon Narbey.
One of a select few Kiwi dramas about filmmaking, The Footstep Man centres on a man whose job is creating footsteps and sound effects for movies. Lonely, toiling under a demanding director, Sam (Brit Steven Grimes) gets trapped between real life and reel life. Cinematographer Leon Narbey’s second movie is a portrait of the strange pressure cooker of creating films, a luminous film within a film — with Jennifer Ward-Lealand as muse to painter Henri de Toulouse-Lautrec — and a reminder that for all the technology involved, moviemaking is about the human touch.
Performance group The Front Lawn (Don McGlashan, Harry Sinclair) stretch all of their prolific talents in this kooky Truly, Madly, Deeply style short. An eerie body-shifting whistled tune precedes Ben (McGlashan) finding his partner Linda (Jennifer Ward-Lealand) dead in bed. Then things get stranger: Linda’s ghost catches up with an old lover Victor (Sinclair) and faces a life-changing dilemma, while her body — awol with a tennis player on Tamaki Drive — has other plans. The surreal romance was made for TVNZ; it won best short at the 1990 NZ Screen Awards.
Originally conceived as a TV series, Gaylene Preston's comedy was a local hit, uplifting recession-era audiences with a plucky misfits saga. Ruby (Yvonne Lawley), an 83 year old trying to dodge a retirement home, rents a room to Rata, a solo mum with sidelines in music and benefit fraud. Rata's son is into arson and shoplifting, while Ruby's nephew (What Now's Simon Barnett) is a hapless yuppie wannabe. Marginalised by the deregulated economy of the 80s and living on their wits, they may just find common cause despite themselves in this Graeme Tetley-penned tale.
Director Greg Stitt's 50min short sees actor Mark Hadlow playing Kevin: a pie cart worker obsessed with the singer Mario Lanza. Kevin's idolatry turns into an identity crisis as operatic-scale fantasising clashes with his meek disposition. Further complications arise from a friendship with his brash punk neighbour, and from stage fright ahead of a fundraiser for Kev's Lanza fan club (Lanza also had a noteworthy teenage fan club in Heavenly Creatures). Will Kev get his Susan Boyle moment? The black comedy was written with Scarecrow scribe Michael Heath.
Astronomy-obsessed worrier Richard is geeking out at the library when he meets part-Italian Johnny, a man whose idea of a holiday involves breaking into the nearest bach. Pitched at gay and straight alike, the pair's lighthearted but occasionally troubled romance features extensive footage of central Auckland circa 1988 (courtesy of director Garth Maxwell’s own central Queen Street digs), plus imagery of space — for Richard a place of both beauty and potential disaster. Beyond Gravity won local theatrical screenings, and a scriptwriting award in France.
Illustrious Energy sees Chan and his older mate Kim prospecting for gold in 1890s Otago. Marooned until they can pay off their debts and return to China; they’ve been fruitlessly working their claim for 12 and 27 years respectively. Chan faces racism, isolation, extreme weather, threatening surveyors, opium dens and a circus romance. The renowned feature-directing debut of cinematographer Leon Narbey provides a poetic evocation of the Chinese settler experience; especially vivid are Central’s natural details — desolate schist and tussock lands, rasping crickets.
The zenith of Don McGlashan and Harry Sinclair's legendary Front Lawn collaborations, this iconic Kiwi short follows two men and one woman on a rainy night at a deserted bar. Pivoting on amnesia and woven together by music, two timeframes are seamlessly combined and a darkly humorous plot unfolds. The film had a wide international release (Ireland to Norway, Germany to the USA) and was a finalist in the inaugural American Film Festival.
Gaylene Preston's documentary on writer Keri Hulme — filmed two years after Hulme shot to global fame on the back of her Booker Prize-winning novel the bone people — is both a poetic travelogue of Okarito (the township where she resided for 40 years), and a sampler-box of affable musings on her writing process, whitebait fishing, the supernatural, and the 1200 pages of notes for her next novel, the elusive Bait. Leon Narbey's camera is aptly alert to the magical qualities of the coast, from the resident kotuku to the surf and birdsong peppering Hulme’s crib.
Alison sets out from Auckland to visit her mother, who lives alone in the family house. The upcoming reunion triggers strong memories for mother and daughter alike. As an 18-year-old, Alison was angry when her mother felt obliged to support her father's wish that Alison not bother going to university. For creator Shereen Maloney, the film touches on the tensions arising when succeeding generations have differing choices available to them. An experimental short from the anthology series About Face.
When people tell the amazing story of Kiwi legend Julian Harp, Nicky doesn't get a mention. Now, in one of the NZ screen's classic monologues, Nicky takes the opportunity to let us in on what really happened: her relationship with Julian, his plan to destabilize the Government via letterwriting campaign, and the couple's preparations for the day he achieved engineless flight and rose into the sky from the Auckland Domain, never to be seen again. Based on the classic short story by CK Stead, author of Smith's Dream (aka Sleeping Dogs).
Merata Mita’s Patu! is a startling documentary record of the mass civil disobedience that took place throughout New Zealand during the winter of 1981, in protest against a South African rugby tour. Testament to the courage and faith of both the filmmakers and marchers, Patu! is a landmark in New Zealand's film history. It staunchly contradicts claims by author Gordon McLauchlan a couple of years earlier that New Zealanders were "a passionless people".
In Geoff Steven's Kiwi riff on the European art film, a vulcanologist (Brit character actor Nigel Davenport) roams the Volcanic Plateau accompanied by a journalist, a photographer and escapees from a cholera quarantine. Steamy philosophical musings and symbolic intent made for a marked departure from the realism of the NZ feature film renaissance (e.g. Steven’s own Skin Deep). The second feature produced by John Maynard (The Navigator), this moody allegorical tale was co-scripted by Czech writer/designer Ester Krumbachova and Czech-based Kiwi Michael Havas.
On 28 November 1979, an Air New Zealand DC-10 crashed into Mt Erebus, Antarctica, killing all 257 people on board. It was the the worst civil aviation disaster in NZ history and at the time, the fourth worst in the world. Made independently of state TV, Flight 901 was the first in-depth documentary on the accident. It surveys the novelty of Antarctic tourist flights, the search and rescue operation, and controversy over causes stirred by the Peter Mahon-led Royal Commission of Inquiry. This 15 minute excerpt was edited for NZ On Screen by director John Keir.
A Leon Narbey-directed documentary about English conservationist Richard St Barbe Baker. 'St Barbe' (here aged 92) is interviewed at a South Island station where he presciently warns of desertification and laments the earth being "skinned alive". The visionary tree-planting advocate founded the organisation Men of the Trees (now the International Tree Foundation) to promote reforestation and protect trees, from 5000-year-old bristlecone pines to giant kauri. The film includes the inspiring St Barbe's tree-hugging exercise regime: two minutes morning and night.
The second single from this short-lived band founded by Harry Lyon (during a Hello Sailor sabbatical) and Jan Preston (from music theatre act Red Mole) is an ode to "the dangers of having too much fun". A bright, breezy number, it was written by Lyon with the familiar Ponsonby reggae beat favoured by his other band. It peaked at nine on the charts and won Best Single at the 1981 NZ Music Awards. The pedestrians in Leon Narbey’s video are near the Civic Theatre on Auckland’s Queen Street; where, a year earlier, Narbey worked on the drama of the same name.
This film documents Auckland's Round the Bays run. In 1980 jogging was booming, with coach Arthur Lydiard and a band of Olympic champs (Snell, Walker etc) inspiring the way. Here, participants run and reflect, from a blind runner, to children and an army squad. Slo-mo sweat, sinew and samba shots frame the 70,000 runners as members of an infectious cult chasing the piper around the waterfront. Adidas, terry toweling and facial hair make the film a relaxed 70s update on Olympiad; directed by Sam Pillsbury it won awards at Chicago and Torino festivals.
Three friends cruise inner-city Auckland in a 1946 Ford pickup, as they cope with the changing dynamic of their friendship and encroaching demands of the adult world. In the tradition of American Graffiti it captures the hope promised by a night on the town and a reality that struggles to meet expectations — punctuated by hoons, officious cops and dodgy tow truck operators. Queen Street is a fascinating look at Kiwi car and street culture in the pre-boyracer era, and a snapshot of a downtown that has changed markedly since 1981 when the film screened on TV.
Filmed on a 15,000 km journey through China in 1979, this documentary captures a country in transition: one where billboards are emerging on the streets of Shanghai, while commune workers still toil in the countryside. The film compiles images of people and landscape to observe China's then-recent emergence from the repressive Cultural Revolution; including memories from long-term resident, Kiwi Rewi Alley. Named after a description by Alley of China, it was made alongside companion documentary: Gung Ho: Rewi Alley of China.
Expat Kiwi Rewi Alley became one of the best known foreigners in 20th Century China and advocate for the Communist Revolution. When China was under siege from Japan in the late 1930s, Alley instigated an industrial co-op movement he termed ‘gung ho' (work together). Its success led to the phrase entering the global idiom. For this documentary a Geoff Steven-led crew travelled 15,000km in China in 1979, filming Alley as he gave his account of an engrossing, complex life story. Co-writer Geoff Chapple later wrote a biography of Alley.
“When old and young come together to do this, it shows the strength of their convictions.”This film is a detailed chronicle of a key moment in the Māori renaissance: the 1975 land march led by then 79-year-old Whina Cooper. A coalition of Māori groups set out from the far north for Wellington, opposed to further loss of their land. This early doco from director Geoff Steven, shot by Leon Narbey, includes interviews with many of those on the march: Eva Rickard, Tama Poata and Whina Cooper; there is stirring evidence of Cooper’s oratory skills.
Seven Days was designed by producer Des Monaghan to bridge the current affairs gap between the NZBC and TV One. As well as putting the heat on local politicians, it turned its attention to major international events. Major stories included Ian Fraser’s trip to Vietnam to cover the last days before the fall of Saigon and Ian Johnstone’s three-part look at apartheid-era South Africa ahead of the 1976 All Back tour. For its third and final year, the focus changed to observational documentaries and laid the groundwork for TVNZ’s in-house documentary unit.
Set amidst the 'friendly' 1974 Commonwealth Games, The Games Affair was a thriller fantasy series for children. Remembered fondly by many who were kids in the 70s, the story follows three teenagers who battle a miscreant professor who's experimenting on athletes with performance enhancing drugs. Alongside the young heroes the series featured John Bach as a grunting villain, a youthful Elizabeth McRae, and SFX jumping sheep. It was NZ telly’s first children’s serial, the first independently produced long-form drama, and an early credit for producer John Barnett.
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.
Set during the 1974 Commonwealth Games, The Games Affair was a thriller fantasy series for children. Remembered fondly by many who were kids in the 70s, the story follows three teenagers who battle a miscreant professor who's experimenting on athletes with performance enhancing drugs. This first episode include some SFX jumping sheep; John Bach as a blonde, grunting villain, and a youthful Elizabeth McRae. It was NZ telly's first children's serial, the first independently produced long-form drama, and an early credit for producer John Barnett.
This documentary follows the 1973 Heatway Rally, a mud and oil-splattered event in which 120 drivers covered 3600 miles over eight days. Directed by Tony Williams, it was a major logistical exercise, with five camera units, shot by a who’s who of the 70s NZ film industry. In addition to high speed on-and-off road action, it includes an explanation of what co-drivers actually do, a chance for a driver’s wife to ride in a rally car, and driving and cornering montages set to orchestral accompaniment. It won the Feltex Award for best documentary.
The iconic all-things-rural show is the longest running programme on New Zealand television. With its typical patient observational style (that allows stories of people and the land to gently unfold) it’s an unlikely broadcasting star, but New Zealanders continue, after more than 40 years, to tune in. Amongst the bucolic tales of farming, fishing and forestry, there are high country musters, floods, organic brewing, falconry, tobacco farming, as well as a fencing wire-playing farmer-musician, a radio-controlled dog, and Fred Dagg and the Trevs.