Two of Andrew Bancroft’s early shorts won awards — the noirish Planet Man was the first NZ short to win Critic's Week at Cannes Film Festival. Aside from his own shorts and television work, Bancroft has also helped develop a successful slate of short films for others.
There’s a quote from Robert Bresson I have on my wall: 'Only the knots which tie and untie inside the characters give the film its movement, its true movement'. Andrew Bancroft
In this short film, a Cook Island school cleaner (Whale Rider's Rawiri Paratene) responds to an unusual graffiti message on a girls’ toilet wall, with life-changing consequences for him and the mysterious author. Paratene's performance won him a Qantas Film and TV Award; the film also won Best Short and Screenplay (Paul Stanley Ward). Tupaia travelled to more than 15 festivals and director Chris Dudman was nominated for a Leopard of Tomorrow (Best Short) at Locarno. Dudman, Ward and producer Vicky Pope teamed up on another short film success, Choice Night (2010).
Ricky is shy and has an overbearing father. He and Telly, an extrovert misfit, slip out into the night and commandeer Ricky's father's fishing boat. They cast off and head out into the freedom of the fog. Peter Salmon's Fog highlights oppression, boredom and sex: the cultural trinity of the New Zealand small town. Shot in Ngawi, an isolated fishing village on the Wairarapa coastline, the crush of this world is palpable. Fog was selected for Critics' Week at Cannes; it also scored Chelsie Preston Crayford a gong for Best Actor in a Short Film at the NZ Film Awards.
A girl is murdered and her body dumped in the forest. Nature's Way is a short film that explores the mind of a murderer who thinks he's gotten away with it. In Jane Shearer's haunting Cannes-nominated film the dense native bush acts as witness passing down its judgement on the killer. In the absence of dialogue, Matthew Sunderland's paranoid protagonist, sublime cinematography by award-winning DoP Andrew Commis (Blue Tongue, Beautiful Kate) and an eerie, spare soundtrack by Rachel Shearer evoke the themes of utu at the suburban fringe.
Wedding photographs are attempts to create and preserve perfection, taken under pressure. Can the results be art as well as personal history, or are they neither? Such questions are the focus of this Artsville doco, which benefits from insights by a multi-cultural cast of wedding photographers. Geoffrey Heath questions the reality of glamour and romance in some of his own art photography, while labouring to capture beauty in his wedding work. Others recall the challenges of getting good shots amidst drunkenness, dysfunctional families, and grooms in their undies.
Artsville was a mid-2000s slot that aimed to bring New Zealand art and artists to life via documentary. The subjects ranged from composers and playwrights to comic artists, photographers and an investigation into a life drawing class. Each piece was independently commissioned and varied in duration from hour-long studies to shorter pieces, compiled into a one hour programme for a late-night TV ONE slot. Artsville was later repeated on digital Freeview channel TVNZ6 (now defunct).
This episode of arts show Mercury Lane features legendary musician Bill Sevesi, and poet Sonja Yelich (mother of musician Lorde). Sevesi takes centre stage: various musician friends join him to reminisce about packing Auckland dance halls in the 50s and 60s (at least until the arrival of 10 o'clock closing). After celebrating his 79th birthday, Sevesi is still as upbeat and music-obsessed as ever, especially when it comes to his beloved steel guitar and ukulele. In the final clip, Sonja Yelich performs her poem Teeth, with wry accompanying visuals from director Fiona Samuel.
Mercury Lane was a story-driven arts show that generally included a cluster of short documentaries, poetry and musical performances in each hour-long episode. This episode of the Greenstone-produced arts series features Sam Hunt interviewing acclaimed New Zealand poet Alistair Te Ariki Campbell. Campbell discusses his early childhood in the Cook Islands as the child of a Pākehā father and Polynesian mother, and reads a selection of poems. The programme ends with Auckland pianist Tamas Vesmas playing a Debussy prelude at the Auckland Art Gallery.
Produced by Greenstone Pictures, Mercury Lane was a story-driven arts show that screened late on Sunday nights on TV One, from 2001 until 2003. Each hour-long episode of this 'front-person free' show included a cluster of short documentaries covering a wide range of subjects including poetry, visual art, music and performance.
Damon Fepulea'i's directing debut follows Megan (Olivia Tennet from Maddigan's Quest), a young girl who finds herself out of her depth amongst the mangroves. While out exploring, she meets two siblings and wants to make friends, but one of them is hostile and argues over who owns a bamboo stake. Megan runs off to play alone and while trying to catch a fish using the stake as a spear, has an accident. She's full of stubborn pride as the tide rises dangerously around her. Watermark debuted at the 2002 Rotterdam Film Festival, and features classic Kiwi song ‘Blue Smoke’.
This 2001 Mercury Lane episode is based around pieces on author Maurice Shadbolt, and OMC producer Alan Jansson. With Shadbolt ailing from Alzheimer’s, Michelle Bracey surveys his life as an “unauthorised author” (Shadbolt would die in 2004). Next Colin Hogg reveals Jansson as the “invisible pop star” behind OMC hit ‘How Bizarre’ and more. The show is bookended by readings from Kiwi poets: Hone Tuwhare riffs on Miles Davis, Fleur Adcock reads the saucy Bed and Breakfast, and Alistair Te Ariki Campbell mourns a brother who fought for the Māori Battalion.
In this dark short film, an isolated rural idyll is spoiled when a farmhand (Craig Hall) gets ideas above his station. There will be blood in the barn as the interloper puts new meaning into dirty dairying, and upturns the lives of farmer Ken (Ross Harper), his wife (Sara Wiseman) and Ken’s simple sibling (Leighton Cardno). Director Andrew Bancroft’s earlier short Planet Man (an award-winner at Cannes) was set in a dark future; Home Kill takes the dystopia to the heartland with gothic horror glee, depicting farm life in a way that is unlikely to be endorsed by Fonterra.
This TV drama follows a whānau taking a claim to the Waitangi tribunal, over plans by a Pākehā neighbour to build a resort on disputed land. Ngā Tohu jumps between the present day and 1839/40, when Māori chiefs were canvassed to support the Treaty of Waitangi and a settler makes an equivocal land deal with Chief Tohu (George Henare). The exploration of the Treaty's evolving kaupapa is effectively humanised by an age-old love story, and it scored multiple drama gongs at 2000's TV Awards. Director Andrew Bancroft wrote the teleplay with playwright Hone Kouka.
"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.