Anna Cahill worked on a number of screen projects as an Assistant Director, and occasional actor. Later she began eight years as executive director at the Screen Directors Guild of New Zealand. After Cahill died on 8 June 2013, the Guild described Cahill as “the heart and soul of our organisation”; a driving force behind NZ’s Film and Television Awards, who worked to build relationships among screen industry organisations.
She was a tireless champion of the cause, a great collaborator and a whole lot of fun too. Such a loss. Director Jonathan Brough
Created by Dave Armstrong and Kerry Jimson, The Semisis was a satirical take on a contemporary Samoan-Kiwi family. In this opening episode, the Semisis handle eviction by heading to a campground with all their belongings. There romance buds, the palagi next door neighbour (Brian Sergent) proves unwelcoming, and the South African camp commander is even worse. The over the top Semisis family began as part of 90s TV sketch show Skitz; Armstrong consulted with cast members and a group of young Samoans from Porirua, while writing the scripts.
Written by Fiona Samuel (Marching Girls, Bliss, Home Movie) and produced by Ginette McDonald for television’s Montana Sunday Theatre, Face Value is a trilogy of monologues delivered by three separate women. While each woman’s story and background are vastly different, they are all united by their shared quest to find happiness amidst personal trauma. In A Real Dog, Carol Smith’s performance is spot-on as Lynette, a conflicted new-age hippie who struggles to recreate harmony when a new flatmate (and her estranged boyfriend) moves in.
Written by Fiona Samuel, Face Value was a trilogy of monologues by three women with different stories to tell but who all share a quest for inner happiness. Ginette McDonald plays Steph, the pampered wife of a wealthy advertising executive in Her New Life. The action centres on Steph’s preparations for a friend’s daughter’s wedding while her husband is away on a business trip. The script cleverly subverts viewer expectations; and McDonald's performance delivers a fair dose of pathos from it. Her New Life was a finalist at the Banff and New York TV Festivals.
Written by Fiona Samuel and produced by Ginette McDonald, Face Value is a series of monologues by three women with very different stories to tell, but who share a quest for inner happiness. In House Rules, the inimitable Davina Whitehouse gives a poignant performance as Miss Judd, a housekeeper of 22 years who is forced to reassess her life and situation after her employer’s death. Propriety at all costs is the rule of the day. House Rules is another example of Samuel’s ability to create memorable and subtly complex female characters.
An epic documentary chronicling the extraordinary, unbelievable life of pioneer Kiwi filmmaker Colin McKenzie. Or is it? The first clue that none of this story is true is that the film begins (the opening 10 minutes is excerpted here) with Peter Jackson leading the viewer down a garden path. Much that is absurd and unlikely follows, leading to a curiously emotional climax. The screening of Forgotten Silver memorably stirred up NZ audiences, and it screened at international film festivals such as Cannes and Venice, where it won a special critics' prize.
This Work of Art documentary follows veteran actor and director Ian Mune as he works with NZ Drama School graduates, to write and shoot a 15 minute film in just two days. Many of the actors (who include future bro'Town voice David Fane and Saving Grace's Kirsty Hamilton) have little experience acting for the camera. Mune passes on lessons learned in a career that began long before such tuition was available locally. Shot at Wellington Railway Station, Rush Hour, the resulting film, is included in its entirety during this fascinating insight into the creative process.
Valley of the Stereos is a comic face-off that starts tinny, but gleefully escalates to bass heavy, as a not-so-zen hippy (Danny Mulheron) gets caught up in a vale-blasting battle with the noisy bogan next door (Murray Keane). Made by many key Peter Jackson collaborators, the near-wordless pump up the volume tale was directed by George Port, shortly before he became founding member of Jackson's famed effects-house Weta Digital. Ironically Weta's computer-generated miracles would help render the stop motion imagery seen in the finale largely a thing of the past.
This feature dramatises an ill-fated offensive that Kiwi soldiers undertook during World War I’s Gallipoli campaign. On 8 August 1915 the Wellington Battalion briefly seized Chunuk Bair, a pivotal peak overlooking the Dardanelles; they suffered huge losses. The film pitches the attack as a formative New Zealand nationhood moment, with Kiwi guts and resilience countered by inept, careless British generals, as much as their Turkish foes. Filmed on an Avalon set and the Wainuiomata coast, the story was based on Maurice Shadbolt’s classic play Once On Chunuk Bair.
This Richard Riddiford-directed comedic thriller plays out in pre-crash 80s Auckland with the CBD skyline changing daily, brick-sized phones, shadowy corporations on the rise and the share market on everyone's lips. With a second harbour crossing due to be announced, a telephone operator (future events maestro Mike Mizrahi) and a waitress moonlighting as a dominatrix (Lucy Sheehan) become ensnared in a web of corporate greed and blackmail. Chris Knox contributes the soundtrack, and extensive outdoor sequences include a memorable chase scene at Kelly Tarlton’s.