Producer, Director [Ngāti Ranginui]
Producer Chelsea Cohen produced a stellar run of short films: Meathead and Night Shift were both selected for the Cannes Film Festival; Meathead was an award-winner in Berlin. Later she was one of the producers on hit vampire mockumentary What We Do in the Shadows, directed by her partner Taika Waititi, and Jemaine Clement. Cohen co-produced Merata Mita domestic abuse doco Saving Grace - Te Whakarauora Tangata, and was part of the team of Māori women behind acclaimed big screen drama Waru. She is sometimes credited as Chelsea Winstanley.
Chelsea just rang up the ambulance: “Would you be able to come up and be in a film?” They said as long as there’s no emergencies, sure, and the paramedics acted in the scene — they were all really serious and loved it: “He’s bleeding out, he looks bad!” They looked as if they’d just seen someone die. Jemaine Clement on a winning Winstanley producer moment from What We Do in the Shadows
For this 2017 feature film, eight Māori women each direct a 10 minute segment of events circling around the tangi of a child (Waru). Each director had a day and a single shot to capture their take on the context behind a tragedy. After its debut at the 2017 NZ International Film Festival, Waru won a rush of social media attention, and screened at the Toronto and imagineNATIVE festivals. The Hollywood Reporter praised it for bringing "a sense of dramatic, urgent realism to a story that plays out like a suspenseful mystery". Waru is produced by Kerry Warkia and Kiel McNaughton.
Boy director Taika Waititi teams up with his Eagle vs Shark star Jemaine Clement to present this bloody comedy about the travails of a flat of vampires. Reality TV-style cameras tag the vamps as they struggle to get into Courtenay Place nightclubs, squabble over chores and face off werewolves. A roster of Kiwi comedic talent (including Jonathan Brugh and Rhys Darby) feature. After winning fangtastic reviews at America's Sundance and SXSW festivals, Shadows won a run of global sales, local success and four Moa awards, including Best Self-Funded Feature.
In this award-winning short film Michael is a 17-year-old who gets the abattoir blues during his first day at 'the works'. Fitting in turns out to be the least of Michael’s worries as young blood is welcomed on the line in the old fashioned way, and rite of passage is interpreted literally to meaty effect. Meathead was filmed at the Wallace Meat plant in Waitoa. Based on the true story of a mate of his, director Sam Holst’s debut short was selected for Cannes and won the Crystal Bear in the Generation (14plus) section of the 2012 Berlin Film Festival.
The award-winning directing debut of actor Tammy Davis (better known as Outrageous Fortune’s Munter) is a South Auckland-set Christmas tale. Young Vinnie (Darcey-Ray Flavell-Hudson of Ghost Chips fame) and Jonah (James Ru) are bored on the mean streets — tagging, BMX-ing — when Jonah peer pressures Vinnie to join him in breaking and entering a house. When they find more than Christmas pressies inside, it tests mateship, moral codes and festive spirit. Crowned Best Film at Flickerfest, Ebony Society was selected for the Berlin and Sundance film festivals.
This episode of the Māori Television series about Aotearoa artists follows Māori screen pioneer Merata Mita. Mita produced vital work anchored in culture and community. This extract concentrates on the occupation of Bastion Point. Mita and protest leader Joe Hawke talk of how 25 May 1978 shaped her concerns as a filmmaker: "It was life, it was a transformation". The documentary includes footage from Bastion Point: Day 507, Patu, Mita's feature Mauri and Utu, and sees her running a lab for indigenous filmmakers. The episode was the 17th screened in Kete Aronui's fifth season.
This episode from series five of Kete Aronui, a documentary series featuring Aotearoa's artists that screened on Māori Television, follows the careers of iconic contemporary dancers Taane Mete and Taiaroa Royal. For both, training at Te Whaea propelled them into their art, teaching them not only technique but also a way of life. Featuring footage of Royal dancing in Douglas Wright's Forever (1993), the excerpt also includes a dance class with Michael Parmenter, another dance great, and discussion of dance companies Limbs and Black Grace.
Richard Nunns is a renowned expert in taonga pūoro — traditional Māori instruments like wood and bone flutes. This 2007 episode of the Māori Television arts show sits down with him as he narrates his collaboration with Brian Flintoff and the late Hirini Melbourne — “a magic coalition of separate skills” — and the journey they’ve undertaken to resurrect lost sounds. Inspired by museum objects, literature and song, the trio led the revival of the form in contemporary Aotearoa. Nunns says the pūoro would’ve functioned as “a cellphone to the divine” for tohunga (experts).
Episode four, series four of this Māori artists’ profile series, tracks eminent photographer Fiona Pardington. In this extract Pardington works with her brother Neil, and discusses her life path: her Māori roots, wanting to be a photographer at age six, art school, and the hard road to making a living as an artist. Describing her medium as one of mood and depth, her search is for a balance of knowledge and wairua. Includes images of her stunning interpretations of cultural taonga, such as specimens of esteemed (and extinct) huia birds, and carved pounamu.
This documentary presents insight into the man most New Zealanders know as the Māori radical with a moko. Delving beyond the sensational headlines, Tame Iti is presented in the context of his whānau and beliefs. Iti tells his own story: from growing up in his beloved Urewera, and his role in Ngā Tamatoa, to heroes (Kenana, Guevara), moko, match-making and a late-starting art career. Iti’s children reflect candidly on an activist father who “is a kid at heart”. The doco screened on TV2, prior to Iti’s arrest during the infamous 2007 ‘Urewera raids’.