Finola Dwyer began her career as an editor at the National Film Unit. After cutting Country Calendar and feature film Trial Run, Larry Parr encouraged her to become a producer. Three movies and a number of television programmes later, Dwyer began her producing career anew in London in the early 90s, where her work stretches from acclaimed Beatles feature Backbeat to the Oscar-nominated An Education.
I always say I fell into producing but I loved it, even though it was a baptism by fire. Finola Dwyer, in an October 2009 interview with Onfilm
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 1989 chat show saw Gary McCormick invite guests onto his sofa for a cuppa. First up is WWF wrestler Don 'The Rock' Muraco. Unfazed by being called an ugly baby, the Hawaiian warns the kids to not try his wrestling moves (or crystal meth) at home and demonstrates a hold on the host. He's joined by actor Ian Watkin who talks about being a coaster, Blerta and cricket fandom. The show was directed by Bruce Morrison (Heartland) and produced by Finola Dwyer (Oscar-nominated for An Education); who teamed with McCormick on the acclaimed Raglan by the Sea doco.
This is the first of a two-part "money and greed" morality tale set in a Rogernomics-era 'New Auckland' of property deals and horse racing. Working class lass Tammy (Annie Whittle) and art consultant Joanna (Miranda Harcourt, fresh from Gloss) are an unlikely duo who inherit a racehorse and a greasy spoon cafe (instant coffee rather than cappuccino). Brit import James Faulkner plays a shady developer whose scheme is blocked by the duo. Murder, underhand unitary plans, yuppie love and old gambling debts complicate life for Tammy and Joanna.
Set in a Rogernomics-era 'New Auckland' world of property deals and horse racing, the second part of this 1989 mini-series sees the brassy odd couple Tammy (Annie Whittle) and Joanna (Miranda Harcourt) in deep water. The working class battler and the art consultant have done up their inherited greasy spoon, but they're the "only fly in the ointment" of the 'Vision 2000' scheme of a nefarious developer (Brit import James Faulkner). Girl power meets utopian unitary planning as the duo find bones in the basement, and get too close to the secrets of Huntercorp HQ.
This two-part mini-series is set in an 80s 'New Auckland' world of mirror glass and murderous corporate conspiracy. British actor James Faulkner (latterly Bridget Jones' Uncle Geoffrey) plays a shady developer with a smash and burn approach to urban planning. Blocking his utopian waterfront scheme is a cafe. The inheritors of the greasy spoon — and a racehorse — are a duo of feisty femmes: working class Tammy (Annie Whittle), and art consultant Joanna (Miranda Harcourt). The Shadow Trader marked an early producing credit for Finola Dwyer (An Education).
Gary McCormick goes west to Raglan, to ask "What goes on here? Why do people live here? What do they do?". To find out he goes surfing on the famous left-hand point break, hangs with hippies, catches Midge Marsden and the Mudsharks at the Harbour View Hotel, and discusses land rights with kaumatua Sam Kereopa. The recipe — McCormick as genial small town anthropologist discovering the locals — earned the documentary a 1989 LIFTA award, and inspired long-running series Heartland. Dave McArtney composed the soundtrack; Finola Dwyer (An Education) produces.
This Depression-era road movie tails teen runaway Kate (Greer Robson) as she tags along with World War I veteran Patrick (Aussie actor Peter Phelps) — himself on the run after assaulting a repo man. The odd couple relationship grudgingly evolves as they oft-narrowly escape the law and head north across the southern badlands. Director Sam Pillsbury's on the lam tale won wide praise, with Kevin Thomas in the LA Times calling it "pure enchantment". Robson's award-winning turn as the scamp followed up her breakthrough role in Smash Palace.
Fresh from the larger than life comedy of Came a Hot Friday, Ian Mune made an abrupt turn to horror with this, his second feature as director. Friday alumni Phillip Gordon joins a brat pack of young Kiwi actors; going bush, they meet gun-totting cattleman Bruno Lawrence and a young woman. He is not happy. In this clip the group begin to crack under the strain of being the hunted. Originally written by American Bill Baer, the film was pre-sold to a US investor. Mune was later told by his LA agent that having the dog die did not help its commercial chances in the US.
There's panic on the streets as 19-year-old tearaway Ska (Matthew Hunter) comes to terms with love and death in Auckland's 80s urban underworld. After an ultimately tragic attempt to 'rescue' his prostitute sister, Ska plots revenge at a rock gig ... with riotous results. Directed by Bruce Morrison when broken glass was still on the ground from the Queen Street riot, the film was inspired by a story from 16-year-old Richard Lymposs. In this teen spirit-infused excerpt, street-fighter Ska saves rich girl Stacy (Kim Willoughby), and meets her classy parents.
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”.
“The funniest, liveliest, most exuberant film ever made in New Zealand”. So said critic Nicholas Reid, a year after Came a Hot Friday became 1985's biggest local movie hit. Reid may still be on the money. Though Billy T’s loony Mexican-Māori cowboy is beloved by fans, he is but one eccentric here among many — as two scheming conmen hit town, to encounter bookies, boozers, country hicks, nasty crim Marshall Napier, and Prince Tui Teka playing saxophone. Until the arrival of The Piano in 1993, Ian Mune and Dean Parker’s award-loaded adaptation remained NZ's third biggest local hit.
Rosemary Edmonds (Annie Whittle) is a photographer, mother and middle-distance runner. A project photographing the rare yellow-eyed penguin sends her to a remote Otago cottage. On arrival odd happenings become increasingly menacing. Rosemary refuses to be intimidated. But events escalate, sending her running from her unknown assailant to the phone box for help in the race of her life. Bird-watching, stranger danger and feminist film theory line up for a time trial in Melanie Read's first feature, for which 20 of the 29-strong production crew were women. Marathon champ Allison Roe — who trained Whittle for the film — makes a brief cameo.
Mitch (Keith Aberdein) moves to Tongariro National Park to help wrangle wild horses threatening ecology and traffic. He meets Sara, who shares an obsession for a fabled silver horse. They clash with rangers and deer recovery guns-for-hire (Bruno Lawrence is the black-clad villain) determined to eradicate the horses, and a showdown on the Desert Plateau ensues. In the notoriously fraught production a stable of Kiwi acting legends perform a melange of western and freedom-on-the-range genre turns (with the conservationists oddly set up as the bad guys).
Constance centres on a young woman who attempts to escape the staid world of 40s Auckland, by embracing glamour and passion. After meeting a photographer, her aspirations of stardom are brutally fractured. Directed by Bruce Morrison, the movie echoes the style of Hollywood melodrama, while simultaneously critiquing the dream. Donogh Rees was widely praised in the title role as a protagonist who lives in a fantasy world, with one review describing her as “New Zealand’s answer to Meryl Streep”. New York's Time Out called the film "lush and exhilarating".
This documentary sees director Gaylene Preston go behind the scenes during the making of Geoff Murphy's Utu — his ambitious 'puha western' set during the 1870s land wars. “It’s like football innit? You set up the event and cover it …” says Murphy, preparing to shoot a battle scene. In this excerpt, the film’s insistence on cultural respect is conveyed: Merata Mita discusses the beauty of ta moko as Anzac Wallace is transformed into Te Wheke in the make-up chair, and Martyn Sanderson reflects on having his head remade to be blown off: “What’s the time Mr Wolf?”.
The theatre of sport is given full-blown operatic treatment in this National Film Unit classic. Footage from the French 1979 rugby tour of New Zealand is rendered in slow-motion and cut to a Tchaikovsky score. The result is an often glorious, sometimes tongue-in-cheek, paean to rugby. Balletic lineouts, driving tackles, and the dark mysteries of the ruck, make for a ballsy Swan Lake in the mud. It includes the Bastille Day French victory over the All Blacks. Directed by NFU stalwart Arthur Everard, it won a jury prize at the Montreal World Film Festival.
Jack Winter's Dream is an unusual entry in the library of government filmmakers the National Film Unit: a poetic account of drink-fuelled males telling tales, adapted from a radio play by James K Baxter. Built around themes of age, death and love, the hour-long film starts with an old swagman bedding down in the ruins of an Otago pub. Time drifts: back to the night a newly rich goldminer found himself swapping memories and reveries — some of which unfurl on screen — with three drinkers and the barman (Bernard Kearns). But which one of them is planning murder?
In 1979, Red Mole was New Zealand's best-known alternative theatre troupe. During two seasons in New York, they wowed audiences with their Dada-influenced shows. "All possible elements of theatre and spectacle are employed by the skilful members of the group." (The Villager). In this 16mm film directed for the National Film Unit by soon-to-be-famous actor Sam Neill, the group takes a surreal journey through actual and imaginary New Zealand. Neill would later collaborate with editor Judy Rymer on Cinema of Unease.