Jess Charlton was behind the camera on three web series from creative collective The Candle Wasters — award-winning party tale Bright Summer Night, musical romance Happy Playland, and 2018's Tragicomic. Born in London but raised in Invercargill and Queenstown, Charlton has shot over a dozen short films, including Jessica Grace Smith's award-winning Everybody Else is Taken and coming of age tale Tama. She was one of the key creatives behind 2012 dystopian feature Existence, and shared two NZ Writers Guild awards for co-writing the script. Charlton has shot ScreenTalk interviews for NZ On Screen.
She is driven by an adventurous spirit and loves to collaborate with directors who are bold. Jess Charlton's website
Multimedia web series Tragicomic follows teenager Hannah Moore (Nova Moala-Knox) as she deals with her Dad’s mysterious disappearance, and the budding relationship between her Mum and her art teacher. Along the way Hannah finds solace in the comic she is making. The comics are part of the storytelling — some of them were released as part of the series, alongside the 10 web episodes. Based loosely on Shakespeare's Hamlet, Tragicomic was made by creative collective The Candle Wasters (Bright Summer Night). It was launched via Radio New Zealand's website and YouTube.
In the first episode of The Candles Wasters’ multimedia web series, Hannah Moore (Nova Moala-Knox) struggles to deal with the sudden departure of her dad, and her art teacher romancing her mum — who happens to be the school principal. It’s downhill from there. Helped by best friend Isla, Hannah finds solace in the comic book she is creating, which in real life can be read online at Radio New Zealand. The comic involves a brave knight who must overthrow a usurper, after the King vanishes. Featuring a dark sense of humour, the series deals with mental illness and loss.
Every year pride parades celebrate LGBTI (lesbian, gay, bisexual, transgender, and intersex) culture and pride. But Wellington takatāpui (Māori LGBTI) activist, Kassie Hartendorp, feels alienated from the flamboyant festivity. "It’s glittery, it’s fun, it’s fabulous. It feels empty. I don’t really know what the point is sometimes, you know.” In this Loading Doc short documentary, Hartendorp talks about wanting pride celebrations to be more inclusive of takatāpui. She faces a dilemma when her takatāpui kapa haka group are invited to perform at the Wellington Pride Parade.
Over two years, The Candle Wasters – a troupe of young Wellingtonians – attracted 4.5 million YouTube views to their modernised vlog reimaginings of Shakespeare’s plays (Much Ado About Nothing, Love's Labour Lost). In 2015 they won NZ On Air and Kickstarter funding to create a web drama series loosely inspired by A Midsummer Night’s Dream – set at a teen house party. Each of the 10 episodes focussed on a different character. Produced with Bevin Linkhorn, Bright Summer Night was uploaded in August 2016. It won Best Drama at the 2017 Hollyweb Festival in the United States.
This award-winning Candle Wasters web series mixes A Midsummer Night’s Dream with a teen house party. In the first two episodes, Puck (Meesha Rikk) hits the party in time to witness a showdown, while Lena (Kalisha Wasasala) worries about when to make a romantic move. Then Puck crashes a young activists’ meeting — inspired by the original play's comical Mechanicals — in the bedroom of Petra (Thomasin McKenzie from Leave No Trace). The third Shakespeare adaptation by The Candle Wasters added NZ On Air funding and "token dude" Robbie Nicol to the creative team.
This ‘salvagepunk’ film is set in a desolate future where wind turbines power a vast electric fence that seemingly protects the survivors of environmental collapse, and keeps refugees out. A rare entry in the Kiwi sci-fi feature catalogue, Existence stars Loren Taylor (Eagle vs Shark) as Freya, a mother who dreams of the world beyond, and Matthew Sunderland (Out of the Blue) as a mysterious boundary rider. From a SWANZ award-winning script, the low budget film was shot on Wellington’s rugged south coast hills. It marked the feature debut of director Juliet Bergh.