This second series leg of The Big Art Trip kicks off in Wellington with a visit to artist John Walsh, who chats about his Māori myth paintings and children’s book Nanny Mango. Douglas and Fiona also talk about Washday at the Pa with photographer Ans Westra and pop-in on jewellery designer Steph Lusted. They visit the Massey Memorial, explain typography and check out the Wellington Writers Walk before meeting architect Nicholas Stevens and viewing a cliff top house he designed. The episode winds up with a look at kinetic sculpture Pacific Grass, by Kon Dimopoulos.
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 episode of arts show Frontseat visits the inaugural edition of the Māori Film Festival in Wairoa, with Ramai Hayward and Merata Mita making star turns, alongside a tribute to teenage filmmaker Cameron Duncan. Elsewhere, Deborah Smith and Marti Friedlander korero about their She Said exhibition, and about photographing kids and staging reality; and Auckland’s St Matthew in the City showcases spiritual sculpture. A ‘where are they now’ piece catches up with Val Irwin, star of Ramai and Rudall Hayward's interracial romance To Love a Māori (1972).
Filmmaker Stewart Main traverses India seeking enlightenment. There he meets ex-pat Kiwis who seem to have found it, which only leaves him feeling trapped in a life of the senses. Especially when he falls for his Indian sound recordist, Sreenu. Or so he would have us think. Made for TVNZ's Work of Art documentary slot, Main's startling, provocative film explores the cracks between the divine and the sensual, documentary and fiction. Director Andrew Bancroft writes about the result in this backgrounder.
This fictionalised account of pioneering 19th century photographers the Burton brothers is set partly in Dunedin during the closing stages of the New Zealand Wars. William and Alfred take contrasting approaches to representing their subjects — and are treated accordingly by the authorities, who are attempting to attract new settlers while brutally suppressing Māori. Produced by veteran John O'Shea (who co-wrote with playwright Robert Lord), the tale of art, commerce and colonisation was largely well received as a thoughtful essay at revisionist history.
In each episode of this TVNZ show, a well-known Kiwi takes the pulse of a neighbourhood they are connected to. In this debut episode, musician King Kapisi (aka Bill Urale) guides viewers around Newtown, the cosmopolitan Wellington neighbourhood where he was born. He revisits his childhood, meets a Greek easter egg maker, a muslim ritual cleanser, African music advocate Sam 'Mr Newtown' Manzana, and a Mexican making skateboard art. The NZ Herald’s Paul Casserly called the show "beautifully shot, feel-good TV, reminiscent of the superb Living Room series."
Directed by Jane Campion, An Angel at My Table is adapted from author Janet Frame's renowned three-part autobiography. It threads together a series of images and scenes to evoke Frame's dramatic life story. Originally made as a TV drama, the much-acclaimed dramatisation won cinema release in 35 countries; it established Campion as a global director, launched actor Kerry Fox, and introduced new audiences to the "mirror city" of Frame's writing. This excerpt follows Frame's life-saving escape from Seacliff Asylum, to first publishing success at Frank Sargeson’s bach.
Private Journeys / Public Signposts turns the camera on photographer Ans Westra. Dutch emigree Westra has captured iconic images of New Zealanders since the late 1950s, expressively observing Aotearoa societal changes, particularly Māori urban drift. This film explores her remarkable life and work, and includes commentary from family and friends, fellow photographers, and colleagues, as well as discussion of the Washday at the Pa controversy. Luit Bieringa, curator of Westra's retrospective photo exhibition, directed the film, his first.
Innocent Gert, who works in a rubbish dump, can't believe his luck when he's ordered by his boss to take his beautiful mute daughter, Princess Plum, to meet her prospective husband. The two set off on a mythical quest through a fairytale Far North landscape. On the way they encounter freaks and monsters, and experience danger and romance. In an unusual reversal, the voices and music for Woodenhead were all recorded before filming. This surreal second feature from Elam art school grad Florian Habicht took Aotearoa to the arthouse with unprecedented weirdness and wonder.
Director John Bates' 1993 documentary examines the life and work of photographer Robin Morrison, who captured iconic images of everyday New Zealand life and landscape. Part biography, part travelogue, the film goes on the road with Morrison to revisit some of his best-loved locations. Stunningly shot by Stuart Dryburgh (The Piano) before Morrison died on 12 March 1993, Sense of Place won Best Documentary at the 1994 New Zealand Film and Television awards, and a certificate of merit at the 37th San Francisco International Film Festival.