Gary McCormick visits the West Coast mining town of Reefton in this full length episode. He takes an early morning trip down Surprise Mine, and gains insights into the tough life of a coal miner. Meanwhile, miners' wives talk about being married to someone with a high risk occupation. McCormick also attends the First Light Festival, held to mark Reefton being the first town in the southern hemisphere with electric lighting. Later he heads to the abandoned gold mining town of Waiuta, and back in Reefton meets a woman with a doll collection which takes up her whole house.
Broadcaster Karyn Hay makes a "life enhancing" journey to 'Timor-Leste', not long after the withdrawal of United Nations Peacekeepers. Hay reads up on its war-riddled past and encounters mozzies and leaky boats, eats buffalo and snow-peas, and learns about the widows and guerilla fighters who resisted Indonesian occupation. She is transported beyond the troubles to wonder at ancient cave paintings, bathe in turquoise waters, and reflect on charming children — and her hope that eco-tourism will offer a better life for a nation she senses is still "in shock".
This post-war Weekly Review boards a RNZAF Dakota flying “the longest air route in the world”: a weekly 17,000 mile ‘hop’ taking mail to Jayforce, the Kiwi occupation force in Japan. Auckland to Iwakuni via Norfolk Island, Australia (including a pub pit-stop in the outback), Indonesia, the slums of Singapore, Saigon, Hong Kong; then Okinawa, Manilla and home. Director Cecil Holmes’ pithy comments on postcolonial friction and rich and poor avoided censorship, but won a warning not to rock the boat. The next year he was controversially sacked from the National Film Unit.
Vincent Ward's fifth feature follows an Irishwoman in 1860s New Zealand, as Māori tribes resist the occupation of their land by the British. Sarah (Samantha Morton) has had an affair with a Māori and borne his child. Years later the boy is kidnapped by his grandfather, a powerful tribal leader. Sarah embarks on a search for her child, aided by warrior Wiremu (Cliff Curtis). When she finds him, both mother and son must decide to which culture they belong. This excerpt from the notoriously ambitious film sees Sarah encountering charismatic chief Te Kai Po (Temuera Morrison).
With the Second World War over, Kiwis stood with their more powerful allies in the occupation of Japan. But with Britain increasingly preoccupied with its home affairs and Europe, New Zealand began to set its own foreign policy agenda. In this episode of The Years Back presenter Bernard Kearns explains how New Zealand turned to its own backyard to create new export markets. That also meant military involvement in Korea and Malaya and a sometimes fumbling attempt at being a colonial power in the Pacific.
This Weekly Review features a speedboat and hydroplane regatta in Evans Bay in a stiff northerly as boats capsize in the choppy seas; the inter-provincial rowing eights on a flat-as-a-millpond Petone foreshore on the other side of Wellington Harbour in which Auckland's West End wins; and the reopening of the National Art Gallery by the Prime Minister Peter Fraser after eight years' occupation by the Air Force. The £40K national collection (mainly portraits and landscapes) is unpacked and reframed, and a Frances Hodgkins painting examined.
After her son Kamal Bamadhaj — a New Zealand Malaysian student of history and Indonesian politics — was shot dead in the Dili massacre in East Timor in 1991, New Zealander Helen Todd decided to pursue a law suit against the Indonesian general she believed was responsible. Her personal and political campaign for justice would eventually span five continents and four years. The documentary from director Annie Goldson (An Island Calling) won acclaim, and a number of awards at international film festivals.
For this documentary director Gaylene Preston goes 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, as he prepares 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 star Anzac Wallace is transformed into Te Wheke in the makeup chair, and Martyn Sanderson reflects on having his head remade to be blown off: “What’s the time Mr Wolf?”.