This documentary delves into Christchurch underground band Into the Void. The Black Sabbath-inspired group was formed in the late 80s by art school students Jason Greig, Paul Sutherland, Ronnie van Hout and Mark Whyte. Two decades spawned only two albums; the reputation of “Christchurch’s answer to Spinal Tap” rests on legendary live shows, with noise complaint-worthy riffs splitting ears at former bar Dux de Lux. Director Margaret Gordon assembled archive and interviews with band members and mates to capture the milieu of metal, booze, quakes and art.
This National Film Unit production records the making of four large-scale sculptures for a 1971 international symposium to commemorate Auckland City’s centennial. Helen Escobedo (Mexico) nodded to the skyline’s masts and cranes with Signals in Parnell Rose Garden; Opened Stone by Hiroaki Ueda (Japan) was balanced near Auckland Art Gallery for 35 years; and American Fred Loopstra's Homage to Will still ploughs Victoria Park. A central city scrap metal work by Canadian Tom Burrows was removed in 1977, perhaps achieving his stated aim: to “disturb” its viewers!
Since 1988 the Smokefreerockquest's nationwide talent competition has been a rite of passage for school-age musicians, offering substantial cash prizes and the promise of a shortcut to global (or at least local) fame. In this TV special Hugh Sundae meets the class of 2000, including Nesian Mystik, Evermore (then the youngest band ever to compete at the finals) and future members of Die! Die! Die! in Dunedin art-rockers Carriage H. True to the period, there's also plenty of squeaky nu-metal riffs and liberally-applied Dax Wax.
Illustrious Energy sees Chan and his older mate Kim prospecting for gold in 1890s Otago. Marooned until they can pay off their debts and return to China; they’ve been fruitlessly working their claim for 12 and 27 years respectively. Chan faces racism, isolation, extreme weather, threatening surveyors, opium dens and a circus romance. The renowned feature-directing debut of cinematographer Leon Narbey provides a poetic evocation of the Chinese settler experience; especially vivid are Central’s natural details — desolate schist and tussock lands, rasping crickets.