The 1994 Cannes Film Festival turned out to be a very good year for New Zealand: a little movie called Once Were Warriors began its rise to glory, and some even smaller films did big things. Frontline reporter Ross Stevens was in France to capture the action — from impressed reactions to Warriors, to the 'film is a business' talk of NZ Film Commission chair Phil Pryke. Director Grant Lahood's short film Lemming Aid comes second in the official competition, and the festival screens a special season of Kiwi shorts — only the second such event in Cannes history.
Cannes is the place where art meets schlock on the French Riviera. A year before Jane Campion's The Piano shared the festival's top prize, NZ-made documentary Cannes '92 managed to snare almost everyone standing, from Voight to Van Damme — including NZ entrants Alison Maclean (with her movie Crush) and Nicky Marshall (Mon Desir). Vincent Ward mentions the 14 companies involved in his Map of the Human Heart. Baz Luhrmann promotes Strictly Ballroom; Paul Verhoeven completely forgets the question after his Basic Instinct star Sharon Stone interrupts proceedings with a kiss.
Reporter Paul Hobbs joins the Kiwis congregating at the Cannes Film Festival for this 2004 One Network News report. Hobbs is on the French Riviera to hear about two of the most expensive New Zealand stories yet to win funding: historical drama River Queen and vampire tale Perfect Creature. Hobbs hints at budgets north of $20 million. Among the Kiwis talking things up are NZ Film Commission Chief Executive Ruth Harley, River Queen investor Eric Watson, and director Roger Donaldson. Cliff Curtis pops by, and Fat Freddy's Drop lay down some party tunes.
According to One Network News newsreader Tom Bradley, “New Zealand’s best hope for a prize” at Cannes in 1995 is Sam Neill and Judy Rymer's documentary Cinema of Unease. Neill’s personal history of Kiwi movies made its debut in the festival’s official competition. Mark Sainsbury reports from Cannes (where the awards haven’t yet been announced, but the film has won rave reviews) and interviews Neill – who reckons Kiwi film has come of age, but needs government support. He also meets Gaylene Preston, who talks sex during wartime, while promoting her documentary War Stories.
This 1986 Kaleidoscope excerpt visits the world’s premier film festival. Reporter and future Once Were Warriors producer Robin Scholes begins with the official competition – where two years before Vigil vied for the top prize, the Palme d’Or – then focuses on Kiwi films being promoted in the marketplace. She interviews the NZ Film Commission's Lindsay Shelton (selling Arriving Tuesday); Dorothee Pinfold (Dangerous Orphans), asks producer Larry Parr (Bridge to Nowhere) if Kiwi films can survive without tax breaks, and chats to Challenge Films' Henry Fownes and Paul Davis.
This black and white short film (with hardboiled voiceover) follows canine filmmaker Quinn Hud to the dog-eat-dog world of the Cannes Film Festival to sell his latest work. Director Jonathan Ogilvie honed his skills making music videos for Flying Nun bands; and he shot the Super 8 footage for this tale when his short Despondent Divorcee screened at Cannes 1995. Quinn Hud’s 18 second epic features as a film within a film — and the cavalcade of stars alone would warrant watching this witty Tropfest winner (also chosen for competition at Cannes and Telluride).
Cannes is the town in France where Bergman meets bikinis, and the art of filmmaking meets the art of the deal. In 1975, a group of expat Kiwis managed to score interviews with some of the festival's emerging talents, indulging their own cinematic dreams in the process. Werner Herzog waxes lyrical on the trials and scars of directing; a boyish Steven Spielberg recalls the challenges of framing shots during Jaws; Martin Scorsese and Dustin Hoffman talk a gallon. Six years later interviewer Michael Heath's debut script The Scarecrow would be invited to Cannes.
Two families spend the day at a deserted beach on the hottest day of the summer in this short film which marks a directing debut for long time producer and production manager Dorthe Scheffmann. While husbands and children occupy themselves, Margie (Donogh Rees) discovers a terrible secret about her friend Anne (Elizabeth Hawthorne) and her marriage. Margie’s explosive reaction shatters the languor created by the overexposed footage in this Hamburg Film Festival prize-winner (which was also selected for competition at Cannes and Telluride).
This short is about a Dad and two sons who are rudderless in suburbia following the death of their wife/mother. Told through the eyes of nine-year-old Lars, the film focuses on his relationship with his struggling father, who drowns his sorrows and covets the neighbour. Lars and Peter’s tender exploration of the murkiness of grief and adjustment saw it selected in competition at Cannes (2009). It was made in Denmark by Dunedin expat Daniel Borgman: “life is hard, but it’s also really beautiful, and film is a great medium in which to render that contrast”.
A father attempts to discipline his son for throwing orange peel out the window on a summertime car-trip. Said director Jane Campion of the film: "I knew these people who all had red hair and they were part of a family. They were also alike in character, extreme and stubborn. Their drive in the country begins an intrigue of awesome belligerence." This tale of domestic tension might have been subtitled "gingernuts". At the 1986 Cannes Film Festival Peel won the Palme d'Or for Best Short Film (1986) making Campion the first woman (and only New Zealander) to achieve the honour.