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.

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.

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.

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. 

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 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.

Actor Wi Kuki Kaa (1938 - 2006) plays Tiare, a Vietnam War veteran who is dislocated by his experiences of war, and homelessness. He wanders the city streets, collecting ephemera in plastic bags. Nancy Brunning plays his daughter, who, with her own daughter, visits their reluctant koro (old man) to convince him to visit his ancestral home. The result is a moving story about a man jolted to find his turangawaewae (place to stand), and the whanau that helps him get there. Directed by Peter Burger, the film was selected for Critics' Week at the 2003 Cannes Film Festival.

Beneath her twinset, repressed housewife Gwyneth (Mandy McMullin) is close to the edge: of attacking the dishwasher, and giving in to lust (thanks to neighbour Kevin Smith). Especially after learning the husband has done the dirty on her. Based on a Fiona Farrell story, Mon Desir blends fantasy, satire and domestic tragedy. Writer/director Nicky Marshall scratches under the fingernails of Kiwi small towns, to reveal “what happens behind the facade of wholesome goodness and normality”. Mon Desir was chosen for the 'Un Certain Regard' section of the Cannes Film Festival.

This 1993 interview from the first series of arts show The Edge screened while The Piano was in Kiwi cinemas. Earlier that year Jane Campion had become the first (and only) female director to share the top award at the Cannes Film Festival. Here, she discusses the antipodean character of her next project ( The Portrait of a Lady) and the satisfaction of offering Nicole Kidman a role that isn’t “like a handbag to one of the male stars”. She also muses on working in Hollywood versus her hometown Sydney, and the influence of a New Zealand upbringing on forming her imagination.