Brought to you from "the Samoan Embassy" (in reality the Naked Samoans' motel room) this episode of The Living Room follows the comedic theatre troupe during their time at the Edinburgh Fringe Festival. Then it retreats to the wild west coast of the South Island, where acclaimed cinematographer Alun Bollinger reflects on his diverse life and career. Also featured is the first 'proper' exhibition of Illicit artists on K' Road (featuring the late Martin Edmond), and a visit to small town Mangaweka, setting for Michael Reihana's surrealist short film Little Gold Cowboy.
Barefoot Cinema looks at the "art and life" of Alun Bollinger, whom Peter Jackson calls "the finest lighting cameraman that the country has ever produced." Goodbye Pork Pie, Vigil, Heavenly Creatures ... the path of the man known as 'AlBol' is like a screen industry growth chart. But the film is as much an affectionate account of the values and family of a "greenie good keen man", shaped around his four decades-long relationship with wife Helen. In this excerpt, 'AlBol' nails down iron in the rain at his West Coast home, and he and Peter Jackson reflect on their collaborations.
Mini-series Bread and Roses recreates the early days of trade unionist and politician Sonja Davies. Behind the scenes, the $4 million production required 175 speaking parts, and dozens of sets — many built from plywood, “to make something out of nothing”. This documentary follows director Gaylene Preston and producer Robin Laing from preproduction and filming a dance scene in Wellington Town Hall, to (old-fashioned film) editing. Meanwhile lead actor Geneviève Picot talks about the challenges of portraying a character who often kept her vulnerabilities hidden.
A trio of future Kiwi screen stars smoke, smoulder, steal — and worse — in Scott Reynolds' serpentine short noir. Kane (Marton Csokas) and his Zambesi-clad woman on the side (Danielle Cormack) set about ripping off Kane’s rich wife (Jennifer Ward-Lealand) with bloody results. Writer/director Scott Reynolds and longtime partner in crime, cinematographer Simon Raby, serve notice of their talents — and inspirations — with heady lighting, deliberately shonky back projection, and opening titles right out of Hitchcock. Muso Greg Johnson supplies the horns.
Michael Firth's follow-up to his 1977 Oscar-nominated ski documentary Off the Edge, but this time with a plot and scripted dialogue. Canadian Matt hitches from Auckland to meet a bunch of Kiwi extreme thrill-seekers at a southern ski field. They throw themselves off volcanoes, glaciers, mountains and into an Iron Man with "get more go" abandon. Cinematographer Stuart Dryburgh's first feature shoot — "I was relatively cheap and I could ski" — is notable for its action sequences (set to an 80s pop soundtrack) and Billy T James as a mad pilot.
Geoff Murphy (Utu) directed this freewheeling adaptation of the Māori legend of Uenuku and his affair with mist maiden Hinepūkohurangi. The story of love, betrayal, and redemption was the first Māori myth adapted for TV — and the first TV drama performed entirely in te reo. The Listener softened viewers by printing a translation before it aired. Filmed at the Waimarama base of Murphy and cinematographer Alun Bollinger, Uenuku was produced by company Peach Wemyss Astor for the NZ Broadcasting Corporation — a rare independently produced TV drama in the 1970s.
This performance-based short film could probably be filed under 'Pasifika tribal fusion'. Cinematographer Waka Attewell (Starlight Hotel, Poi-E) captures the talents of percussion group Strike (including then long haired composer Gareth Farr) and dancer/choreographer Mika. Attewell’s camera circles a furnace of Strike drummers, framed by harakeke and toi toi flowers. The title translates as ‘beautiful fire’, and at the core of the elemental imagery — fire, water, rain — is Mika, whose body (dressed by Pacific Sisters) channels Farr’s music.
Shot in black and white (by Terry King and future Harry Potter cinematographer Michael Seresin), this early Tony Williams directorial effort answers its road safety instructional mandate with style. A jazzy soundtrack scores the setting up of a literal ‘lives collide’ plot. Two lovers go rambling; a gallerist in a goatee takes photos on a car trip, a beau takes his girl for a Wellington coastal drive, a musical duo drive from a 2ZB recording session ... all the while emergency room flash-forwards are intercut and the clock ticks as basic road safety lessons are ignored.
In this 2007 short, a young refugee boy is smuggled out of an unnamed European country. When he realises he and his companion are victims of people trafficking, he faces an untenable choice. Cargo was produced as director Leo Woodhead’s graduating film while completing a masters in film at Auckland University. A collaboration with Czech cinematographer Martin Priess led to a student exchange with FAMU in Prague and saw the film shot in the Czech Republic. It premiered at Venice Film Festival, before a successful (London, Tribeca, Telluride) festival run.
An early case of a Kiwi play being adapted for the screen, Middle Age Spread asks whether adultery is inevitable (and whether it can stay secret). Grant Tilly won acclaim as "an antipodian Woody Allen" for his philandering deputy headmaster fearing a future of stress and marital dissatisfaction. Roger Hall's hit comedy was adapted in the first flush of the Kiwi film renaissance. It marks the movie debut of many talents — including Tilly, director John Reid, writer Keith Aberdein, and cinematographer Alun Bollinger. Middle Age Spread was the first Kiwi feature to screen on the BBC.