London-based jazz saxophonist Nathan Haines returns home to perform with the New Zealand Symphony Orchestra, where he's accompanied by his bassist father, Kevin, and guitarist brother, Joel in a musical family reunion. They've followed different paths since the mid-80s when Nathan was 14 and they used to play as a trio (seen here in archive footage). The NZSO concert features standards and new songs from the brothers. This documentary backgrounds those songs, and follows the tricky business of melding jazz group and orchestra in rehearsal and concert.
Blokes 'n' Sheds is a documentary where you'll find the content is exactly as titled: a tour of selected New Zealand blokes in their sheds, with the affable Jim Hopkins as tour guide. Based on Hopkins' best-selling book Blokes and Sheds (1998) the television version was made with the direct uncomplicated style that is a hallmark of Dunedin's Taylormade Productions. The contents of the sheds in question include vintage cars, oversize traction engines, a self-designed plane, and an old paddle-boat from the Whanganui River.
This episode of the Māori Television series about Aotearoa artists follows Māori screen pioneer Merata Mita. Mita produced vital work anchored in culture and community. This extract concentrates on the occupation of Bastion Point. Mita and protest leader Joe Hawke talk of how 25 May 1978 shaped her concerns as a filmmaker: "It was life, it was a transformation". The documentary includes footage from Bastion Point: Day 507, Patu, Mita's feature Mauri and Utu, and sees her running a lab for indigenous filmmakers. The episode was the 17th screened in Kete Aronui's fifth season.
More everyday Americans are encountered as this documentary series — fronted by Gordon McLauchlan — visits Tennessee, Virginia and Kentucky to explore the Bible Belt touchstones of patriotism, mining, religion, guns and country music. Interviewees include a former miner and self confessed mountain man who collects guns and teaches scripture, a new wife and mother trying to settle into life in a smaller town, a truckie and aspiring musician who sees big rig drivers as the last cowboys, and a singer/songwriter looking for that elusive big break in Nashville.
In this episode from New Zealand television’s first local documentary series, pioneering producer Shirley Maddock visits the Hauraki Gulf island of Waiheke — just 11 miles from downtown Auckland. A time-consuming boat trip has kept it as the preserve of holidaymakers and retirees, but faster transport is on the way. In a nicely judged delve into island life, Maddock is eloquent and engaging as she meets local identities, visits a wedding, a 21st, and the primary school sports day — and ponders Waiheke’s past, present and future, as Auckland inevitably reels it in.
Following the big-screen success of Topp Twins documentary Untouchable Girls came another chronicle of a Kiwi entertainment legend: sometime Taranaki bandito, giggling newsreader and crooner Billy T James. The film uses remastered footage and an impressive cast of interviews to capture his path from cabaret singer to fame, fan clubs and eventual financial and bodily collapse. Te Movie director Ian Mune originally cast James in the classic Came a Hot Friday, as the Māori-Mexican Tainuia Kid; Te Movie co-producer Tom Parkinson played a hand in making Billy T a TV star.
A 1970s film contrasting impressions of two places over the course of a day: Mana Island and Wellington city. Two young climbers (a teacher and a gardener) row out to the island while the sun rises and the city wakes up. Over smokes and beer, the men discuss why they climb; evocative shots of their rockface ascent are paralleled with shots of city bustle: traffic, Radio Windy DJs and new high rises. The genre of dramatised documentary was relatively new when cinematographer Attewell made this film — his directorial debut — mainly shot over two weekends in 1973.
Moa-nominated for Best Documentary, this full-length title chronicles two decades of political football between New Zealanders hoping to reduce greenhouse gas emissions, and followers of the business as usual approach. Co-directing with his longtime editor Abi King-Jones, Alister Barry (The Hollow Men) continues his patented approach of melding new interviews with raids on the news archives. Critic Graeme Tuckett argued that the film makes “a compelling case that although the science was settled by 1990, we’ve allowed politics and corporations to mute our response to a very real crisis”.
This National Film Unit documentary provides a fascinating behind-the-scenes look at the various stages of 40s film production at the relatively nascent unit, from shoot to post production. It was made to be screened continuously (thus the ‘loop’ title) at exhibition theatrettes. There’s genial interaction among the cast and crew (see backgrounder for who they are). Directed by pioneer woman director Kathleen O’Brien, the filming took place at the unit’s Darlington Road studios in Wellington, close to where Weta Workshop and Park Road Post now operate in Miramar.
This theatrically released documentary charts 23 years of highs and lows for one of NZ's most enduring rock bands — complete with personal dramas, early tragedy, adoring local audiences, album sales of 250,000, attempts to crack the United States, and that agonising name change. Seeking an audience beyond the faithful, award-winning director Sam Peacocke expanded the story's scope to feature the band's family and friends as much as the music. NZ Herald entertainment writer Scott Kara called the result "a cracker", and "a must-see for fans of the band".