This National Film Unit documentary records the 18-month-long building process of a waka taua (war canoe): from the felling of the trees — opening with an awe-inspiring shot of the giant totara selected by master carver Piri Poutapu — to the ceremonial launch. The waka was commissioned by Māori Queen, Te Arikinui Dame Te Atairangikaahu, and built at Tūrangawaewae Marae. The Harry Dansey-narrated film was significant in showing the importance of the canoe-building kaupapa alongside the everyday lives of the workers (at the freezing works, the pub).
In this Koha story, reporter Temuera Morrison arrives on the East Coast to watch the making of Mauri, the first dramatic feature directed solo by a Māori woman. Writer/director Merata Mita argues that the 50s set drama is "about birth and death, and all that takes place between", and talks about how the film is important in giving Māori filmmaking experience, and a voice on screen. Actors Zac Wallace (Utu) and Eva Rickard are interviewed, while locals talk about the challenges of making movies. There are also glimpses of some of the Ralph Hotere-designed sets.
Greg Mayor was one of the only journalists in the world to visit the set of Jane Campion film The Piano. In this report, Mayor and a camera crew from Marae encounter Māori extras on location at Karekare Beach. Actor Pete Smith (The Quiet Earth) undergoes four hours of makeup, most of it getting his moko painstakingly applied; the film's Māori Advisor Waihoroi Shortland remarks that things are improving in terms of how Māori are treated in the film world, but argues that truly Māori stories are yet to be told; and ta moko artist Gordon Hatfield is among the waiting extras.
After being fired from his first New Zealand film Under the Southern Cross in the late 1920s, American director Alexander Markey returned to make Hei Tiki. Following a sometimes tense shoot, mostly around Taupō, he departed Aotearoa, leaving badwill and fears he'd stolen a number of taonga in his wake. Inspired partly by Māori legend, Hei Tiki sank quickly when finally released in 1935. This documentary features extensive clips from the movie, plus interviews with surviving cast and crew — including co-star Ben Biddle, and pioneering cameraman Ted Coubray.
This report for TVNZ’s flagship 1980s arts show was made to tie in with Nicholas Reid’s book about the renaissance in NZ cinema that began with Sleeping Dogs in 1977. Reid and a who’s who of filmmakers discuss many of more than 50 films made in the previous decade (with Bruno Lawrence ever present) — and ponder the uniqueness (or otherwise) of NZ film. The industry’s fondness for rural and small town settings, and forceful (often conflicted) male leads is explored; and more neglected areas — Māori film making and more of a voice for women — are traversed.
In 2015 celebrated Czech choreographer Jiří Bubeníček and his twin brother and designer Otto adapted award-winning film The Piano into a full-length ballet. With her second big screen documentary, Crossing Rachmaninoff director Rebecca Tansley followed the pair as they arrive in New Zealand, and begin expanding their original production for a 2018 season with the Royal New Zealand Ballet. Bubeníček faces difficult artistic decisions as he and Māori Advisor Moss Te Ururangi Patterson try to find common ground while deepening the ballet's Māori elements and themes.
Inspired by Witi Ihimaera's Bulibasha, Mahana saw director Lee Tamahori making his first film on local soil since a very different family tale: 1994's Once Were Warriors. Temuera Morrison stars as a 60s era farming patriarch who makes it clear his family should have absolutely nothing to do with rival family the Poatas. Then romance enters the picture, and son Simeon sets out to find out how the feud first started. The powerhouse Māori cast includes Nancy Brunning (who is included in the interview clips) and Jim Moriarty. Mahana debuted at the 2016 Berlin Film Festival, before NZ release.
Something of an antipodean Seven Up! (a series of life-chronicling British documentaries) this documentary picks up on the stories of four young Māori — now middle-aged — 24 years after they moved to the Wellington as part of a Māori Affairs Department redeployment program. It makes liberal use of the original film to contrast the cowshed to cubicle journeys; and revisits Ripeka (now in Hamilton), Moana (Guam via Japan), Grace (Wellington), and Phillip (Brisbane), who reflect on the paths their lives have followed, and on their Māori culture and where 'home' is.
This episode of arts show Frontseat visits the inaugural edition of the Māori Film Festival in Wairoa, with Ramai Hayward and Merata Mita making star turns, alongside a tribute to teenage filmmaker Cameron Duncan. Elsewhere, Deborah Smith and Marti Friedlander korero about their She Said exhibition, and about photographing kids and staging reality; and Auckland’s St Matthew in the City showcases spiritual sculpture. A ‘where are they now’ piece catches up with Val Irwin, star of Ramai and Rudall Hayward's interracial romance To Love a Māori (1972).
Kevin Whana (aka 'Starfish') makes a crust by running onto Auckland intersections and cleaning car windscreens. Sándor Lau's acclaimed documentary adopts a style befitting its charismatic subject: witty and street-smart, coloured by more serious moments where Whana struggles with drugs, the law and homelessness; and rages at wrongs against himself, and the Māori people. Keen to make something "political but also entertaining and emotionally engaging", Lau made the film after realising the best window washers "know it’s like street theatre or performance art".