This specially designed light and sound installation was projected onto the facade of the Carillion in Wellington's Pukeahu Park in 2016 to commemorate the 100th anniversary of WWI. Archival material, like photographs and excerpts from letters, mix with original artwork inspired by natural imagery, and Māori and Pacific motifs, to tell Kiwi stories from the frontline. Among them are the HMS New Zealand's involvement in the Battle of Jutland, and important work by Kiwi tunnellers. This version is slightly expanded from the original 2015 film.
With dapper architect David Mitchell as tour guide, The Elegant Shed was an influential six-part series looking for the local in NZ architecture. Here Mitchell looks at ‘The Extroverts’: a group of architects who transformed Wellington in the 70s and 80s. Ian Athfield and Roger Walker are interviewed about their projects (Ath’s sprawling hillside house, Walker’s Park Mews flats). He also examines the influence of Austrian emigre Ernst Plischke (Massey House), glass verandas (Oaks Arcade), and exalts in John Scott’s iconic bi-cultural building, Futuna Chapel.
In New Zealand for his 1983 Serious Moonlight tour, David Bowie stops for a cigarette with Radio with Pictures, to talk about past, present and future projects. Bowie mentions recording hit album Let’s Dance in three weeks, and briefly touches on mysterious music and screen projects, and the "very funny" Ziggy Stardust concert film. Also mentioned: his opinions on Jagger versus McCartney, his desire to work again with Iggy Pop, and how he feels about making the cover of Time magazine. The interview is bookended with brief footage of Bowie's opening number at Athletic Park.
Directed by Hugh Macdonald, This is New Zealand was made to promote the country at Expo '70 in Osaka, Japan. An ambitious concept saw iconic NZ imagery — panoramas, nature, Māori culture, sport, industry — projected on three adjacent screens that together comprised one giant widescreen. A rousing orchestral score (Sibelius's Karelia Suite) backed the images. Two million people saw it in Osaka, and over 350,000 New Zealanders saw on its homecoming theatrical release. It was remastered by Park Road Post in 2007. This excerpt is the first three minutes of the film.
This half-hour portrait of actor and director Ian Mune kicks off at a family wedding. In-between clips illustrating his career, Mune reflects on life as a storyteller, "bullshitter" and goat farmer. He reveals his adaptation process, his loss of confidence after directing Bridge to Nowhere, and how had no idea what he was doing on Sleeping Dogs. He also warns of the dangers of being boring, and the challenges of pulling off a decent commercial. Two years after this documentary aired, Mune returned to glory with the release of his passion project The End of the Golden Weather.
The movie that won splatter king Peter Jackson mainstream respectability was born from writer Fran Walsh's long interest in the Parker-Hulme case: two 1950s teens who invented imaginary worlds, wrote under imaginary personas, and murdered Pauline Parker's mother. Jackson and Walsh's vision of friendship, creativity and tragedy was greeted with Oscar nominations, deals with indie company Miramax, and rhapsodic acclaim for the film, and newbie actors Melanie Lynskey and Kate Winslet. Time magazine and 30 other publications named it one of the year's 10 best films.
In 1951, New Zealand temporarily became a police state. Civil liberties were curtailed, freedom of speech denied, and people could be imprisoned for providing food to those involved. This award-winning documentary tells the story of the 1951 lockout of waterside workers, and what followed: an extended nationwide strike, confrontation and censorship. There are interviews with many involved, from workers to journalists and police. At the 2002 NZ Television Awards, 1951 won awards for Best Documentary and Documentary Director (John Bates). Costa Botes backgrounds 1951 here.
This documentary tells the stories of the New Zealand soldiers who were part of the identity-defining Gallipoli campaign in World War I. In the ill-fated mission to take a piece of Turkish coastline, 2721 New Zealanders died with 4752 wounded. As part of research, every one of the then-surviving Gallipoli veterans living in New Zealand was interviewed, with 26 finally filmed. Shot at a barren, rocky Gallipoli before the advent of Anzac Day tourism, this important record screened on Easter Sunday 1984, and won a Feltex Award for Best Documentary.
Illustrious Energy sees Chan and his older mate Kim prospecting for gold in 1890s Otago. Marooned until they can pay off their debts and return to China; they’ve been fruitlessly working their claim for 12 and 27 years respectively. Chan faces racism, isolation, extreme weather, threatening surveyors, opium dens and a circus romance. The renowned feature-directing debut of cinematographer Leon Narbey provides a poetic evocation of the Chinese settler experience; especially vivid are Central’s natural details — desolate schist and tussock lands, rasping crickets.