Shark in the Park was New Zealand’s first urban cop show. In this second season opener, Inspector Flynn (Jeffrey Thomas) and his team face restructuring and cutbacks from HQ, and a gang prospect (Toby Mills) is interrogated about a hit and run. Among the impressive cast of cops are Rima Te Wiata, Nathaniel Lees, and Russell Smith (It is I, Count Homogenized). This was the first episode made by Wellington company The Gibson Group, as Kiwi television entered an era of deregulation (Shark's previous series was one of the last made by TVNZ’s in-house drama department).

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.

In Māori mythology Maui fished up the North Island from the sea; here the fisherman plunging into the depths is a giant drill ship, Discoverer II. By the 1960s technological changes had made it possible to prospect for oil in shallow offshore waters. This NFU film documents the months-long process of exploring for oil and gas, and the discovery of the underwater dome off the Taranaki coast that came to be known as the Maui gas field — one of the largest in the world in 1969. The field was subsequently exploited and was mostly depleted by the early 2000s. 

"The story of a four-day journey from Westland to Canterbury, across the Southern Alps." Narration from the four climbers accompanies spectacular alpine imagery in this classic NFU film. In crevasse country they rope up and climb to "half way across the frozen roof of New Zealand" and share a can of tinned pineapple as reward. At Malte Brun Hut they meet Sir Edmund Hillary, Murray Ellis and Harry Ayres, and they descend together down the Tasman Glacier. Ayres reflects on the Alps as training ground for famous polar and Everest expeditions.

Once Were Warriors opened the eyes of cinemagoers around the globe to an unexamined aspect of modern New Zealand life. Director Lee Tamahori's hard-hitting depiction of domestic and gang violence amongst an urban Māori whānau was adapted from the best-selling Alan Duff novel. The film provided career-defining roles for Temuera Morrison and Rena Owen as Jake the Muss and Beth Heke. It remains NZ's most watched local release in terms of bums on seats. Among a trio of backgrounders, Riwia Brown writes about adapting Duff's book for the screen.

Bad Dates peeks into a fictional evening of speed dating; those evenings where singles meet prospective partners on fast rotation. This quick-paced short film turns the idea into tragicomedy, where, in the vital opening bouts of small talk, a series of prospective relationships go down in flames before they've even begun. Writer/director Grant Lahood democratically gives equal screen time amongst the ensemble cast (made up of graduating students from drama school Toi Whakaari) and to a range of idiosyncrasies, from the infantile to the sex-obsessed.

A weekly TVNZ arts series hosted by Oliver Driver, Frontseat was the longest-running arts programme of its time, aiming a broad current affairs scope at arts issues and events. In the excerpts from this episode journalist Amomai Pihama investigates Māori arts brand, Toi Iho. Winston Peters, gallery owner Katariana Hetet, and CNZ's Elizabeth Ellis are among those interviewed. In another story Driver speaks with artists and the curator of the Telecom Prospect 2004 show at Wellington's City Gallery and Adam Art Gallery.

In this first feature film from writer/director Greg Page, two urban bloke best friends take off on a surfing weekend. Their prospects of finding fun go down with the sun. Instead of enjoying surf and black sand, the boys find themselves lost in a rural nightmare, battling an inescapable curse and nocturnal field bogans. Page, known for his high energy music videos, wheel-spins city limits phobia into the Waikato heartland for a Kiwi twist on thriller genre thrills. Horrorview.com called it: "different and inventive enough to stand out from the crowd." 

This self-funded feature follows the travails of Lexi (Request Ahomana), a young Pacific Island Kiwi cleaning for a bitter elderly woman, and struggling to find her identity in the town of Oamaru. A meeting with a young man (Dean Hanns) provides her with a prospective ride out of town — but obstacles on that road include the young man's past, the gambling addict sister she shares a flat with, and finding the courage to chase her dreams. Lexi marks the first feature film written, directed and produced by Wayne Turner. In the excerpt, Lexis argues with her sister. 

Innocent Gert, who works in a rubbish dump, can't believe his luck when he's ordered by his boss to take his beautiful mute daughter, Princess Plum, to meet her prospective husband. The two set off on a mythical quest through a fairytale Far North landscape. On the way they encounter freaks and monsters, and experience danger and romance. In an unusual reversal, the voices and music for Woodenhead were all recorded before filming. This surreal second feature from Elam art school grad Florian Habicht took Aotearoa to the arthouse with unprecedented weirdness and wonder.