The theatre of sport is given full-blown operatic treatment in this National Film Unit classic. Footage from the French 1979 rugby tour of New Zealand is rendered in slow-motion and cut to a Tchaikovsky score. The result is an often glorious, sometimes tongue-in-cheek, paean to rugby. Balletic lineouts, driving tackles, and the dark mysteries of the ruck, make for a ballsy Swan Lake in the mud. It includes the Bastille Day French victory over the All Blacks. Directed by NFU stalwart Arthur Everard, it won a jury prize at the Montreal World Film Festival.
A death-bed confession from a touch judge leads to a repeat of a test match between the All Blacks and Wales played 25 years earlier — with the same players. Before the footy, a former Welsh star is forced to face up to a past romance. Mateships and rivalries are rekindled in this genial "what if" yarn, that celebrates and satirises two nations' rugby obsessions. It won best screenplay and supporting actor (John Bach) at 1992's NZ Film Awards. The cast saw former All Blacks and Welsh rugby reps playing alongside acting greats from both countries.
The Dark Horse is the story of a Māori ex-speed chess champ who must “overcome prejudice and violence in the battle to save his struggling chess club, his family and ultimately, himself”. Genesis Potini has a bi-polar disorder; his nephew Mana (Boy’s James Rolleston) faces being pressed into a gang. A near unrecognisable Cliff Curtis won international acclaim as Potini. James Napier Robertson's acclaimed second feature was picked to opened the 2014 Auckland and Wellington Film Festival, and scored six Moa awards, including Best Picture, Director, Actor and Supporting Actor.
This documentary follows the build-up by the Auckland Warriors to their first match in Australia’s National Rugby League competition (against the Brisbane Broncos). They are the first offshore club to compete in the NRL. The excitement and routines of a burgeoning pro sport franchise — from training to brand development — are captured alongside player profiles: Dean Bell is captain, coach is John Monie, and future Kiwi league legend Stacey Jones is an 18-year-old rising star. Presented by Temuera Morrison, the score is hard rock, and the jersey sponsor is DB Bitter.
In the decades after WWll, introduced deer had become major high country pests, and they were culled in their thousands. By the 1960s entrepreneurs were recovering the meat for export, then later live capturing animals for farming stock, using helicopters. This 1980 National Film Unit documentary follows pilots Norm Kensington and Doug Maxwell on a mission in Fiordland: flying low over imposing mountains, nabbing a deer with a net gun, then ferrying it down the valley hanging from the chopper. Directed by Chris Dillon, the wordless film is scored by Chris Cree Brown.
This award-winning National Film Unit documentary looks at the craft movement in New Zealand, as this counterpoint to industrial mass production went mainstream. The sense of involvement in the title refers to the individual skills that potters, weavers, printmakers, furniture makers and sculptors bring to making their objects. Director David Sims avoids narration, instead using music from composer Tony Baker to score scenes of the makers at work, from the loom, furnace and kiln, to workshop and studio. As a flashback to the late 70s, facial hair, ceramics and wool abound.
In this odd couple tale set in the American west, Cohen Holloway (Until Proven Innocent, Boy) plays an outlaw who abducts an upper class Brit. Calamity ensues when the hardman fails to have his wicked way with her. The self-funded film screened at the Santa Barbara Film Festival, winning praise from critic Leonard Maltin. While Utu took the Western genre and applied it to NZ's colonial history, Good for Nothing mines South Island scenery for the first 'Pavlova Western'. Long-time Weta staffer Mike Wallis directs; and the rousing score is by composer John Psathas.
Subtitled ‘a conversation with my grandfather’, this animated short sees Joel Kefali (director of the music video for Lorde’s ‘Royal’) documenting memories of his Turkish 'Baba' arriving in 1951 Auckland. Sausage rolls, dances and the death penalty are animated via cut-out shapes, and scored to Baba’s colourful pidgin phrasing — “go to the hell!”. Noel Murray of US website The Dissolve praised the “ample artistry” of Kefali’s familial tribute. Baba was a part of Loading Docs: a series of low budget three-minute long films made for online release.
In director Grant Lahood's 2013 Tropfest NZ entry a young boy takes Kiwi ingenuity to the next level by creatively adapting his gumboots to net sporting victory. But it’s a risky move. Sprung marks a return for Lahood to his dialogue free short film beginnings (eg. Cannes award-winner The Singing Trophy, and his debut Snail’s Pace). Like those shorts, Sprung has a devilish sense of humour, and a crisply edited contest of wills. The ode to the courage of the young and the unpredictability of science was scored by veteran film and TV composers Plan 9.
This 1969 film promotes the attractions, industry and history of “contemporary Rotorua”, from the Arawa canoe to forestry, from mud pool hangi to the Ward baths (“heavenly for hangovers”). The score is jazz, and the narration is flavoured by the impressive baritone of opera singer Inia Te Wiata (father of actress Rima), who gushes about geysers and Rotorua’s evolution from sleepy tourist backwater to modern city and conference centre. Also featured: kapa haka, meter maids in traditional Māori dress, and a rendition of classic song ‘Me He Manu Rere’ in a meeting house jive.