The Wellington seaside suburb of Island Bay is sometimes called Little Italy, thanks to the many Italians who have moved there. This episode of Immigrant Nation is based on interviews with Italian migrants to the suburb — from the woman who remembers the time during World War II when locals stopped talking to her, to the young man feeling "a magnetic pull" back to Italy. Although Italian fishing boats are now rarely seen in Island Bay, old traditions live on; and one woman talks about the responsibility of carrying on Italian traditions and culture into the future.
Our Small World is a portrait of life on an atoll in Tokelau — on Fale, an island so small, the schoolhouse had to be built on the next island, and the pigs live on the reef. Narrated by Tokelau-born Ioane Puka on a return visit, the film examines old traditions meeting pressures from the outside world, an emphasis on self-sufficiency and togetherness, and worries over education and a declining, youth-heavy population. Key decisions are made by a group of male elders, although after initial doubts, they have accepted a woman police officer.
This 1977 film looks at the meeting of the 'two rivers' (Māori and Pākehā, oral and written) of the Aotearoa literary tradition. Rowley Habib is a guide as hui take place and readings of contemporary Māori poetry are set to images of Māori life, from Parihaka and land march photos to Bastion Point, urban scenes and a Black Power hangi. Poets include Mana Cracknell, Peter Croucher, Robin Kora, (a young) Keri Hulme, Brian King, Apirana Taylor, Katarina Mataira, Don Selwyn, Henare Dewes, Rangi Faith, Dinah Rawiri, Haare Williams, Hone Tuwhare, and Arapera Blank.
When she made Mauri, Merata Mita became the first Māori woman to write and direct a dramatic feature. Mauri (meaning life force), is loosely set around a love triangle and explores cultural tensions, identity, and changing ways of life in a dwindling East Coast town. As with Barry Barclay film Ngāti, Mauri played a key role in the burgeoning Māori screen industry. The crew numbered 33 Māori and 20 Pākehā, including interns from Hawkes Bay wānanga. Kiwi art icon Ralph Hotere was production designer; the cast included Zac Wallace (star of Utu) and Māori activist Eva Rickard.
In a nod to his theatre training, Whale Rider actor Rawiri Paratene (then better known as a presenter on Play School) unveils three stories to a marae audience. A bored schoolboy (Faifua Amiga) banters with a sarcastic teacher; a musical number features a prostitute (Rena Owen) and her client; and a young girl and her grandfather prepare and wait for the body of her father at the pā. This was the first screen drama directed by Don Selwyn, who argued "what Rawiri is saying in his script is that there are lots of things Māori which are left out of the education system."
People of the Waikato makes frequent pitstops along the 425 km path of NZ's longest river. Made in an era of post-war electricity shortages, the film balances requisite beautiful scenery with excursions into the Waikato's extensive hydroelectric system: including then-unfinished fourth dam Whakamaru, whose development was slowed by the discovery of clay in the foundation rock. Alongside brief glimpses of those who live and work on the river, there is footage of stunt-filled canoe races, Turangawaewae Marae, and a veteran boatman tugging coal.
Bagpipes, haggis, and the heartbreak of leaving home; Hoots Mon examines those who have migrated from Scotland to Aotearoa. In the 1840s a group of Scots settlers started a new life in Dunedin, after breaking off from the Church of Scotland. Ayrshire-born director John Bates talks to some of their descendants, and heads to the far north to interview others with Caledonian roots, in Waipu. Alongside some impressive Richard Long camerawork, the interviews include composer Steve McDonald, whose ancestral research has inspired several Celtic-themed albums.
This hit Māori Television mockumentary series follows a couple of metro Māori men on a mission to claim a large inheritance…by finding a Māori bride. But in order to do so, the two 'plastic Māori' – property developer Tama Bradley (Boy's Cohen Holloway) and accountant George Alpert (singer/actor Matariki Whatarau) – must get in touch with their culture. In this first episode their unreadiness for the challenge is clear. NZ Herald's Alex Casey praised the show as a "hotbed for humour". Māori Bride was produced by the company behind webseries Auckland Daze and movie Waru.
Tusi Tamasese’s first feature tells the story of a taro farmer (played by real life farmer Fa’afiaula Sagote) who finds the courage to stand tall for his family and culture, and stand up to sceptical villagers. Variety called it “compelling drama”. Though previous films (e.g. Flying Fox on a Freedom Tree) had told stories inspired by Samoan writers, The Orator was the first feature written and directed by a Samoan — and the first filmed in Samoan. When it debuted in September 2011 at the prestigious Venice Film Festival, it won a special jury mention in the Orizzonti (New Horizons) section.
Director David Blyth — the man behind Death Warmed Up, New Zealand’s first horror movie — enters the supernatural with his sixth dramatic feature. Newcomer Yoson An plays a Chinese immigrant whose mother has no idea that he has a Kiwi girlfriend. Insistent on an arranged marriage, she takes him to matchmaker Madam Yin (Geeling Ng), whose idea of the perfect bride sees Jason caught up in the ancient Chinese practise of minghūn: a spirit marriage. After premiering at Auckland's 2013 Asia Pacific Film Festival, Ghost Bride was seen extensively across Asia.