In this acclaimed Kiwi-Aussie co-production Sam Neill confronted what ‘Anzac’ means, a century after NZ and Australian troops landed at Gallipoli as part of an invasion by British-led forces to capture the Turkish territory. Through the lens of his whānau’s war stories (including a visit to his grandfather's grave) Neill uncovered forgotten truths about the catastrophic campaign, and examined ways the Anzac myth has been manipulated. "I hate militarism, loathe nationalism but honour those who served.” The full documentary screened on Māori Television on Anzac Day 2015.
This feature dramatises an ill-fated offensive that Kiwi soldiers undertook during World War I’s Gallipoli campaign. On 8 August 1915 the Wellington Battalion briefly seized Chunuk Bair, a pivotal peak overlooking the Dardanelles; they suffered huge losses. The film pitches the attack as a formative New Zealand nationhood moment, with Kiwi guts and resilience countered by inept, careless British generals, as much as their Turkish foes. Filmed on an Avalon set and the Wainuiomata coast, the story was based on Maurice Shadbolt’s classic play Once On Chunuk Bair.
Made by Turkish director Tolga Örnek, this acclaimed film looks at the 1915 Gallipoli campaign in World War I. A point of difference is that it is narrated by people representing both sides of the catastrophic battle (including Sam Neill and Jeremy Irons for the ANZAC and British forces, and Zafer Ergin for the Turks). Dramatisations, restored film, interviews with experts, and poignant readings from letters and diaries all help to personaliss the experience of the carnage. Urban Cinefile described the international co-production as a "potent and magnificent documentary".
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 this Christmas special from the long-running disability interests show, the team don festive costumes. Reporter Grant Sharman takes some of the young stars out for a tea party, Curtis Palmer presents his third postcard from Turkey, Northland blind student Aine sings a carol, and we attend the opening of the Mouth and Foot Painters Association exhibition in Christchurch. Meanwhile junior reporter Anthony Jellyman takes us on a tour of the Attitude set with his own camera in hand, and introduces some of the cast and crew.
Called up at the start of World War II, George Shadbolt spent six years in the British Army. As a member of the Royal Corps of Signals he spent much of it behind the lines, installing and maintaining vital communications networks. Shadbolt — 99 at the time of this interview — covered 1000s of kilometres through North Africa and the Middle East. It wasn’t until late in the war that he saw action in Italy, bringing communications lines to tanks at the front. The task offered little protection; Shadbolt deemed it the army's most dangerous job. Shadbolt passed away on 9 August 2017.
The first animated feature made and originated in New Zealand, 25 April tells the story of the country's involvement in an ill-fated mission to take a piece of Turkish coastline during World War I. 2700 Kiwis died and ‘ANZAC’ became a symbol of national identity. Director Leanne Pooley mines archive war diaries, and uses graphic novel style recreations from Flux Animation to evoke the the perspective of six participants. 25 April debuted at the 2015 Toronto Film Festival. Alongside the excerpt, a short making of video shows how facial motion capture fed into the film's distinctive look.
Children of Gallipoli offered viewers another angle on the Gallipoli story. Produced for TVNZ and Turkish television, the documentary focuses on four young people, two Turks and two New Zealanders. All are descended from men who fought at Gallipoli in 1915. Travelling to Turkey, the Kiwis explore the battle site and meet the other two participants. Together they gain an insight into the grim reality of what their ancestors experienced. Seeing it through their eyes charges the film with a strong emotional resonance. Anna Cottrell writes here about the challenges of directing it.
Rizk Alexander found himself in a rare situation during WWI — he was an Ottoman subject who chose to fight for the British Empire. His brief life still holds a fascination for his descendants. From a Syrian Christian family, Alexander had only been in New Zealand three years, when the 17-year-old signed up for war. Hoping to fight the Turkish Ottomans, he instead ended up on the Western Front, proving himself at the Battle of Messines in 1917. Later gassed, Alexander returned to Wellington to recuperate but he never fully recovered, dying in 1924. He was 27.
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.