Director Julie Zhu's love letter to a Chinese East Auckland community follows her grandmother as she carries out what may seem a mundane task — grocery shopping. But to Fang Ruzhen, her daily ritual of buying food is what connects her to several other aged Chinese grandparents, who hop on buses in large groups to head to the supermarket. Ruzhen moved to New Zealand nearly 20 years ago to help look after her grandson. Now she is 79 and can barely speak any English. "Going shopping every day…well, that’s our strength. Without this, what would we do?"
The work of Dunedin artist and surfer Simon Kaan explores his Māori (Ngāi Tahu), Pākehā (Scottish) and Chinese heritage. His studio in Port Chalmers is an old fruit shop his Chinese grandfather ran. In 2004 Simon won a three-month residency at Beijing’s Red Gate Gallery. Directed by Andrew Bancroft, this Artsville story follows Kaan on a tour of Beijing markets and galleries, as he prepares for a show opening. Kaan, who also narrates the piece, is able to visit family whenua: the village that his grandparents left behind for New Zealand.
Veialu Aila-Unsworth directs this re-imagining of the ubiquitous blue and white ‘willow china’ ceramic pattern (designed by Thomas Minton in the late 18th Century). Aila-Unsworth’s exquisite animation uses the design as a tableau for a tragic tale. It tells the story — supposedly derived from an ancient Chinese folktale — of lovers fleeing an angry father. The doomed pair are ultimately transformed into birds by the gods, finally escaping from oppression ... and bangers and mash. Blue Willow was selected for the Berlin Film Festival (Kinderfest section).
In this installment of Sticky Pictures' award-winning art series, the show visits the idiosyncratic Matthew Squire of Levin — whose emergence as a painter in the wake of a life-changing accident is retold with poignant wit. Back in Wellington, Kerry Ann-Lee explains the influence of her Chinese heritage and hardcore-punk on her prolific run of 'zines' and collage-based work. Finally, conceptual artist Gill Gatfield prepares for an exhibition of sculptures using materials as varied as grass, electrified wire and disposable nappies.
Sixty-five years of life are condensed into three minutes in this 2016 Loading Doc, which profiles two pioneering kumara growers and Kiwi characters: Fay and Joe Gock. The Gocks were refugees from the Japanese invasion of China, who met in 1953. It was then illegal for Chinese to own land, but they went on to became the largest market gardeners in Mangere. In 2013 they won Horticulture New Zealand’s highest honour. Told as a poem, narrated by Ian Mune, the film was directed by commercials director and ex Cassandra's Ears bass player, Felicity Morgan-Rhind.
For Kiwi-Chinese soldier Victor Low, World War I was fought mainly underground. Dunedin-born Low was a surveyor attached to the New Zealand Tunnelling Company, which created a network of caverns and tunnels in France before the Battle of Arras in April 1917. The complex was big enough to accommodate 12,000 soldiers and equipment. This episode of Great War Stories uses archive footage and modern laser scanning to map out the tunnels that still exist under the battlefield. Later, Low helped create the famous Bulford Kiwi which sits above Sling Camp in England.
This episode of the six-part Our People, Our Century series explores the mix of cultures that Aotearoa-New Zealand has become. In these excerpts, a Chinese Kiwi family speaks of the racism they experienced, from the poll tax of the 1890s to their relative isolation — despite living in downtown Wellington. Artist Trevor Moffitt describes his father's “heavy silent disapproval” at his artwork; Moffitt went on receive acclaim for paintings that explore themes of New Zealand identity. Finally, mixed marriages between Māori and Pākehā shed some light on biculturalism.
A lack of roles for Asian women inspired three Chinese-Kiwi actors to create a comedy web series starring themselves. JJ Fong, Perlina Lau and Ally Xue play flatmates in Flat3. Roseanne Liang (My Wedding and Other Secrets) directs and writes. In this third season, Perlina is pursued by two ex-boyfriends, "slutty" Jessica struggles to stay on a "no guys diet", while reserved Lee gets swept up by nude model Dan (Dan Cowley). Madeleine Sami (The Breaker Upperers) features as an arrogant acting teacher, while Shavaughn Ruakere (Shortland Street) is a pushy saleswoman.
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.
Emily Chu (award-winner Michelle Ang) is a young ‘banana’ (yellow on the outside, white on the inside) hoping to conceal a cross-cultural romance from her prudish Chinese parents in this romantic dramedy. Director Roseanne Liang’s feature debut draws on her autobiographical ‘video diary’ Banana in a Nutshell, which screened at the 2005 NZ International Film Festival. In the audience was producer John Barnett, who immediately offered to fund an adaptation. On its March 2010 release My Wedding gained several five star reviews, and strong box office.