An old woman (Olive Bracey) recounts to her nephew (actor Martyn Sanderson) memories of her life in Hokianga. The film is a mix of personal return journey for Sanderson and an affectionate record of his spirited aunt (she's "the one who ate wheatgerm" in the family). Autumn Fires mixes conversations, photos, and dramatisations of romantic letters. Sanderson rambles on the farm, picks mussels in bull kelp sandals, muses on industrial agriculture and on the "unambitious peaceful life". Directed by Barry Barclay, the elegiac film screened in TV1's Scene series.
The rich scenery around Lake Wakatipu has inspired painters, postage stamps and director Peter Jackson. Shortly before leaving NZ in 1954, photographer Brian Brake headed south for the NFU to capture images of lake, mountain, tourist and miner. Amid the postcard perfection, Brake films mist-shrouded hills sliced open by mining, and a trio of skiers on Coronet Peak, travelling hand in hand. Tourists swap lake steamers for open top buses, en route to the Routeburn track; and one old-timer sets out on horse to pan for gold, via the abandoned mining village of Macetown.
Don McGlashan is renowned for the sense of place in his songs. In 'Bad Blood', the trees along the Shore are turning red and immediately the listener is on the bus on Auckland's North Shore, gazing out the window with him. This video was directed by Aucklander Sally Tran (before she relocated to NYC) and demonstrates her love for textiles and cardboard cut-outs. McGlashan 'appears', but in two dimensions, something repeated in the video for his 2015 track 'Lucky Stars'. 'Bad Blood' reveals a master storyteller at work; the 'stranger' he obsesses about is part of himself.
The quarter acre dream is in full flower in this colourful celebration of Kiwi gardening. Director Conon Fraser surveys the symbols (tool sheds, trimmed edges) and rituals (broken window, cricket ball), and muses on the role of gardens: from civic pride to “escape from the house”. A wide range of public and private landscapes are honoured, both reverentially — a time-lapse of blooms in Wellington's Lady Norwood Rose Garden — and whimsically — eg talking pests, and a couple rolling on the lawn in front of a knitting oldie. The film won top prize at a US Horticultural Society Festival.
This 1968 tourism promo follows two Aussie sheilas, Helen and Beverly, on a champagne-fuelled trip across the ditch. The tour kicks off with an obligatory sheep's 'baa', but offers some surprises alongside the scenic wonderland way, such as a detour to a Kaingaroa Forest mill and an Otago gold rush history lesson. Surprisingly trippy, Blow Up-inspired opening credits, some bold cutting and a jazzy score enliven the jaunt; a highlight is the lasses and hip local lads Monkee-ing around a Māori village and geothermal power station ... it's not PC, but it's definitely pop-tastic!
The Camera on the Shore is a feature-length portrait of a man who argued eloquently for the rights of indigenous people to control the camera. Based on extensive interviews with Barry Barclay and those who knew him — and footage from his work — it traces the path of one of the first people to bring a Māori perspective to the screen. The documentary ranges from Barclay's early years in a monastery to speeches at his tangi, touching en route on landmark TV series Tangata Whenua, battling corporations on doco The Neglected Miracle, and behind the scenes conflict on Te Rua.
Naturalist Ramari Stewart never tires of the view from a subantarctic hut. "This is the only place I know where I can see a whale out my window and it’s never let me down." The documentary follows Stewart as she spends a summer and winter monitoring wildlife at remote Northwest Bay in Campbell Island. Southern right whales, Hooker's sea lions and elephant seals all feature. Stewart, who later became a whale expert, displays a jaw-dropping bond with the animals. At the end of the programme, the whales cause a stir when they play perilously close to Stewart's boat.
In the late 1970s a like-minded group of young people decided to live together communally on a block of land in the Coromandel, and the Mahana community was born. In this Vice documentary Arthur Van Resseghem, the last member of that original group, guides the camera around the dilapidated sites of "vandalised" commune houses. Van Resseghem believes the other residents have abandoned Mahana's original vision — but it seems he has become an outlier in the community, with other residents claiming 'undesirable' people were being promised free homes.
Though gifted with a typically driving chorus, this Naked and Famous track evokes a state of limbo and dissatisfaction. Winner of a New Zealand Music Award for Best Music Video of 2014, Campbell Hooper's clip is permeated by mist and mysterious, possibly violent events. Is that a murder playing out on screen, or merely someone getting the firewood ready? Are those men doing exercise, or punishing themselves? And is that Michelle Ang getting out of the pool? Longtime collaborator Hooper directed the video in New Zealand and the band's base in Los Angeles.
Described as "visually ravishing" (The Herald's Peter Calder), "strikingly beautiful"(Metro) and "pure social-commentary gold"(The Listener), The Ground We Won is a movie about men, rugby and the heartland. After discovering small town Reporoa en route to their earlier documentary How Far is Heaven, Christopher Pryor and Miriam Smith felt it the perfect place to chronicle the changing face of small town rugby. The film premiered in April 2015 during an autumn offshoot of the NZ International Film Festival; it was judged Best Documentary at the 2017 New Zealand Film Awards.