The title points the way towards this stylish short's film noir intentions, but a generic set up - a drifter rolls into a seedy motel diner — springs surprises as a tainted love time-travel plot unravels. Convincing performances from Leighton Cardno (Shortland Street's Dr Adam Heyward) as the eponymous Jet, burdened by murderous guilt, and Marissa Stott as the winsome waitress, realise a screenplay co-scripted by writer Chad Taylor. Black was directed by Kezia Barnett as part of a short film series to promote Schweppes by advertising agency Publicis Mojo.
Featuring artwork by Grammy-nominated Kiwi Sarah Larnach — whose art has been a key feature on Ladyhawke's albums — the music video for My Delirium weaves between reality and a dreamscape where cats dominate the Mount Rushmore sculpture, and Ladyhawke soars through space in a car. The video opens with the singer in a dreary roadside motel, before animated artwork on the wall comes to life, featuring a cartoon Ladyhawke walking out of the motel and hitting the road in a classic convertible. The musician won six Tuis at the 2009 NZ Music Awards.
For this 1987 Kaleidoscope report, architectural commentator Mark Wigley uses Kiwi resort towns as fuel for an essay on local architecture. He visits Waitangi, arguing that Aotearoa should have followed the "rich ornamental example" of the Whare Rūnanga, instead of the restraint of the Treaty House. He praises Paihia’s "cacophony of bad taste" motels. In part two, he compares Queenstown and Arrowtown, and admires a gold dredge and the Skyline gondola. Wigley, then starting his academic career in the United States, would become an internationally acclaimed architectural theorist.
In March and April 2001 slippers met gumboots when The Royal New Zealand Ballet went on a five-week long heartland tour. The ballerinas performed in community theatres and halls in places like Twizel, Putaruru, Taihape, and Alexandra. This Gibson Group TV One documentary chronicles the challenges – injuries, fatigue, motel life, provincial performance diets (junk food, baking), dodgy stages and wiring, romance on the road – and receptive locals. The programme includes work from local choreographers to famous ballets, with music from classical to Head Like a Hole.
Made for the 75th anniversary of the Tourist and Publicity Department, this National Film Unit short film surveys New Zealand tourism: from shifts in transport and accommodation, to how Aotearoa is marketed. The "romantic outpost of Empire" seen in 1930s promotional films gives way to a more relaxed, even saucy pitch, emphasising an uncrowded, fun destination. Middle-earth is not yet on the horizon; instead Wind in the Willows provides literary inspiration. Directed by Hugh Macdonald (This is New Zealand), it screened alongside Bugsy Malone and won a Belgian tourist festival award.
Claire Duncan’s “love-letter to music on the margins” punctures the romantic view of the touring musician (with withering narration playing over images of rural backwaters) while simultaneously affirming the virtues of self-expression, and the special transience of live performance. Featured are interviews and arresting performances from some of NZ’s most singular new artists: Seth Frightening, i.e. crazy (the director’s musical alias) and Girls Pissing On Girls Pissing. This was one of three films produced by Lumière, advocating for local artists working outside the mainstream.
This Māori Television hit offers a down-home NZ Idol mixed with a little Fear Factor, as off the street talents sing three rounds of karaoke and try to win $1000. Hosts Te Hamua Nikora (Homai Te Pakipaki) and Luke Bird (The Stage - Haka Fusion) coax Lagitoa from Papatoetoe, Samantha from Pakuranga and Renee from Rotorua to belt out their favourite song. The show’s stripped back style allows lots of space for audience reactions (this time at Rotorua's night markets, and in Pakuranga). With encouragements in te reo and English, the contestants feel the fear and sing anyway.
Inspired by the ageing Burt Munro — who took his home-engineered motorbike to America, and won a land speed record — this passion project was Roger Donaldson's first locally made film in two decades. Variety called it a "geriatric Rocky on wheels”; Roger Ebert praised Anthony Hopkins' performance as one of the most endearing of his career. The result sold to 126 countries, spent five weeks in the Australian top six, and became Aotearoa's highest-grossing local film — at least until Boy in 2010. Alongside an excerpt and making of material, Costa Botes writes about the film here.
This 2014 web series follows a South Auckland family chasing a talent quest title. In this 10th episode (out of 20) the Saumalu family debates Moana’s shock announcement that she is getting engaged to Indian-Kiwi Dev. The head-girl and student DJ are a South Auckland Romeo and Juliet. Dad Kavana wants to send Moana home for some ‘Fa’a Samoa’ (‘Samoan way’) education. Meanwhile Moana finds out that Dev is already engaged, and decides to move things to the next level. The series was based on the hit stage show that debuted at the 2013 Auckland Arts Festival.
The line “where the bloody hell are you?” generated controversy when used in a 2006 Aussie tourism campaign; so who knows what 1980 audiences made of this promo’s exhortation to “Come on to New Zealand.” But as the narration assures: “It’s a safe country. You can walk without being molested.” Aimed at the US market, the film was made as long haul air travel was opening up NZ as a destination. Māori culture, sheep and pretty scenery are highlighted, alongside skinny dipping and weaving (!). Narrated by Bob Parker, the NFU promo marked an early gig for editor Annie Collins.