This collection celebrates rugby in New Zealand as it has been seen onscreen: from classic bios and tour docos, to social history, dramas and protest. In the accompanying backgrounders, broadcaster Keith Quinn looks at the on air history of rugby in NZ; and playwright David Geary asks if rugby is a religion, and argues it is a good test of character.
By focussing on a single complaint of sexual abuse made by an 11-year-old girl against her mother’s partner, this docudrama examines the work done by social workers at the former Department of Social Welfare (now Child, Youth and Family). The victim and her family are actors but the social workers are real people who talk frankly about the confronting situations they face in a “damned if you do, damned if you don’t” job. The issues are canvassed sensitively by Pamela Meekings-Stewart; Former Māori Language Commissioner Haami Piripi plays the victim’s father.
This collection celebrates women and feminism in New Zealand — the first country in the world to give all women the vote. We shine the light on a line of female achievers: suffrage pioneers, educators, unionists, politicians, writers, musicians, mothers and feminist warriors — from Kate Sheppard to Sonja Davies to Shona Laing. In her backgrounder, TV veteran and journalism tutor Allison Webber writes how the collection helps us understand and honour our past, asks why feminism gets a bad rap, and considers the challenges faced by feminism in connecting past and present.
Staunch follows the politicisation of Ariana (Once Were Warriors’ Mamaengaroa Kerr-Bell) a young Māori woman who’s run into trouble with the law. Guided by a sympathetic social worker (Tamati Patuwai) she defends herself against assault charges following a police raid on her home. The Auckland-set TV3 drama was inspired by fact, and co-written by director Keith Hunter and playwright Toa Fraser; it won multiple gongs at the 2002 NZ TV Awards. Staunch was an early screen credit for Fraser (director of feature films No. 2, Dean Spanley, and ballet doco Giselle).
For this screen showcase of NZ visual arts talent, critic Mark Amery selects his top documentaries profiling artists. From the icons (Hotere, McCahon, Lye) to the unheralded (Edith Collier) to Takis the Greek, each portrait shines light on the person behind the canvas. "Naturally inquisitive, with an open wonder about the world, they make for inspiring onscreen company."
Brian Brake is regarded as New Zealand's most successful international photographer. But before heading overseas to work for photo agency Magnum and snapping iconic shots of Picasso and the Monsoon series for Life magazine, he was also an accomplished composer of moving images. He shot or directed many classic films for the NFU, including NZ's first Oscar-nominated film.
Craig Parker made his television debut in 1980s soap Gloss, before starting a four year stint on Shortland Street as womanising social worker Guy Warner. After checking out of the long-running soap, Parker played a doctor on Mercy Peak, a villain in Legend of the Seeker and starred as the hapless diplomat in Diplomatic Immunity. His other screen credits include Hercules: The Legendary Journeys and Spartacus.
Kingi (Mitchell Manuel) is a sultry teenager who encounters domestic violence and racism and veers down a path of petty crime. School ground punch-ups, stealing milk money and shoplifting see him placed under care of a social worker — and eventually Kingi runs out of chances. From writer-director Mike Walker, Kingi's Story tackles Māori youth and the path to delinquency and is based on the lives of a group of boys (including Manuel) who became wards of the state. It is the first part of a loose trilogy that includes Kingpin (1985) and Mark II (1986).
This 2005 documentary tells the story of four New Zealand-born women whose parents come from villages in Samoa, Tonga and Niue. Social worker and photographer Emily Mafile'o, students and mothers Pule Puletaua and Lanni Liuvaie, and playwright Louise Tu’u face the challenges of combining two cultures to forge an identity in Aotearoa — from family, language, food and religion, to flatting and hair cutting rituals. As narrator Sandra Kailali says, "to be true to both is hard work: success in one often comes at a cost to the other."
Someone Else’s Country looks critically at the radical economic changes implemented by the 1984 Labour Government - where privatisation of state assets was part of a wider agenda that sought to remake New Zealand as a model free market state. The trickle-down ‘Rogernomics’ rhetoric warned of no gain without pain, and here the theory is counterpointed by the social effects (redundant workers, Post Office closures). Made by Alister Barry in 1996 when the effects were raw, the film draws extensively on archive footage and interviews with key “witnesses to history”.