Award-winning reality show One Land sees families living without power or running water, 1850s style. In this first episode, two Māori familes arrive by waka at their new home: a purpose-built marae with a garden, on a hill above the Firth of Thames. The larger family speak only te reo; the other identifies as European. Recreating the changes which transformed Aotearoa, a Pākehā family arrive, then head on foot towards their promised parcel of land. If they're to get through this "social and cultural experiment" without starving, they will need to trade with their neighbours.
Petunia and her daughters Patch and Polly have moved into their decidedly unconventional dream house in the second episode of this surreal children's fantasy drama written by Margaret Mahy and directed by Yvonne McKay. Their idyllic new life of music making is soon shattered by their home handyman neighbour from hell Branchy (Grant Tilly). But he has problems of his own with the unwelcome arrival of his three long lost, grasping and perpetually hungry sons. Special guest Jon Gadsby contributes an energetic performance as pie magnate Chicken Licken.
Musician Petunia (Jennifer Ludlam) and daughters Polly and Patch are tiring of their lives as land yachting "gypsies of the motorway" in the first episode of this hyperactive children's fantasy drama written by Margaret Mahy. Their salvation could be a magic house owned by Crocodile Crosby — a used car dealer with ambitions to be a pirate — but a devious land agent (Michael Wilson) and a dastardly wealthy couple stand in the way. All powerful narrator Paul Holmes orchestrates the action which features extensive use of music and period video special effects.
In 1885 the NZ Government used legislation to take ownership of sections of Bastion Point (Takaparawhau) for defence purposes. This ancestral Māori land belonging to Ngāti Whātua was never returned, and in 1976 Crown announced plans to sell off land for housing. Joe Hawke led a group of peaceful protesters which occupied the land for 507 days, until they were forcibly removed by 700+ police and soldiers. This documentary, which screened as part of the Perspective current affairs series, examines some of the issues behind the protest that polarised a nation.
Paul Wolffram's film melds sounds from noted musicians Richard Nunns and Horomona Horo, recorded in spectacular locations around New Zealand, to demonstrate that the sounds of the natural world are a form of music too. Nunns is a renowned expert in taonga pūoro - traditional Māori instruments like wood and bone flutes. Debuting at the 2014 Wellington Film Festival, Voices of the Land pays tribute to Nunn's role in their revival, while Wolffram's powerhouse creative team use image and sound to show ways "landscape and the voices of the land can be heard".
This ambitious reality show saw Kiwis living 1850s style for six weeks — "three families from two very different cultures sharing one land". The first Māori family communicates in te reo; two other families, one Māori and one Pākehā, don't. The One Land team researched and recreated a hilltop pā and a colonial house for the participants to live in. Executive producer Bailey Mackey praised TVNZ for playing a te reo-heavy reality show in prime time. Named Best Constructed Reality Series at the 2010 Qantas TV Awards, One Land was made by Mackey's Black Inc Media and Eyeworks.
Land of Birds was a series of 10 films looking at Aotearoa’s manu or native birds. Produced by the National Film Unit, the series was written, directed and largely photographed by Grant Foster. It was New Zealand’s first natural history film series, showing on NZ TV and internationally. The first instalment — Bird of a Single Flight (presented by Dr Robert Falla, on the kōtuku colony at Ōkārito) — won a 1973 Feltex Award for Best Natural History Programme. Other topics included Royal Albatross (toroa), and The Honeyeaters (tui, bellbird/korimako, stichbird/hihi).
Heavily influenced by the mid-80s MTV-led music video boom, this madcap six part kids fantasy series focuses on an aspiring songwriter and her daughters who renounce life on a land yacht to settle in a house with a mind of its own. Based on scripts by acclaimed author Margaret Mahy (in her first collaboration with director Yvonne Mackay), it utilises then cutting edge video special effects (requiring locked off shots and no camera movement). The soundtrack is by composer Jenny McLeod while Paul Holmes' narrator is omnipotent and petulant in equal parts.
David Sims' impressionistic National Film Unit short film explores the responses of four NZ painters to a landscape illuminated by a distinctive light, but yet to feel the full impact of human settlement. The award-winning film examines Brent Wong’s floating architectural shapes, Colin McCahon’s religious symbolism, Toss Wollaston’s earth-hued palette and Michael Smither’s hard-edged realism. Their works are taken from safe gallery confines and moved closer to their subject matter, while the words of writers (Katherine Mansfield, Charles Brasch, Bill Pearson) provide another angle.
“When old and young come together to do this, it shows the strength of their convictions.” This film is a detailed chronicle of a key moment in the Māori renaissance: the 1975 land march led by then 79-year-old Whina Cooper. A coalition of Māori groups set out from the far north for Wellington, opposed to further loss of their land. This early Geoff Steven documentary includes interviews with many on the march, including Eva Rickard, Tama Poata and Whina Cooper. There is stirring evidence of Cooper’s oratory skills. Steven writes about making the film in the backgrounder.