This two hander is one of the heavier editions of the Loose Enz series. After midnight, a woman (Heather Lindsay) rifles through her prescription drugs then smashes a glass against an Egon Schiele print hanging on her wall (with Laurie Anderson-inspired blips scoring the scene). Shortly afterwards a married colleague (Peter Vere-Jones) turns up, whom she's forgotten she's phoned. The titular samaritan finds himself drawn into the midlife crisis of a woman under the influence: from Yevtushenko to a bitter waltz to Split Enz's 'I Got You'.
This short explores subtle tensions in a relationship between an artist and his model. To the young beauty who has arrived to model nude, the aging painter (played by the director Jonathan Brough’s father) initially appears decent and respectful. But when she demands to see the painting before he is ready, and he refuses, his intentions are questioned. Based on a short story by American Bernard Malamud, this understated two-hander was invited to play at Cannes, in a special 1994 season of Kiwi shorts. It was Hawera-raised Brough’s second (self-funded) short.
Actor Heather Lindsay (now Heather Randerson) cemented her part in New Zealand television history as one of the original cast of the country’s first bona-fide soap hit, Close to Home. Alongside her theatre work, she enjoyed an extensive screen career in the 80s and 90s, acting alongside some of the biggest talents of the day.
Costa Botes has had a long independent career as a director of drama (Stalin’s Sickle, Saving Grace ), a run of feature-length documentaries (Angie, Candyman, The Last Dogs of Winter) and at least one film that is very difficult to classify (Forgotten Silver). Botes also spent many years as a film critic, with a reputation for an acerbic wit.
Playwright turned director Toa Fraser grabbed the theatre world with award-winning play No.2, which he then directed for the screen. At the 2006 Sundance Festival it won the coveted audience award. Follow-up Dean Spanley won seven gongs at the 2009 Qantas Film Awards, including best director. Fraser went on to helm ballet documentary Giselle, te reo action movie The Dead Lands, and hostage drama 6 Days.
Alongside award-winning front and centre roles in everything from horror movie The Ugly to Shortland Street, lawyer-turned-actor Rebecca Hobbs has tried her hand at directing (short film Tick), writing (children's series P.E.T. Detectives) — and even the cha cha (TV’s Dancing with the Stars).
Actor Marton Csokas came to fame in the early 90s, playing the bumbling Dr Dodds in Shortland Street. Since then he has appeared in interracial romance Broken English and coming of age story Rain, before starting a run of international roles — often as the villain — in everything from xXx to The Bourne Supremacy.
Greg McGee's first play Foreskin's Lament (1980) is seen as a watershed moment in the maturing of a distinctly Kiwi theatre. Since then McGee has demonstrated (with tele-movie Old Scores) that rugby can be the stuff of comedy as well as critique. He has also created or co-created a run of television dramas - including long-running law show Street Legal - many of them awardwinners.
Quite aside from being a talented and prolific actor, Ian Mune has made behind the scenes contributions to many New Zealand screen landmarks. Mune's writing career ranges from some of New Zealand's earliest television series to Goodbye Pork Pie. His work as director includes classics Came a Hot Friday and The End of the Golden Weather, and the hit sequel to Once Were Warriors.
Australian-raised Melanie Rodriga (née Read) moved to New Zealand in 1977, and worked as an editor. After adapting Keri Hulme story Hooks and Feelers, she wrote and directed feminist thriller Trial Run in 1983. In 1988 Rodriga was a best director finalist for pioneering TV drama The Marching Girls. Rodriga now lectures in film at Perth’s Murdoch University and continues to make and develop films.